This year’s BIPP Print Master Awards showcased an array of incredible category winners and overall champion for 2024/25. These images demonstrate exceptional technical skill and artistic vision, showcasing the best of professional photography.
Qualifications
18
We explore the technical, professional, and creative excellence behind this year’s successful qualification panels, highlighting the skill and dedication that earned these photographers their accolades.
Weddings with Martin Hillary 24
Martin Hillary’s wedding panel earned him a Fellowship with the BIPP. Discover the inspiration behind his work, his standout images, and the journey that led to this prestigious recognition.
Capturing Creatives 32
Alun Callender’s Fellowship panel showcases creatives, artists, and craftspeople in their working environments. We delve into the inspiration, technique and unique approach behind his captivating portraits.
Double Fellowship 40
Nagayuki Kojima achieved the rare feat of earning Fellowships in both wedding and portrait photography. We uncover his creative philosophy, the techniques behind his panels, and what drives his passion for the craft.
Photographers of the Year 50
The 2024 BIPP Monthly Photography Competition highlighted incredible talent across all categories. This feature showcases the winning images, celebrating the creativity and skill of the photographers behind them.
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
“That’s a wrap,” as the saying goes. With that, we say goodbye to another year of challenges, opportunities and experiences.
I’m writing from a tent in the Scottish Highlands – a questionable choice in December, I’ll admit – but an endeavour that’s reminded me of three things we sometimes overlook: The power of change, community and celebration.
Change
For me, 2024 marked a shift in my approach to personal projects. After years of shooting luxury hospitality, I decided to embrace the “wild outdoors”. Of course, those 50mph winds and flood warnings mean likely regret in the morning, but the rich new experiences I’ve enjoyed outside of my comfort zone make it worth it.
For our industry, and the BIPP, change remains a constant necessity, and one that always challenges the status quo. As a business, we face frequently changing weather – some great, some more turbulent, but all with impact.
This year has seen significant changes to the Institute: new Directors bringing fresh approaches to the Board, a new competition structure, and the departure of friends and colleagues Martin Baynes and Paul Wilkinson from their roles.
What is constant, however, is our commitment to seize opportunities and evolve. As an organisation we’ll always face challenges over time. To overcome them and thrive, we’ll need your support and enthusiasm to embrace change as we work together to build an even stronger BIPP. I’m excited to see how we can collectively shape a future that benefits us all.
Community
The importance of community, both photographic and beyond, cannot be overstated. I’ve been humbled by the kindness shown to me during my wild adventures this year. From sharing ideas, to help with off-grid travel, to more grounded assistance when I asked “which tent will I be least miserable in?” – I’ve found people who are keen, happy and eager to support.
I look at our membership and see those very same opportunities to build stronger networks between us, supporting each other as we grow. In any industry, it’s the help and assistance of our peers, along with community spirit, that can really lift us when we need it – and perhaps push us further when we don’t.
So the question is – “how can we all help each other?”. As we build upon those principles of the original group that founded the BIPP back in 1901. Our modern-day community shines when it’s filled with positive interactions between members. I look forward to hearing your ideas, seeing the results of our collective endeavours, and enjoying the transformation we all want to be part of.
Celebration
Granted, my biggest celebration right now will be getting back safely with my tent and belongings intact (“dry” is already a lost cause) - but as “Brits”, we often overlook opportunities to appreciate our wins - let’s change that.
This edition of The Photographer is a true celebration of our craft. From the incredible qualification panels we saw awarded this year, to the successes of our Print Masters and Photographer of the Year Award winners at the Big BIPP Bash – it’s been a year filled with so many achievements by such talented individuals.
While it’s important to remain focused on the mountain we’re climbing, we need to enjoy the wins and milestones along the way. Sometimes we just need to pause, appreciate how far we’ve come, and celebrate before taking the next step.
To 2025
It’s time for us all to play a significant role in the BIPP’s future - it’s our Institute, our industry and our community that we’re all here to be a part of. It’ll take work, it’ll take time, but with the talent I know we have within our membership I’m certain we can build our community to be the positive and impactful industry body we all deserve.
So from me, along with my Board colleagues, here’s to a 2025 that is full of change, community and celebration.
JEFF BROWN
As I write my President’s column, it’s only two weeks until Christmas, with the “BIPP Big Bash” still fresh in my mind. This year’s awards were a great success for both the Institute and the members who attended.
While the turnout may not have been huge, those who did attend fully embraced the spirit of the event. The evening was both inspiring and motivating, as well as being an opportunity to meet face-to-face with fellow members, many of whom I’d only interacted with online over the past year – nothing beats an in-person get-together.
I’d personally like to thank Martin Baynes and Paul Wilkinson FBIPP for making the awards evening such a fun and entertaining occasion.
There was certainly no shortage of laughter throughout the night. As with every awards event, it is always a real testament to the incredible talent of our members. The quality of the entries on show never ceases to amaze; they inspire us all to become more creative in our own photography and future projects.
Although the past 12 months have seen some challenges for the Institute, we are not alone, as many associations are experiencing the same set of challenges. As with any association, its future is firmly based around the membership and its spirit of community.
We are here to help, advise, and inspire our members. But in order to deliver and support, we also need our members to give us feedback, interact, embrace the spirit of the community and take part in our future events.
We are your Institute, and we are here for you!
No question is a stupid question; if you require help, just reach out. If you can help other members, don’t hesitate to come forward. Running a professional photography business can be a rollercoaster of a ride, but together as a community, we have the knowledge, the experience and the resources to make each member’s journey to success an easier one.
Now, with 2025 just around the corner, it’s the perfect time to reflect on your own personal achievements over the last 12 months, as well as setting out those big goals for the new year ahead.
Each new year offers endless opportunities and possibilities for every photographer, regardless of your geographical location or your photography niche. It’s easy to get stuck in the routine of running our businesses without looking at the bigger picture and building an action plan to take things to the next level.
Over the years, I’ve worked with hundreds of photographers from around the world. The ones who have seen real success and gone beyond their goals and dreams are those who’ve had a plan, believed in their ability, and taken the small steps each day towards that bigger goal. Since it requires the same amount of effort to achieve a big goal as it does a small one, it’s essential to keep up the consistency, as consistency is ultimately your key to success.
Make 2025 the year you decide to look out for new opportunities, the year you broaden your marketing knowledge, invest in some professional branding, and create that passive income stream that many photographers are now successfully incorporating into their businesses.
Maybe you’ll write your first book, build out that online course, or develop a paid membership program. Just remember that it doesn’t have to be perfect; you just need to take action and start. You’ll get it perfect as you go.
As you head along your path to the next level in your business, you can be confident that should you need that extra bit of help, support or inspiration, the BIPP is here for you.
Wishing you all a happy and successful 2025.
Print Master Winners 2024/25
We are delighted to celebrate the success of the 2024/25 BIPP International Print Master competition. It’s always inspiring to witness such an enthusiastic response from the photographic community. This year’s entries represented the highest standards across every sector of the industry, making the judging process a showcase of exceptional professionalism and creativity.
A heartfelt thank you goes to everyone who worked tirelessly to make the judging days possible. The dedication and passion of our member volunteers are vital to the success of our awards. Special thanks to Paul Wilkinson FBIPP, Head of Awards and Qualifications, and the judging panel for their commitment and expertise.
Every print presented underwent honest, open, and detailed discussion, covering all aspects of the photograph, from its composition and lighting to its mounting and printing. It is only through this thorough and careful evaluation that the winners were chosen. This year’s entries highlighted remarkable skill, creativity,
and a deep understanding of photographic practice, showcasing the immense talent within our membership and the wider photographic community.
The BIPP is proud to announce Stephanie Thornton ABIPP as the overall BIPP Print Master Photographer of the Year 2024/25. Her breathtaking studio work captured the emotion and personality of her subject, creating timeless, impactful image. Along with her Newborn image, where her delicate and heartfelt portrait beautifully captured the wonder of new life. This prestigious recognition celebrates Stephanie’s exceptional achievements, her ability to connect deeply with her subjects, and her mastery of professional photography.
We extend our thanks to everyone who participated and submitted images into this year’s competitions. The awards ceremony itself was a memorable evening of celebration, bringing the BIPP community together for a night of camaraderie, laughter, and, of course, photography.
We are already looking forward to next year’s competition!
STUDIO PORTRAIT
BIPP Print Master Photograph of the Year STEPHANIE
CLASSICAL WEDDING
ENVIRONMENTAL PORTRAIT
FASHION & BEAUTY
Panikos Hajistilly FBIPP: Natural World
James Waller ABIPP: Sports
STEPHANIE THORNTON ABIPP
NEWBORN
PETS & DOMESTICATED ANIMALS
ARCHITECTURAL & INDUSTRIAL
October Qualifications
The British Institute of Professional Photography celebrated an exceptional day of qualifications, that highlighted the outstanding talent and dedication of its members.
Helen Spiegl’s Associate qualification was elevated to Fellowship for her remarkable cat portraits, which captured the unique personalities of her subjects.
BIPP Director Martin Hillary also achieved Fellowship in wedding photography, showcasing the elegance, emotion and beauty of weddings.
Alun Callender achieved a rare double uplift, moving from Licentiateship to Fellowship in a single submission, with his outstanding portrait work earning high praise.
Nagayuki Kojima also earned a double Fellowship in wedding and portrait photography, impressing judges with his print quality, technical skill and storytelling.
James Robinson gained his Licentiateship in wedding photography after photographing over 120 weddings
this year. Two photographers from BIPP’s apprenticeship programme also achieved Licentiateship: Esther Clow in interior and exterior photography, and Rafi Curry in commercial photography. Both completed their Level Four Apprenticeships, with judges praising their work as exceptionally advanced for young photographers.
BIPP CEO Martin Baynes highlighted the significance of these achievements, recognising members exceptional talent and dedication, particularly Kojima’s rare double Fellowship.
This inspiring day celebrated the commitment of BIPP members, with the Institute proud to support photographers at all stages. For those not successful this time, the BIPP commends their hard work and encourages them to build on the invaluable feedback received.
A final thank you goes to our Chair of Judges Paul Wilkinson and his team Su Kaye, Sean Conboy, David Stanbury, Gary Hill, Barrie Spence & David Taylor for their commitment and unwavering support for the BIPP.
RAFI CURRY LBIPP
Rafi’s panel is a collection of images showcasing work assignments from the past two years as a commercial photographer. Within his practice, he favours working on location and the challenges that come with working in different environments, along with a preference towards implementing studio lighting for the control and precision it provides.
The panel aims to highlight a diverse range of advertising photography, with the images featured currently used across websites, social media, and marketing campaigns. The work is a compilation from jobs with companies like QD Stores, Oase, Gnaw, and Mattressman, that have been used to help shape and refine visual brands through highquality content.
ESTHER CLOW LBIPP
Esther photographs high-end properties for UK Locations, an agency that supplies locations for brands, advertising agencies, TV, drama, and film. Starting as an apprentice assistant photographer, it allowed her to develop the skills necessary to achieve a Licentiateship in Interior and Architectural photography with the BIPP. Over her career, she captured an array of high-end properties, which have been used to create a panel of 20 images that showcase the finest interior design and architecture from her portfolio.
With each shoot, Esther has grown a deeper passion for interior photography, along with an increased ability to highlight the beauty of well-designed homes. To achieve her results, Esther employs techniques like HDR bracketing or using tilt-shift lenses to provide an accurate representation of a scene, along with utilising advanced editing techniques, including panoramic photo merge, layer masking, and generative AI.
JAMES ROBINSON LBIPP
James began his photography journey as a hobby, but it quickly blossomed into a deep passion for capturing love stories. Drawn to candid moments, he aims to create images that authentically reflect a wedding couple’s unique personality. His panel is a carefully curated collection of moments from the past 18 months of photographing weddings.
After transitioning from a career in the military to focus on wedding photography, seeing his panel in print was
a milestone achievement for James. It marked not only his personal and professional growth but also the realisation of a long-held dream. Achieving his Licentiateship with the BIPP represents a significant step forward in his career. James credits his mentor, Stuart Wood FBIPP, along with David Bostock FBIPP, Martin Hillary FBIPP, and Joel Dyer ABIPP, for their invaluable guidance and inspiration throughout his journey.
QUALIFICATIONS
HELEN SPIEGL FBIPP
Working from a country studio on the north-west edge of the Peak District, Helen’s latest submission to achieve Associateship demonstrated such exceptional photographic skill that it was elevated to a Fellowship. The panel is a compelling exploration of cats, inspired by Helen’s fascination with their evolution and diversity. Through her lens, she showcases the remarkable array of breeds, physical traits, and personalities shaped by their adaptation to environments ranging from vast deserts to dense forests.
Each image captures the essence of feline personalities – playful, curious, suspicious, bold, or predatory – while maintaining a cohesive visual style through masterful use of varied lighting techniques. The series also highlights the rich
textures of cat coats, from dense, plush, and silky fur to the short, wiry fuzz of breeds like the Sphynx.
Helen’s technical approach involved using Elinchrom ELB400 lights with Action flash heads for dynamic, energetic leaps, paired with Godox SZ300R continuous lights to accommodate more cautious subjects. Her background as a veterinary nurse played a pivotal role in ensuring the wellbeing of her feline models. By understanding their body language and behaviour, Helen created a positive and stress-free environment. She incorporated high vantage points and soft furnishings to evoke the comfort of a home, ensuring her subjects felt at ease throughout the shoots.
DOMESTICATED ANIMALS
Fellowship:Wedding Martin Hillary FBIPP
Starting a career in photography
Whilst today photography consumes the majority of my time, 15 years ago, it had never even entered my mind that it could be a career path.
Even though I studied a photography GCSE, I decided the future was in ‘computers’ and pursued a career as a developer. I worked in various IT roles and progressed into a Product Manager with a large software house. My job involved significant time away from home, and with my wife and I wanting to start a family, I knew I wanted a change and to also pursue something creative. I soon booked a portrait and wedding photography workshop.
Following the course, I put together a basic business plan and handed my notice in. I had no job, no income, but a plan that HAD to succeed. Thankfully, my wife could support us initially during the transition to being self-employed. Financially and emotionally, she was a huge support.
We turned two of the bedrooms in our house into one large room, which made a meeting space and homemade studio. The first couple of years were a learning process, and I began to develop my pricing structures and networked with other photographers. I met a wedding photographer called Mark Pearson who was an inspiration; he helped me assess areas of my business I still needed to develop and improve. I also pushed my photographic development by obtaining my licentiate with the RPS and MPA. What followed then were several years of the business building momentum.
Developing and Refining the Business
In 2017, I shot 47 weddings – the largest number I’d ever shot in a year. I based my pricing on a shoot fee. For this, I’d turn up for the day, shoot the wedding and put the photographs in an online gallery – that was it. There was then an upsell afterwards to sell an album, USB, digital photographs, products. I’ve since moved to a digital package with the additional option for album purchases.
In 2018, I dropped portrait work entirely and decided to invest in the business in other ways. Seeing more couples book videographers I thought it was about time I opened this up as an offering. As the Sony A9’s had just appeared and shot video too, I jumped ship from my Nikon D750’s to two mirrorless A9’s. I now shoot with two Sony A1’s with one of my original A9’s as a backup. From that point onwards, I offered videography to clients. This is still a very small part of my business, but one that for late bookings fills the ‘gaps’ in my diary.
Although my wedding bookings took a huge hit in 2020 during Covid, it did open up other avenues. Mainly shooting houses for estate agents, which now account for around 15% of my total income. 2021 and onwards saw the business thrive, and I’m now shooting over 40 weddings every year – I’ve currently got 48 weddings in my diary for 2024. I’m recommended at several venues and really, business couldn’t be better.
MARTIN HILLARY FBIPP
MARTIN HILLARY FBIPP
Fellowship Panel Creative and Technical Processes
‘I want you to look at your album and your images in twenty years and they will still look as fresh then as they do now. I want them to be timeless.’ — I say this to every couple when they book their wedding.
The timeless element is also at the core of the Fellowship panel. These are the images I get booked for. They are the images that demonstrate ‘me’ as a wedding photographer: my style, vision and attitude to the medium.
Looking at my panel from a distance, I want it to ‘wow’. I want to convey a broad sense of ability and vision in different types of locations – from churches to venues to lakes. Half of these images are shot at one venue, so it’s been interesting to choose differing images that all work together.
I spent significant time swapping images in and out to get a good balance. I did this with a set of cheap prints
to give me an idea. I also used vertical images on the end of the panel to act like bookends to provide balance. I rejected a couple of images that were, in my opinion, better images than ones in my panel, but they just didn’t ‘fit’.
The images are all fine-art based and needed a paper which would enhance this by providing visibility in the shadows, good contrast, sharpness and not give off glare. Nik Proctor from Digitalab went through the different paper types with me and the lab shortlisted three fine art papers: Omega Rag, Fine Art Smooth and Photo Rag. I went to Digitalab for a meeting to make sure they were to my liking. The paper that stood out to me was Photo Rag.
I’d like to portray a huge thank you to Mike Ward who has mentored me through this entire process. His help has been absolutely invaluable.
Honing the craft, evolving industry and looking toward the future
Heading towards my 15th year as a self-employed photographer and still enjoying shooting (most) weddings. I don’t see this changing any time soon, although as the market evolves, my work is adapting too.
Although I’ve struggled with imposter syndrome, I’ve now started to have much more faith in myself. I never worry about the wedding day anymore, the only fears I have are the internal ones where I want to capture something different to the ‘norm’. Something to challenge me.
Moving to mirrorless made me more perceptive and aware of available light – I’m more considered in how I photograph. While I have my ‘wedding set pieces’, I aim for them to be original enough to reflect my unique style, which is hopefully what truly sells my services.
I’ve seen the wedding photography business evolve and change. Today, where speed of delivery and accessibility has precedence over quality, I’m always exploring new ways to deliver my work to clients without compromising the image. I’m also reassessing my position on price and quality, so I’m working on a fully bespoke offering in collaboration with a celebrant, florist, and wedding planner. Together, we’re creating a high-end brand tailored specifically for boutique-style weddings
Aside from the business, I’m always pushing my own creative and technical development. I’ve also toyed with the idea of providing training for wedding photographers. However, I’m not sure I’m ready yet, especially since I’m still making a good living with my wedding photography. The last thing I want is to be in a battle with cheaper photographers mimicking my style at half the price.
Online Presence and Marketing
I shoot a considerable number of weddings at one venue. They push my work, and we have an amazing business relationship. I’m recommended at other venues too, so this accounts for a number of my bookings, and I look after these venues by offering reciprocal photography for corporate headshots and hotel shots. In return, I provide albums to the venues and attend wedding fayres.
I also supply free images to florists, makeup artists, venue stylists on request; I know there is an argument to say you shouldn’t give your images away but if you make their business look good they’ll recommend you, and it does work. Due to this, very little of my wedding work comes from a cold call or website enquiry. I’ve designed my own website and do my own SEO and social media.
Alongside this, I do a slideshow at weddings of around 30 images shot during the day, this is displayed on a TV during the evening reception, (I bring my own 30-inch TV with me, correctly calibrated). This nearly always brings me enquiries and couples love it! The surprise is – they don’t know about it before the day.
What does achieving your Fellowship mean to you personally and professionally?
Gaining my Fellowship was never a professional goal for me. I’d love the general public to go ‘ohh he’s got a Fellowship so we must book him’ and I’m sure one or two may do that. (Having recently shot the wedding of the daughter of a photographer with a Fellowship it certainly put the pressure on me as I was booked based on my Associateship at the time). Professionally it SHOULD mean something to the general public and I hope one day it will.
Personally, my Fellowship was absolutely huge for my own self belief, shaking off imposter syndrome and proving to my peers that actually I can do this! Since starting my business back in 2009 it was always my aim to achieve a Fellowship, but I’d only ever dreamed about it, after seeing the quality of work those that I looked up to were producing. I’m still in awe now when I pass comment on another wedding photographer’s work, and they say something like ‘oh wow, coming from you, that’s a huge compliment’. Of course, now I’ve done my Fellowship I want to give back to others in the industry, whether that be mentoring or just helping improve the standards.
ALUN CALLENDER FBIPP
Fellowship: Portraiture Alun Callender FBIPP
With over 30 years of varied experience across the photographic landscape, Alun Callender has gradually developed a unique visual signature and a distinctive portfolio. Now operating in the commercial and editorial sectors, he has a particular interest in human narratives within the creative community, which has developed into a body of work showcasing artists, craftspeople, and creatives in their natural working environments.
It was this collection of imagery that he mounted and printed himself to obtain a qualification with the BIPP. Originally submitted as a Licentiateship panel, the work was of such exceptional quality that the judges elevated it to a Fellowship in Portraiture.
In this article, Editor Joel Hansen speaks to Alun about his latest achievement and his journey into becoming a photographer.
Today, Alun boasts numerous prestigious awards and works on highprofile commissions for clients like HSBC and Channel 4. His path to success, however, has been a long journey of artistic exploration, professional growth and an unrelenting drive to make it in the industry. His passion for photography began at Salisbury College, where he studied for two years. Eager to start his career, Alun recalls: “I wanted to get straight out into the industry, and I was considering shooting independently as a photographer, but I decided to start to assist instead. The first three years, I worked full-time in an industrial studio. I look back now with middle-age hindsight and wish I’d gone straight into being a photographer. Although assisting did give me amazing grounding and discipline in the craft.”
After this, Alun transitioned to freelance work, assisting three photographers across London. He says, “I assisted David Gamble, an incredible portrait photographer and artist. I first came across his work when I was 16, so working with him was a great experience — he became a real mentor to me.” Alun also worked with Zana, a fashion photographer known for exclusively shooting on 10x8 Polaroid for publications like Russian Vogue. Additionally, he assisted Spike Powell, a well-established interior photographer.
PORTRAITURE
In the workshop of lighting and furniture designers Cox London
“When I hit 30, I realised it was time to fully commit to being an independent photographer and transform my career. I’d always been passionate about shooting portraits, but I lacked the confidence to pursue it professionally,” he admits. “The standard of photography out there is so high, I knew I wanted to work in the editorial and music sectors, but had no idea where to start. Honestly, there are times even now when I feel like I’m still figuring it out—it’s such a challenging, unpredictable, and constantly evolving field.”
During his time assisting as an interior photographer, he used the experience to create a portfolio, which led to work with various interior magazines. Over the following couple of years, Alun would include portraits in his interior features to continue developing his skills. This approach paid off when the Observer magazine noticed his work. He says, “They started commissioning me for stories, and I continued combining interiors with portraits, which helped me gain recognition and refine my portraiture.” He also began working for Red magazine, a prominent women’s lifestyle publication where he’d regularly shoot “celebs at home” style features for them. By 2006-2007, he made the decision to focus entirely on portrait photography. “That’s where my career has been ever since.”
Starting with generalist-style portraits, he gradually transitioned into a more focused subgenre that has become the cornerstone of his work today. It was with the rise of social media, Alun realised the growing importance of photographers showcasing a distinct style to stand out in the expansive sea of online content. He explains, “What I noticed was I really loved photographing creative people — people I identified with — artists, creators, craftspeople. I decided to shoot a personal project in East Sussex, photographing the diversity of creative people, I pursued that for around four years, it allowed me to build up a new body of work and portfolio, and a fresh approach to how I worked and shot, and that work has really carried me forward.”
This personal project led to commissions featuring creative practitioners, creating a cycle where personal projects inspired paid shoots and vice versa. These collaborations allowed Alun to build connections, work with brands, and continuously evolve his craft. Reflecting on his connection to creative subjects, he explains, “I was from a family of craftspeople. Growing up, I wasn’t necessarily exposed to art, but my dad was a carpenter and a joiner by trade, and ran a successful building company – he was really hands-on and took great pride in the work he produced. It only occurred to me 10 years ago, that it’s why I’m so passionate about creative people and craftspeople – this is my tribe, this is the people I belong to, that I grew up with and had as role models.”
Amid the competition and dedication required to succeed as a professional in the field, Alun highlights the importance of still finding joy in the process. “In all my shoots, I always want to make it a pleasurable experience; for me, my subjects, the crew, and the team around me,” he explains.
Before a shoot, Alun takes time to research his subjects. He might explore their Instagram profiles or, if they’re well-known, review any interviews they’ve given to newspapers. However, he prefers not to delve too deeply, leaving space for spontaneous discoveries. Arriving at the studio without rigid plans, he adapts to the subject and the space, allowing creativity to unfold naturally.
Alun also likes to tailor shoots on set and make them bespoke for each sitter, whether working from a client brief or coming up with concepts himself, he’ll bring a full range of equipment from backdrops to lighting, ensuring he can be as versatile as possible on set.
“I’ll shoot test images, look at them on the laptop, and work on poses and expressions with the sitter, experimenting with lighting in the environment.” Coming from an era of shooting film, the habit of getting everything right in camera remains with digital, employing minimal editing to finalise an image.
ALUN CALLENDER FBIPP
“It only occurred to me 10 years ago, that it’s why I’m so passionate about creative people and craftspeople — this is my tribe, this is the people I belong to, that I grew up with and had as role models.”
In addition to his photography, Alun has ventured into filmmaking, a medium he initially resisted. He says, “I never wanted to do film, but when I was shooting with the Canon 5D Mark II, I realised I’d only been using half of the camera’s function.” Over time, his films have become a natural extension of his photography, allowing him to delve deeper into the personalities, spaces, and creative processes of the artists he captures, translating his storytelling into moving images.
Already an established professional when video-capable DSLRs emerged, Alun recognised this technological shift as the start of a transformation for many photographers into multimedia “content creators” – a role that has become increasingly expected by clients. He says, “The only constant in our industry is that things are always changing, and I think it’s easy to get set in your ways. I felt like that working in this industrial studio – I got a bit trapped there. You have to embrace change and technology, so if clients want us to do video, we adapt and do it,” he says.
Looking ahead, Alun is committed to building relationships, making use of social media, and engaging directly with new clients to promote his work and further refine his photographic focus. His vision for the future is to seamlessly combine passion-driven creative projects with commissioned work, using both video and photography to celebrate and document the creative communities that are part of him and remain central to his practice.
QUALIFICATIONS
PORTRAITURE
Artist Hattie Malcomson photographed in her studio
NAGAYUKI KOJIMA FBIPP
Nagayuki Kojima Fellowship:
Wedding & Portraiture
How did your journey into photography begin?
My journey as a photographer began with the life-changing events of marriage and having children. Initially, my goal was simply to document the growth of my children, but it soon evolved into an artistic interest in preserving their moments in a more beautiful way. With time, my passion for photography grew, eventually leading me to transition from an amateur to a dedicated professional.
Can you tell us how your practice developed over your career?
Today, my primary focus centres around wedding and portrait photography, where I have an unwavering drive for originality. However, my decision to pursue a photography career coincided with Japan’s economic downturn, leading to closures in the photographic industry and forcing many photographers, including myself, to reconsider our paths. The rise of digital photography further raised concerns about the profession’s future and retaining image quality. To address these challenges, I initiated a study group aimed at sharing knowledge and skills, extending resources for free. It was during one of these gatherings when I came across competitions, which showcased remarkable artistic achievements of photographers that I had never seen in galleries.
In 2017, I began entering international competitions, achieving Master status in five prestigious organisations, including WPPI, COSMOS Awards, WPE, AsiaWPA, and EPA. Last year, I was honoured to be named a ‘Photographer of the Year’ at the BIPP print contest for the second consecutive year and third time overall.
As a retoucher and printer, I’ve also assisted photographers worldwide in preparing competition entries, with several earning trophies. Currently, I serve as a judge for WPE in France, AsiaWPA in Hong Kong, and the World Photographic Cup (WPC). It has not only deepened my view and understanding of the art of photography but serves as an inspiration to myself. There has been a growing presence of Japanese photographers in international competitions, some of whom have expressed appreciation for my work. I believe that my participation in such competitions contributes not only to my personal growth but also to the broader recognition of photographers in Japan. In light of this, I have committed myself to guiding the photography community in Japan, conducting seminars in online sessions and for various organisations.
NAGAYUKI KOJIMA FBIPP
What encouraged you to pursue your Fellowship?
After receiving numerous awards, while I was considering my next step, I was encouraged by BIPP Director, Johnson Wee FBIPP to pursue my Fellowship certification. I believed that obtaining a Fellowship from a prestigious organisation like the BIPP would further enhance my credibility and become one of the most significant achievements in my career.
Can you provide insight into your mindset and approach to your portrait photography?
For what purpose do we create art? What reason does it have for existing? Is it truly needed?
I have pondered these questions time and again, while, as a photographer, developing a deep interest in the concept of ‘people.’ Here, ‘people’ refers not to the subjects in the photographs, but to those who view the work, as well as the original creators of the themes embedded in homage pieces. People sometimes forget the past and history. They often possess a shortsightedness, learning only from their own experiences. That is why, even in the 21st century, wars continue to persist. Our individual experiences are fleeting, confined to a mere century at most. Yet, history spans millennia, even billions of years.
German Chancellor Bismarck wisely noted, ‘A fool learns from his experience. A wise person learns from the experience of others.’ Inspired by this philosophy, I’ve dedicated my art to reinterpreting the messages of historical figures through a contemporary lens. My subjects range from painters and novelists to film directors and mythological tales, all of which have profoundly inspired and nurtured my artistic vision. Through my photography, I aim to unearth forgotten memories and convey emotions that might otherwise be lost to time. My work serves as a bridge between past wisdom and modern perspectives, bringing timeless insights to a new audience. In doing so, I strive to capture both the follies of humanity and the magnificence of life, creating a visual dialogue between the past and the present.
QUALIFICATIONS
NAGAYUKI KOJIMA FBIPP
What does achieving your Fellowship mean to you?
I hope that my certification will inspire fellow photographers in Japan to pursue this prestigious accreditation, and to bring about positive change in photography-related organisations in Japan. Ultimately, my heart is rooted in the promotion of the art of photography in Japan, a country with a conservative photographic culture. I wish to contribute to the photography industry so that it remains an admirable profession in the eyes of the next generation. And for photography to be widely recognised as a first-class art form, I will continue to produce works of art and play a role in improving the culture of photography.
What’s the most important factor in a successful wedding shoot? How do you approach each wedding to ensure you achieve this?
I believe communication with clients is the most important thing. It begins with understanding what they think and what they value. Based on this understanding, we consider what locations, photography styles, and albums would be valuable for them. Sometimes we also provide advice on styling, including outfit selection. In my district, most brides choose to wear about 4 different outfits during their pre-wedding shoots. To complete all photography within the limited time frame, we need to be flexible in responding to uncertain elements, such as weather and time. In Japan, wedding ceremonies are typically held at specialised wedding venues. These venues strictly limit time. To complete the photographer’s work within the allocated time, building a relationship of trust with venue staff is essential.
In my opinion, a good wedding photographer is someone who can view things from a broad perspective, anticipate what will happen during the live events, and record moments from various angles with reliable technical skills.
What camera equipment do you use?
I switch between the Canon EOS R-5 and R-6 depending on the pixel count needed for client deliverables. I use Canon’s original lenses. For zoom lenses, I use the L series. When I want to compress the background, I also use prime lenses such as 50mm, 85mm, and 135mm. The reason I use Canon is that I don’t want to lose the excellent relationship of trust I have with their professional service staff.
Can you provide some insight into your postproduction process?
Fundamentally, I strive to shoot in a way that does not lose highlight information. I use Adobe Lightroom for RAW processing, focusing on adjusting shadow gradation to reproduce all details. I use Photoshop for finishing touches and printing. This is because Photoshop is far more efficient when there are things I cannot achieve in Lightroom, and when I want to increase precision, or when revisions are necessary.
In recent years, I’ve been using the Retouch4me plugin for skin retouching. It has helped me achieve significant efficiency gains. However, caution is needed when using AI algorithmbased programs. It’s important not to overdo it, as the technology is not yet perfect. Therefore, Photoshop techniques are still very necessary.
Additionally, I place great importance on having a high-performance monitor with its calibration and colour matching with printers, and maintaining proper conditions for evaluating prints. I use a 27-inch 4K EIZO ColorEdge monitor. For sensors, I use the X-rite i1 Pro 2, and use the Canon PRO-1000 printer, I actually recently changed to the new PRO-1100, which I’m currently testing out. For colour evaluation lighting, I use the Graphiclite PDV.
Can you provide your method of preparing two Fellowship panels at the same time?
Last year, I took the Fellowship examination in the Wedding category but failed. Through audio critiques from the BIPP and guidance from Johnson Wee, I investigated the reasons for last year’s failure. I reviewed my works from that time and reworked on my retouching. However, I became interested in getting feedback on my portrait work, which I had been focusing on more than weddings in recent years. So, I made the bold decision to switch to a portrait panel. When I contacted CEO Martin Baynes about this, he suggested, ‘Last year’s panel was very close to passing. Why don’t you revise it and submit it for certification along with this your Portrait panel?’ It was an unexpected proposal. However, as I had already revised my wedding work, it would be regrettable to discard them, so I decided to submit panels in both Wedding and Portrait.
For both panels, it was not easy to select 20 pieces that aligned with the themes. The key was how objectively I could make these selections. I thoroughly reviewed the works from my current perspective. I mainly focused on retouching that would make the main subject eye-catching, and thoroughly removed elements that would lose points. For printing, I made sure the details and gradations remained intact. Some prints required trying multiple techniques to achieve satisfactory results.
Through setting these challenges for myself, I believe I was able to grow significantly. If I had obtained the Fellowship last year, I wouldn’t have experienced this year’s growth, which is something I’m deeply grateful for.
While work can be solitary, with colleagues and organisations like the BIPP, we can move forward and grow. I hope all photographers can experience such growth through similar experiences, leading to the development of our industry, culture and society.
BIPP Monthly Photographer of the Year Winners
As a first-time venture, this competition has been a learning experience for everyone involved, but we’ve been thrilled by the enthusiastic response each month. It’s been fantastic to witness members consistently challenging themselves, showcasing their skills in an exciting and supportive environment.
The BIPP Monthly Competition differs from our Print Master Awards in a couple of key ways. Firstly, it is an entirely digital competition, designed to be more accessible and convenient for all members. Secondly, success in this competition is not based on a single standout image. Instead, it recognises the consistency of a member’s body of work throughout the year, rewarding those who maintain a high standard across multiple entries. This approach offers a platform for members who excel through the strength of their portfolios rather than isolated images.
We hope this format encourages wider participation, particularly from members who feel their work is best represented digitally or across a broader range of photographs. It’s a fantastic opportunity to showcase talent and commitment in a more inclusive way.
We are incredibly proud to award this year’s category winners, whose dedication, skill and ability to consistently produce outstanding images have set a benchmark for the competition. Each award is a testament to their hard work and professionalism. Congratulations to Katie Brockman who was the Overall Monthly Competition winner of 2024/25, with her outstanding array of captivating pet photography that remained at an exceptional standard throughout the year.
Thank you to everyone who participated in the inaugural year of this competition. We look forward to seeing even more members get involved in 2025 and continuing to raise the bar for excellence in photography.
Katie Brockman: Overall Photographer of the Year
International multi-award-winning photographer Katie Brockman from St. Louis, USA has been awarded the overall Monthly Photographer of the Year with the British Institute of Professional Photography. Katie’s submissions into the Pets & Domesticated Animals category particularly displayed a deep array of incredible images from playful moments portraying the lively nature of pets to well-executed traditional shots that exhibit the natural beauty of animals. The submissions throughout the year demonstrated a professional level of composition, lighting, posing subjects, and post-production, as well as an ability to bring out the personality of each pet in a unique and special way.
PETS & DOMESTICATED ANIMALS
STUDIO PORTRAIT
PHOTOGRAPHER OF THE YEAR
Gary Walsh: Environmental Portrait
Gary Walsh: Documentary Wedding
DIGITAL CREATION & FINE ART
PHOTOGRAPHER OF THE YEAR
Joel Dyer ABIPP: Classical Wedding
Joel Dyer ABIPP: Fashion Wedding
ARCHITECTURAL & INDUSTRIAL
NATURAL WORLD
Jonathan Beer Hon FBIPP QEP: Advertising & Commercial
