the Photographer - Issue Three 2016 by British Institute of Professional Photography

Hasselblad X1D What’s MF doing in a body like this?

William Eggleston Revealing portraits at the NPG The Magazine of the BIPP / 2016 / Issue Three

Railroad to nowhere Scott Johnson’s Auschwitz: the conflicting atmospheres of history

Andrew Hetherington What’s the Jackanory? And other stories

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Pavel Tamm A real team player

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Issue Three, 2016

Jonh Oliver, The Hollywood Reporter © Andrew Hetherington 2016

Image © Scott Johnson

word… placing himself at the ‘centre’ of the NY photographic scene, Andrew is a case study in making a name for himself and his work. But, he says, no-one can afford to stand still BIPP Pages 26 Photography Awards 2017, Company partners, BenSoc, FEP Judging, MSAB Elections, AGM Notice, Events Scott Johnson 2 The two sides of Scott Johnson’s personality represent his contrasting work – but atmosphere (no matter what kind) is always to be found in his work, however different it might be Andrew Hetherington 16 Nothing less than a social media pioneer – in the truest sense of the the Photographer is published four times a year by the British Institute of Professional Photography, The Coach House, The Firs, High Street, Whitchurch, Aylesbury HP22 4SJ. T: 01296 642020 E: info@bipp.com W: www.bipp.com President: Eric Jenkins Hon FBIPP Chief Executive: Chris Harper FBIPP Directors: Suzi Allen LBIPP, Russell Baston HonFBIPP, Bryn Griffiths FBIPP, Scott Johnson FBIPP, Bella West FBIPP

MF breaks boundaries 36 We take a look at the new Hasselblad X1D – that could prove to be a real game changer for the company and the industry at large Eggleston: Portraits 44 Unusual for its subjects and the back stories the show reveals, the William Eggleston exhibition at the NPG represents a different approach Membership Services Advisory Board Suzi Allen LBIPP (National) Russell Baston HonFBIPP (National) Saraya Cortaville FBIPP (National) Tony Freeman HonFBIPP (National) Bryn Griffiths FBIPP (Midlands) Scott Johnson FBIPP (South East) Fyzal Kirk ABIPP (North East) Richard Mayfield FBIPP (Yorkshire) Alan McEwan FBIPP (National) John Miskelly FBIPP (Northern Ireland)

Pavel Tamm 54 In conversation with the Edinburghbased commercial photographer Copyright and Brexit 62 Implications in an uncertain world James Russell LBIPP (North West) Bella West FBIPP (National) Stuart Wood FBIPP (National) Editor: Jonathan Briggs, editor@bipp.com Advertising: Tel 01296 642020 Email: jack@bipp.com UK Subscribers £20, EU £40, Rest of the World £50 ISSN: 0031-8698 Printed and bound by Magazine Printing Company, Enfield

Neither the British Institute of Professional Photography (BIPP) nor any of its employees, members, contractors or agents accepts any responsibility whatsoever for loss of or damage to photographs, illustrations or manuscripts or any other material submitted, howsoever caused. The views expressed in this magazine are the views of individual contributors and do not necessarily represent the views of the BIPP. All advertisements are accepted and all editorial matter published in good faith. The Publisher makes no warranty, express or implied, that any particular product or service is available at the time of publication or at any given price. No part of this publication may be reproduced by any means whatsoever, or stored in a retrieval system, or broadcast, published or exhibited without the prior permission of the publisher. This magazine is the copyright of the BIPP without prejudice to the right of contributors and photographers as defined in the Copyright, Designs and Patents Act 1988. All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2016

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Scott Johnson / Auschwitz

Words are unnecessary Fascinated by history, wedding photographer Scott Johnson FBIPP took himself off to Poland with a view to create a personal record of the Auschwitz camps – with only a very limited supply of film to hand

uschwitz – the term engrained deep in modern European history – consisted of Auschwitz I (the original camp), Auschwitz II–Birkenau (a concentration and extermination camp), Auschwitz III–Monowitz (a labour camp to staff an IG Farben factory), and a further 45 surrounding camps. Auschwitz I was built to hold Polish political prisoners, who started to arrive in May 1940. The first exterminations took place in September the following year, and Auschwitz II–Birkenau went on to become a dominant site of the Nazi Final Solution. From early 1942 until late 1944, transport trains delivered Jews to the camp’s gas chambers from all over German-occupied Europe. At least 1.1m prisoners died there. Many of those not killed in the gas chambers died in other ways – starvation, forced labour, infectious disease and in medical experiments. Now the Auschwitz-Birkenau State Museum and UNESCO World Heritage Site, the place today offers up a maddening sense of contradiction. The Allied Powers rejected early reports of atrocities and their failure to bomb the camp or its railways remains controversial. What this leaves us with is a place that stares blankly at the often hot sun in a perfect blue sky, as tourists noisily populate every pathway that once echoed to the sounds of Europe’s most infamous acts of inhumanity.

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Scott Johnson / Auschwitz

Scott Johnson’s work at Auschwitz does a fine job of communicating the unique atmosphere of the site – combining black and white and colour offers up its split personality and many layered texture. In his work, all captured early on a cold Autumnal morning – with freezing fog bringing the highly prized benefit of keeping nearly all other visitors away – there is an almost nervous balance between the stark black and white narrative images and the colour work illustrating the present day with an often eerie beauty – helped certainly by the prevailing weather. The work – intended as no more than a personal interest project – was Scott’s second visit to the site. The first failed entirely due to all-too perfect weather and the sheer numbers of visitors that arrived with it. The images were all shot handheld on a Rolliflex and his entire capture amounted to 160 frames. The combination of method and media lends a gentle and due respect to the story and the place.

g Image © Scott Johnson

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Scott agrees: ‘My choice was based on bringing the pace of capture right down. It’s a very large site and you could be drawn in to trying to record “everything”, just in case it has a part to play in the final edit. I can imagine photographers visit and take thousands of images, but I felt that I’d probably come back in such a case with a bunch of work that didn’t contain the feeling I was pushing for. Working on film is perfectly limiting in that way, and I like the pressure that the Rolliflex generates, and that I had to assume I’d worked the pictures correctly.’ He continues: ‘Compositionally, there was a fair amount of tension in my head, too, because on this second visit I was fortunate enough to have good weather for the project, but I didn’t know how long that was going to last. The first glimmer of sun, and the crowds come out. So I worked the larger scenes first and had to accept that my working pace was simply what it was and hope the mist would hold. The

Image © Scott Johnson

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Scott Johnson / Auschwitz

Rolliflex was the perfect tool for the job: setting my pace and literally shifting my perspective.’ Scott’s 160 frames passed through a hard edit, to eventually form a 28-frame Fellowship submission – more than likely the first successful BIPP Fellowship shot exclusively on film for about a decade. The fact that this would have somehow formed itself entirely differently, if shot on a D-SLR, stands testament to how the square format can pull a photographer over in one direction – in all seriousness it shouldn’t, but it does – analogue is always going to be different – but what did Scott get from the process? ‘The project – all the way from just deciding to go and do it, after reading around the 70th anniversary of the camp’s liberation – was a break from my standard way of being a photographer. It couldn’t be any further from what my bread and butter demands – a large part of what makes me the photographer I am is my personality and ability to g Image © Scott Johnson

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Image © Scott Johnson

Scott Johnson / Auschwitz

get on with people, fostering a positive attitude. None of that was going to get me anywhere here, and I really enjoyed settling into thinking around the variables of scale, respect and that it was largely uncontrollable. It could easily have all come to nothing (again) and that’s quite important. Professional life can easily become scripted – you know what you’re doing and when you’re doing it and whilst you have ideas for development and creativity, a comfort level starts to form. But to go away from day-to-day demands and set a goal to come back with a genuine body of work when there’s no real certainty at all – I think that made me work really hard on the craft and creative. I suppose the major difference was that I had to respond to a scene already set and an existing story, whilst commonly I am interacting with people to bring out character and charm.’ tP Turn over to find out more about Scott Johnson in his usual world as a wedding photographer… Issue Three / 2016 / the PHOTOGRAPHER 11

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Scott Johnson / Weddings

cott Johnson is ‘unusual’ in this day and age in that he’s spent his entire working life in the photographic industry… one way or another. The idea of him sat over a (few) pints after having shot four consecutive weddings for someone else and thinking ‘there must be a better way’ rather neatly sums him up. The then establishment of his company whilst still a touch under the influence and with a sustained rush of adrenline, spells out the ‘can-do’ attitude that pervades even now. You meet Scott and immediately believe he’ll do anything for you, and quite probably make you look many Millions of Dollars in a photograph. That’s what this game is about at the end of the day: confidence. It’s not a one-way street, though. The successful wedding photographer has to be a shining beacon of personality and

positivity, but tread the fine line of never being brash. You have to watch your language, too, as Scott illustrates: ‘Brides will be forever fussing over this and that and once I just found myself uttering the F word… “Fine”. It’s a total disaster. No one wants to look fine – my career flashed before my very eyes.’ Indeed, instilling confidence in your new Best Friends is imperative. No-one wants even a slightly grumpy bride – the knock-on consequences are huge – but in total seriousness the money shots are where the photographer somehow gets

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Scott Johnson / Weddings

g two under-pressure people to step outside of themselves and

him supporting Spurs than much else. After a few years came cruise ships, working commission only with manual flash and a broken lens. As is so often the case, the experience only made him stronger – learning the essentials of posing, personality and working the client. He describes himself as a ‘cocky little English kid on a big American ship’ and at the moment, it was perfect. The cruise ships environment also pushed exposure to the digital world and when enough was enough Scott came back to dry land and worked for another photographer in the UK. But it was only a matter of time before Scott Johnson would become The Edge photography and be out there alone. tP www.theedgephotography.co.uk @theedgepics

Image © Scott Johnson

live the moment. to believe that the whole universe is about them – even just for those few moments. How difficult that can be might depend on the atmosphere of the wedding – probably out of the photographer’s control – but this ‘simple’ exchange of services does have its own science. Scott explains his stance with clients a bit more: ‘Obviously it’s really important to get to know them properly beforehand. I’d actually say it’s vital that I do like them, so perhaps I’m almost interviewing them for the role. Then I’ll certainly leave them alone with my portfolios. It doesn’t need any explaining and to my mind says “I have confidence in my work, and so should you”. Working primarily London and the Home Counties out of an Essex base (though his work has taken Scott to far-off lands and mountains high), you have to agree that this approach is essential. A career in photography started out for Scott working in a lab in Chelmsford printing weddings and commercial work – a starter for ten that he admits had more to do with

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An Irishman in New York Andrew Hetherington is no stranger to using the web for self-promotion, and can be considered a pioneer in the photography world. Landing in NYC in 1994, ‘the plane seat guy’ back then could see that the internet was reshaping everything

magine finding yourself in the open back of a 4WD pick-up truck as it fishtails out over the edge of a certain death plunge down into the jungle of Borneo. Deep in hostile logging territory, riding along to get the photos for a story for Wired UK about an NGO called Global Witness, Andrew Hetherington thought it was the end. He remembers wondering for a second whether he should jump out now, before the truck plunged into the trees below. The vehicle somehow managed to stay on the track, but when it stopped a few miles further on, he noticed that the driver was barefoot. ‘Editorial photography is a lot of problem solving,’ he tells us, ‘as a young photographer you tend to judge the final image you see, but you don’t know necessarily what happened on the shoot. Maybe the camera jammed, maybe it rained on the day.’ Maybe, as in this case, after a six-hour drive into nowhere, your truck was turned back by a heavily armed security patrol before you even arrived at the scenes of devastation that you were hoping to shoot. All that Andrew’s many Instagram and Facebook followers would have known at the time was that a few days previously he had posted a simple photograph of the back of an aeroplane seat. Only the flight number would have given the clue as to where in the world he might be, had anyone bothered to Google it. Every plane Andrew takes (and he is sent on a lot of flights) results in one of these photos, tweeted from the

tarmac before take-off. At first he just tweeted the flight number, and this started purely because some people needed to know where he was, or perhaps he had forgotten to give his wife Zia the flight details. When Instagram and Facebook took off, he started to add the pictures, always taken deadpan and dead ahead of the back of the seat in front of him. They have

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Above: Jerry Seinfeld – The Hollywood Reporter © Andrew Hetherington 2016 – Quality, Freshness & Swashbuckling Guaranteed™

Far left: AA Flt 1107 seat 15F © Andrew Hetherington Immediate left: DL Flt 603 seat 12D © Andrew Hetherington Issue Three / 2016 / the PHOTOGRAPHER 17

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Andrew Hetherington / Profile

Left: Baseball World Series, Detroit – ESPN the Magazine © Andrew Hetherington 2016 Below, left to right, I Heart Photographers – Perou, Jeurgen Teller, Elliott Erwitt © Andrew Hetherington

generated recognition and interest. Someone meeting him recently exclaimed ‘you’re the plane seat guy!’ But what they also do is subtly implant into the mind of anyone watching that he is busy, that he is constantly on the move. They are also grist to the mill of his social media, a vital tool for self-promotion, but one which demands a constant supply of content to keep people interested. It all started with his blog ‘What’s the Jackanory?’ (WTJ) which became a phenomenon back in the last decade, winning a Photo District News (PDN) self-promotion award. In 2011, WTJ was chosen as one of the best photography blogs by Life.com. Back in the early days, Andrew could see that the landscape of photography was changing, not only through the shift from film to digital but also how the internet was reshaping how the photo community interacted and accessed work. Until that point, much of the New York scene centred around hanging out at labs and places like Print Space, which rented out colour darkrooms to New York photographers – everyone from established players like Platon and Philip Lorca di Corcia to the unknown and emerging. Andrew says that the period of five years up to 2004 was critical to the development of his career. Originally from Dublin, he had landed in NYC in 1994 after winning a US Green Card through the lottery system. His early ambitions were in fashion photography and he started out learning the ropes as an assistant before starting to shoot for himself. After some success there came a point when he recognised that he was not going to be the next Steven Meisel, and that his fashion talents had got him as far as they could. The everyday experience of seeing his peers’ personal work coming out of the darkrooms at Print Space made him realise that he should direct his efforts towards a different kind of work. The realisation was compounded by a general slowdown after the economic uncertainty caused by the 9/11 attacks, and the closure of one magazine that had been a major client. His successful reinvention as an editorial portrait photographer led to him being nominated as ‘one to watch’ in PDN’s 2003 list of emerging photographers. When a young assistant showed him Jörg Colberg’s art photography blog ‘Conscientious’, he went on to discover another blog by the art photographer Alec Soth, creator of the hugely successful book Sleeping by the Mississippi.

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Andrew Hetherington / Profile

The impact of these two blogs was immediate: ‘I knew that something interesting was happening with blogs and I wanted to be involved, partly out of the fear of being left behind.’ While most of the blogs at the time showcased fine art photography, there was nothing covering Andrew’s world of editorial and commercial work. WTJ quickly became essential reading for anyone with an interest in photography, and was even credited by Rob Haggart as the inspiration for his own hugely influential blog ‘A Photo Editor’. Andrew knew that to make WTJ interesting enough for people to keep coming back, it had to be about more than just himself. ‘I needed to make it fun and to push myself, to be putting out stories that I was interested in, that were not just about me.’ He approached the blog as if he were editorin-chief of his own personal photography magazine. This thinking led to posts that pushed other photographers’ work and shows, and interviews and short videos with

photographer friends and colleagues led to a popular series of videos of studio visits. He explains that the videos began because clients were starting to ask whether he could provide video footage. Doing them for his blog gave him a chance to learn how they worked, and at the same time created the ever-valuable content. Coming up with concepts that could be easily repeated helped. ‘Most things just start out as fun ideas, and some of them gain their own momentum,’ he tells us, ‘not everything sticks.’

Right: Donald Trump – The Hollywood Reporter © Andrew Hetherington Below: Dubai Beach – personal work © Andrew Hetherington

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Andrew Hetherington / Profile

Above: from Rooms with a View, Room 625 (Fort Lauderdale) © Andrew Hetherington Left: Red Neck Olympics, Georgia - Personal work © Andrew Hetherington

One thread that seemed to gain a life of its own at the time was a series of shots of Andrew posing with other photographers. This was long before ‘selfies’ became ubiquitous, and while it started off with pictures of Andrew with his photographer friends, the photo opportunity and the blog in general became a great reason to approach photographers whom he had long admired when he attended their gallery openings. The ‘I Heart Photographers’ series seemed like it was on track to document every famous living photographer, always next to the very recognisable and unchanging face of Andrew Hetherington. The impression left with the blog’s readers was that this man was central to the world of photography in New York, with the longest list of photo contacts. A key point here is that, although WTJ proved to be brilliant self-promotion, when you speak to Andrew Hetherington you realise that the great success of his blog, and indeed his career generally, stems not from Machiavellian self-interest, but from a genuine enthusiasm for photography and his extremely likeable nature. Many of the photographers he met in that period have become friends, and he had the chance to meet and establish a connection with some of those who inspired him into the profession when he was a young teenager in Dublin – Steve Pyke being notable among these. The blog worked because it was clear to anyone reading it that it was heartfelt. The articles and videos were interesting, fresh and amusing. His respect and admiration for his fellow photographers was clear. When Andrew did post about his own career there were some themes that recurred. One of these was the location shot. Working for magazines, the subjects usually had to be kept secret, so Andrew began to post ‘this is where I am today’, but with no information other than a shot of the car park, or the doorway, or the floor inside the location. There was also the well-known ‘Rooms with a View’ series, started in 2005 after he went onto the books of his first agent, REDUX Pictures. Feeling the need for a new personal project, Andrew thought about what he could do while he was on the road. For three years, he shot the same two pictures in every motel and hotel room that he stayed in. One shot of the room, curtains closed; the other of the flat view behind the curtains, which could be as prosaic as a brick wall. All of his negatives went into a box, and when the blog took off, it seemed like the ideal vehicle to promote the project.

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Andrew Hetherington / Profile

All images this spread: From ‘Dad Hetherington’ © Andrew Hetherington

Every new shoot would see the new room/view on WTJ. With the advent of the on-demand book printing service Blurb, the archive was scanned in, and a book was made. Some of these were put on sale in Dashwood Books in NYC, and some were sent out to clients as promotion. The book won another award from PDN, this time for ‘Extraordinary Promotion’. Andrew also ran a competition on the blog with the book as a prize. To keep a career fresh is challenging, to make a career long even more so. There is a constant need to keep up with changes in the market; a constant need to be coming up with something new and interesting. New content must be produced continuously in order to keep clients and the general audience aware of what you are doing. As Andrew says: ‘No one is interested in someone who is sitting around waiting for the phone to ring.’ The rise of Facebook and Instagram has now eclipsed the heyday of blogs. ‘I needed to move on,’ Andrew says. WTJ is now a Tumblr, and mainly a feed of his Instagram and Facebook posts. The last few weeks has seen the birth of a new series: ‘Dad Hetherington’ (left). Andrew’s father visited him from Dublin and an iPhone shot of his father in the arrivals hall at JFK, wearing a pair of Chanel sunglasses, received a hugely positive reaction. ‘From that one snap I quickly realised this had the potential to be something really special,’ he says. The iPhone was ditched and replaced with his usual Canon 5D mk III, and there were daily postings, shot in the signature Hetherington style: Dad at the Kodak museum; Dad pulling a pint of Guinness in the local bar; Dad in a kayak. ‘The response has been phenomenal,’ he tells us. ‘Not just “likes” and Facebook comments but a lot of personal emails out of the blue from friends and other photographers reaching out. Every email from clients in the past week has mentioned how much they love them. People want to know when the book is coming out.’ This reaction and interest stems from the same place as everything else in Andrew’s online career. The pictures are warm, funny and fresh. ‘There is so much chatter online – the amount of work can be totally overwhelming. What strikes a chord is usually something personal in nature that has a good back story and a reason for being. That’s what I have found from my successful projects.’ When asked where he might take it, he jokes: ‘We need a big client to sponsor us on a trip around the world. Maybe Chanel sunglasses will go for it?’ Andrew’s clients include GQ, Esquire, Wired, New York Times Magazine, and Time. He is represented by Chris Ehrman at Goldteeth & Co. www.ahetherington.com

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BIPP / Awards 2017

Professional Photography Awards 2017 There are now just a few months to get your images ready for the The BIPP Professional Photography Awards – offering up a fantastic opportunity to gain award winning recognition for your work and further your potential as a professional photographer. The awards are international, presenting a great opportunity to compete with other photographers far and wide. Don’t miss out on the chance to compete for the prestigious ‘international Photographer of the Year Award’. Please see the following information for details

Call for Entries: Deadline (with no extension!)

3 October 2016 16 December 2016

CATEGORIES Wedding & Portrait Commercial Science & Technology Visual Arts Non-commissioned Friend Provisional Open (non-members) With the exception of ‘Non-commissioned’, these categories are for images produced with commercial intent, and they must have been commissioned or available to purchase or exhibit. If you are no longer in practice, please consider the ‘Non-commissioned’ category.

OPEN TO • Qualified BIPP Members – enter for your chance to win a Gold, Silver or Bronze Award, and the opportunity to be the BIPP International Photographer of the Year 2017. • Provisional BIPP Members – gain valuable experience as you work towards your qualification by entering these international awards. You could be the BIPP’s Provisional Photographer of the Year! • Friends of the BIPP – your chance to enter professional standard international awards – and be titled BIPP Friend of the Year – a great way to kickstart your career in photography.

LEE HOWELL ABIPP \ GOLD \ COMMERCIAL \ 2016

• Professional Photographers who are not BIPP Members – BIPP always looks outside of the box – make the most of this opportunity to have your work judged against some of the very best in the profession – you could win the BIPP Open!

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DEADLINE 16 December 2016, 5pm

SELECTING & PRINTING YOUR IMAGES

NAMING YOUR IMAGES

• Entry is by a portfolio of 5 prints.

We would suggest that you title each portfolio that you enter. Please also number the individual images 1-5, so the judges can view them in the correct order.

• The work should be fresh and creative • Each set of five images must sit together as a portfolio. • You can enter any category as many times as you like. • Each portfolio entry must consist of 5 (10 x 8 or A4) prints, numbered 1-5. • An image may only be used once within the competition. • Entries must have been taken within 5 years of the entry date of the competition. • No text or way of identifying you, as the photographer, must be seen on the front of the image. • An image can bleed to the edge of the paper or have a thin key line around, with a white or black border. No other mounting or overlay is required. • Any shortlisted photographers will be asked for a high res digital file after the first round of judging. • The judges are explicitly looking for fresh, creative work, but some of the factors in their decisions will include: Image content, subject matter, interpretation, composition, centre of interest, perspective, direction, use of & control of light, style, expression, narrative, print quality, tonal range, graphic stability, design, texture, workmanship and technique. • By entering the Awards, you acknowledge that permission has been obtained for that entry to be published and exhibited by BIPP and any necessary copyright or release has been obtained.

Any incorrectly labelled entry will be disqualified, as will any which exceed the maximum entry requirement or are deemed to have been placed in the wrong category. COMPLETING YOUR ENTRY FORM & PAYING • A completed entry form and payment must be included with each portfolio. • Each portfolio is £15 plus vat (total of £18) and should consist of 5 images. eg, if entering a portfolio in Commercial and a portfolio in Visual Arts, you would send in two portfolios of 5 images (10 images in total) and the charge would be £36. • Payment must accompany each entry. This should be by debit/credit card (details to be written on at least one of the entry forms that you submit) or by cheque, payable to ‘BIPP’. • You must read the full rules before entering… PLEASE TURN OVER

POSTING THEM OFF

Post your prints, payment to:

International Entries – ensure your package is marked ‘Temporary Importation - Exhibition Material. No Commercial Value’. BIPP cannot be responsible for VAT/Customs duty on packages with a declared value.

BIPP 2017 Awards BIPP, The Coach House The Firs, High Street Whitchurch, Aylesbury Bucks HP22 4SJ

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BIPP / Awards 2017

DEADLINE 16 December 2016, 5pm

Professional Photography Awards 2017 RULES • BIPP reserves the right to disqualify any entry that fails to meet the criteria or, in its opinion, may breach or contravene legal guidelines on public decency or may otherwise bring the photographer or the BIPP into disrepute. Any costs incurred by the BIPP in such a situation will be reimbursed by the photographer.

• Entries produced on workshops/ training courses (as a delegate) cannot be submitted.

• All entries must have been taken by the person named on the identification label. • BIPP Members & Friends must be in current membership during the entry period, through to and including the presentations.

• BIPP will take all reasonable care in handling entries, but can accept no responsibility for loss or damage, however caused.

• Entries that have already been entered into any other national or international competition cannot be submitted (including those of other associations).

• It is the photographer’s responsibility to ensure all appropriate criteria are met.

• The entrant must have been the official photographer for the shoot from which the image originates.

• No entries will be returned, unless you expressly wish them to be and you pay the full cost of postage and packing.

• BIPP reserves the right to use any image, and the photographer’s details, for publicity purposes.

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INFORMATION ON CATEGORIES • Commercial category to include: Industrial / Fashion / Architectural / Hair & Beauty / Advertising / Sports / Editorial / Motor Sports / Events / Theatre / Dance / Press & PR • Science & Technology to include: Scientific / Medical / Forensic / Underwater / Management / 3D / Video & Moving Image / Time Lapse Imaging / Aerial / Marketing & Education / Macro & Digital Manipulation • Visual Arts to include: Stock & Library / Fine Art / Wildlife / Illustrative & Travel / Landscapes

• By entering the Awards, non-members agree that BIPP may contact you from time to time regarding our services. If you do not wish to be contacted in this way, please email info@bipp.com, with your details, using the subject heading ‘do not contact’. • The decision of the judges is final and no correspondence will be entered into.

• Check every portfolio is labelled correctly and in the correct category. • Check none of the images have been entered into another national competition. • Check you have full permission to use the image and have obtained all necessary releases. • Check you have read the full rules of the competition. • Check your images will reach BIPP by 5pm on 16 December 2016 at the latest! LASTLY – remember that we want to see that ‘wow factor’ with fresh, creative work – please take your time in choosing your portfolios.

• Information correct at time of publication - BIPP reserves the right to change any of the above without prior notice.

CHECKLIST

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BIPP / Company partners

Zenfolio is the best all-in-one solution for photographers to display, share, and sell their work online. Part of the Art.com family, it is a multi-award-winning subscription service that provides photographers with unmatched ability to create a stunning, responsive website in minutes. With beautiful galleries, unlimited storage and the most powerful set of selling, marketing and business tools available, Zenfolio is the ultimate all-in-one solution trusted by hundreds of thousands of photographers to help them grow their businesses online. BIPP members can benefit from the following offers: • 1-month free account for all BIPP members including provisional and student membership www.zenfolio.co.uk/bipp – choice of Pro UK or Advanced UK trial • A 1-year FREE subscription when you qualify as a BIPP Licentiate* (LBIPP) – 1 year free Advanced account worth £300! Call 01296 642020 for details. • For Licentiates, Associates and Fellows, Zenfolio is offering training sessions twice a year to help you get the most from your website. *Zenfolio has extended the 1-year free subscription offer to anyone who achieved a qualification at any level in 2015/2016

Park Cameras For over 40 five years, Park Cameras has forged a reputation across the photographic industry as one of the top independent photographic retailers in the UK, serving the needs of all photographers, from enthusiasts through to professionals, through the very highest level of customer service. With two state-of-the-art stores in Central London and Burgess Hill (West Sussex), you can get hands-on with the latest cameras, lenses, tripods, bags and more from leading brands including Canon, Nikon, Sony, Panasonic, Manfrotto, Billingham and many more! You’ll also receive expert advice from their highly trained team who are happy to take the time to demonstrate the photographic equipment that suits your needs. www.parkcameras.com

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BIPP / News

BenSoc: the Benevolent Society of the BIPP The Benevolent Society of the BIPP (or BenSoc-to give its familiar name) is run by a dedicated team of volunteers and assists people in need due to illness by means of single grants or loans in case of emergency or long-term hardship. BenSoc also provides help, gives encouragement and friendship. All BIPP Members are automatically considered to receive it benefits. However BenSoc heavily relies on financial support from Members, and continuing generosity is needed to support an ever growing need. Money is raised by annual donations, fundraising at regional events, and through bankers’ orders and legacies. Please ‘like’ the BenSoc Facebook Page at www. facebook.com/BenSocTheBenevolentSocietyOfTheBipp to keep up to date with activities.

The 200 Club BenSoc runs the 200 Club where, for an annual £20 donation, Members can win cash prizes. Every month there is a cash prize of £50, plus an annual prize in December of £250 for the lucky winner. To join you can do so by cheque, or preferably by standing order (£20) using the below form. For more information please contact Richard Cross at richardwendycross@hotmail.com.

PHOTOGRAPHY! The work of the BIPP PHOTOGRAPHY! has now come to a close at the Dean Clough Galleries in Halifax. We’d like to thank everyone who helped with the installation and take-down of the exhibition and especially those who helped organise the space at Dean Clough. We’d also like to thank everyone who contributed artwork to the exhibition – it wouldn’t have been what it was without you!

FEP 2016 judging sessions

Judging sessions for European Videographer and Qualified European Videographer will be held in Segovia, Spain, 1-2 November 2016. For Qualified European Photographer and Master Qualified European Photographer they will be held in Amsterdam 19-20 November 2016. If you’re a BIPP member and would like to submit for your EV, QEV, QEP or MQEP, visit the Federation of European Photographers page at www.bipp.com where application forms can be found. If you’re interested in qualifying or upgrading with the FEP, email bryn@bipp.com for advice. Issue Three / 2016 / the PHOTOGRAPHER 31

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BIPP / MSAB elections

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32 the PHOTOGRAPHER / 2016 / Issue Three

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BIPP / AGM Notice

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24/09/2016 13:42

BIPP / Regions & Events

Midland Paul Witney ABIPP linkingrings@hotmail.com

North East Kevin Weatherly LBIPP kevinweatherly@mac.com

North West Ioan Said LBIPP ioan@celynnen photography.co.uk

EVENTS & DATES COMING UP

DISCOVERING EQUINE PHOTOGRAPHY Emily Hancock FBIPP Thursday 13 October 2016 Welcome & Coffee 9.30am; Course 10am - 4pm Don’t miss the opportunity to join Emily Hancock FBIPP – a classical portrait and wedding photographer with over a decade of commercial experience, for this one-day course to find out all there is to know about equine photography and how to capture the perfect shot. Emily will spend some time discussing her recent pieces and showing you her work ethos, describing how she connects with her clients to produce elegant yet powerful and dramatic photography. The day will be based around practical work, although there will be opportunities to sit down with Emily as she takes you through various different tutorials. You can then take this new found knowledge with you when you get round to the practical session, a chance to work side by side with Emily on a shoot.

NORTHERN IRELAND THE ART OF WEDDINGS & PORTRAITURE Chris Harper FBIPP & David Wheeler FBIPP Tuesday 18 October 2016 Join two of the best social photographers around, Chris and David as they take you through tips and advice on creating wedding and portrait shots that are different from the norm. Come away from the routine way of shooting, learn from their modern styles, and combine and create shots of your own that are unique and inspiring. Why not allow yourself some time to stop and think? Rekindle your love of wedding portraiture and come away feeling inspired to give the new skills a try in your day to day working life. With David, you will learn the benefits of using background and colour to bring natural 34 the PHOTOGRAPHER / 2016 / Issue Three

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characteristics to wedding photography. Chris will teach you how to strip everything back to create some of the best portraiture in the UK. Use natural light in a way that you have never used it before, combine it with the skills you have gained from David and Chris. Immerse yourself in a relaxed day that you will take with you for the rest of your career. The Tutors A Fellow of the British Institute of Professional Photography, David is a professional photographer who has been taking photographs for over 15 years. He firmly believes that getting it right in camera is the vital ingredient to capturing the very best images. Chris, the Chief Executive of the BIPP, has been a professional photographer for over 25 years, and is the only person to gain a Fellowship in Fitness Photography. The Course The course is geared towards both photographers who have just turned professional through to qualified members wanting to brush up on the latest techniques or learn some new ones. This event is aimed at creating an informative, interesting and engaging day, helping you to improve and refine your existing skills as well as equipping yourself with a new set of techniques that you’ll be able to carry forward and put into practice with taking your own imagery to the next level. Cost: £30 To book, please contact John Miskelly FBIPP/Chair of Northern Ireland john@johnmiskellyphotography. co.uk. A practical, hands-on course, bring your camera equipment! Any images taken on the course are for your own personal use and cannot be used for commercial purposes.

For further information and details on booking visit www.bipp.com/events 24/09/2016 13:42

Northern Ireland John Miskelly LBIPP john@johnmiskelly photography.co.uk

Scotland Mike Brookes-Roper FBIPP mike@brookes-roper.co.uk

South West Suzi Allen LBIPP info@suziallen.com

South East Chris Harper FBIPP chris@bipp.com

Yorkshire Katrina Whitehead LBIPP katrinabipp@gmail.com

EVENTS & DATES COMING UP

PORTFOLIO REVIEWS If you are thinking of going for your first, or upgrading to your next, BIPP qualification you might like to take advantage of a Portfolio Review to gain an understanding of what you need to do to qualify and how long the process might take. Portfolio Reviews offer professional photographers the opportunity to receive face-to-face advice on their work from one of BIPP’s Approved Assessors. Our Assessors fully understand the requirements for qualification and are highly experienced photographers with a wealth of industry knowledge. We recommend candidates seek guidance on preparing for qualification at a portfolio review before booking a qualification date. Monday 10 October 2016 – Chelmsford, Essex Wednesday 19 October 2016 – Northern Ireland Tuesday 22 November 2016 – London • Portfolio Reviews cost £50.00 for Members, £90.00 for Friends, and £100.00 for Non Members (inclusive of VAT). • All Portfolio Review sessions run for 45-50 minutes. • Please bring approximately 40 low-res images (no more than 5MB per image) on a laptop or tablet. • If you are a non-member interested in applying for Provisional membership please bring copies of your insurance. • Please note portfolio reviews are non-refundable and non-transferable.

QUALIFICATION ASSESSMENTS The final qualification assessment of the year will be on Wednesday 23 November 2016. The submission deadline for this assessment is 26 October which is under a month away! If you’re interested in qualifying or upgrading your current qualification, please email Jane: jane@bipp. com or call 01296 642020 if you’d like to discuss qualifying further.

BIPP Wedding Guide & Card AS MANY OF YOU WILL KNOW, we have a number of free downloadable guides, with the core aims of raising awareness of BIPP Members and bringing useful, non-exhaustive information to people who require it. The BIPP WEDDING GUIDE is aimed at buyers of photography and informs the reader of the importance in booking a fully qualified professional. Alongside this guide there is a wedding card that can be sent out free of charge in small batches of around 30 cards. This points people towards the wedding guide and is ideal has a handout if you’re attending any wedding shows! Please email jack@bipp.com and we’ll get some cards sent out to you! BIPP GUIDE TO USING IMAGES This is available as a free download from bipp. com. This guide focuses on image use and copyright and brings together all you need to know in one easy to read guide. Work is also underway on a BIPP Guide to Licensing Images that will be released in the coming weeks so look out for that!

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Hasselblad / X1D

For a New World man

Coined by many as the camera professionals have always wanted them to make, the X1D reveals new ground for the Hasselblad brand and emphasis on top-quality capture – a tough task for a niche company

n a sense, Hasselblad gets a bit of a hard time – and undeservedly so. Constantly coming up against the same product development expectations that professionals, consumers and the industry at large have for the Big Two Japanese manufacturers, Hasselblad has to knuckle down and believe that it’s doing the right thing, at the right pace. When you factor in the demands of media for constant feeds of rumours and new product news, the playing field just can’t seem level.

For example, in terms of head count, Hasselblad employs somewhere around 200-ish people. Tiny. In stark contrast, the Nikon family extends to over 25,000. So how does a company operate when its comparison points are 100 times the size?

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Image: Aorta © Marco Grizelj / Hasselblad

The answer comes in the form of in some ways ‘crazy’ things such as the new X1D. Still in pre-production form at the time of writing but none-the-less as a new product it ticks all the boxes that test the worth of some pages in print and a decent look at the official

sample files. So what is it that stands this camera out? And what stands between it becoming a real winner, or another ‘would love to have’? Hasselblad has opted for a mirrorless design, and so was able to take its existing 50mp CMOS sensor and cram it into a footprint smaller than many full-frame 35mm cameras. Therefore it’s a first: a camera that is

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Hasselblad / X1D

no larger than a 35mm rangefinder, but offering the quality that only medium format can give. The X1D can capture up to 14 stops of dynamic range, allowing for the trademark performance in shadows and highlights. It’s this ‘feel’ that the Hasselblad sensor and glass combination provides that just does not come with a 35mm D-SLR packing a big sensor, and the knock-on implications for professionals – especially on location – are profound. Which leads us directly to another key aspect that stands the X1D apart – the flash sync speed. At 1/2,000 sec it changes everything for portrait professionals and any outdoor work. When you ponder the usual 1/200 sec sync of a 35mm D-SLR, a quick sum in your head tells you there’s a great big door opening to allow shooting such work at larger apertures or with 10% of the flash power. If someone in the pub is telling you they can’t understand why medium format matters, along with dynamic range, this is IT. And it is only with such capabilities being brought into the convenient realm of a compact system that the X1D is generating such a great deal of excitement. I recall a Landrover press day for Travel Photographer of the Year years back and someone there had a digital ’blad covered in Gaffer tape and getting covered in mud. What he thought about it was anyone’s guess and perhaps he had money to burn, but until now

working with a big MF system in the field is practically a no-no. Whilst we’ve already talked about the unique feel of MF, together with the sound technical backing sitting behind it, there immediately proceeds the argument that even top-end commercial

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Image: Aorta © Marco Grizelj / Hasselblad

N E E D T O K N O W: E S S E N T I A L S Sensor type Sensor dimensions Image size

photography can these days do without such prowess – and that big, bad D-SLRs do just fine. Annecdotal evidence, however, communicates that the sources of really decent commissioned work are very well versed nowadays in the whys and wherefores of Canon and Nikon D-SLRs purporting to be able to do the work, and actually get pretty sniffy about it. Considering that

CMOS, 50 megapixels (8272 × 6200 pixels) 43.8 × 32.9mm Stills: RAW 3FR capture 65MB on average. TIFF 8 bit: 154MB; Video: HD (1920 x 1080p) File format Stills: Lossless compressed Hasselblad 3FR Raw + JPEG Video: H.264 Compressed (25 fps) Shooting mode Single shot stills, Video Colour definition 16 bit; Dynamic range up to 14 stops ISO speed range ISO 100, 200, 400, 800, 1600, 3200, 6400, 12800, 25600 Storage options Dual SD card slots Colour management Hasselblad Natural Colour Solution Storage capacity 16GB card holds 240 images on average Capture rate 1.7 - 2.3 frames per second

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Image: Aorta © Marco Grizelj / Hasselblad

NEED T O KN OW: HANDLI NG AND USE Camera Body only 150 x 98 x 71 mm Weight 725g (Camera Body and Li-ion battery ) Camera type Mirrorless Large Sensor Medium Format Lenses Hasselblad XCD lenses with integral lens shutter Shutter speed 60 minutes to 1/2000 sec with XCD Lenses Flash sync speed Flash can be used at all shutter speeds Viewfinder 2.36MP XGA Electronic Viewfinder Focusing Autofocus metering via contrast detection Instant manual focus override Flash control Automatic TTL centre weighted system NikonTM compatible hotshoe Output can be adjusted from -3 to +3EV Exposure metering Spot, Centre Weighted and CentreSpot Power supply Rechargeable Li-ion battery (7.2 VDC/3200 mAh)

the price point of the Hasselblad X1D is close to the likes of Canon’s 5DSR, putting oneself into the shoes of a photographer wanting to make that jump to the advertising VIP clubs the X1D is a very enticing proposition indeed: ’blad kudos with none of the downsides…?

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Hasselblad / X1D

X1D DEMO DAYS COM I NG UP AROUND TH E UK 7/8 October 2016 Calumet Autumn Open Day, Calumet London 11 October 2016 X1D Open Day, Calumet Manchester 13 October 2016 Calumet Autumn Open Day, Calumet Belfast 15/16 October 2016 Digital Splash, Exhibition Centre, Liverpool 18 October 2016 Ffordes, Inverness, Scotland 20 October 2016 Calumet Autumn Open Day, Calumet Edinburgh 27 October 2016 Calumet Autumn Open Day, Calumet Manchester

Just about. Note that your average RAW is running to 65mb and that as an 8-bit Tif turns out at a beefy 150-odd mb. Believe it or not your slightly creaking MacBook Pro from the early part of the this decade that just about copes with your current camera is going to really need replacing – there are always going to be literal prices to pay for entry into the Hasselblad club. Add to that the simple fact that your choice of lenses is far more limited than going big with Canon or Nikon… But at the end of the day, joining the Hasselblad family is surely a line in the sand as a photographer – once you’ve gone ’blad, and all that… The cornerstone of the decision will probably fall upon whether the X1D is a dog to handle or not. Ergonomics can make or break everything: is it ‘button hell’ or has Hasselblad come up with a solution to getting deep into the camera’s workings quickly and efficiently? If it’s properly thought through we could well be discussing a New World man, and we’ll all wonder how the world did without it. Ease of use can be the first to disappear down the drain when existing tech (the sensor in this case) gets the Honey I Shrunk the Kids treatment in terms of its surrounding home. Enter the touchscreen – the X1D sports a Ui based on draggable icons just like on an iPhone – allowing customisable set-up. Then you can press-to-hold, pinch to zoom, and also doubletap. Further there are three custom overall set-ups available for the whole Ui that you can toggle between. It makes the classic and aging D-SLR design look a touch dark age in its failure to move on. So what’s the catch? Well a new format must mean new lenses and you can only have two at the moment: an f/3.5 45mm and an f/3.2 90mm. Existing Hasselblad HC/HCD lenses can be used with an adaptor, but only with manual focus. It’s just about the only part of the package that could possibly put you off. tP Issue Three / 2016 / the PHOTOGRAPHER 41

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Fujifilm / Professional Velvet

[Above] Fujifilm’s Netherlands’ development team celebrates the launch of Professional Velvet

ADVERTISEMENT FEATURE [Right] Iain Jack’s SUN 27 Awards image, printed

on Professional Velvet by CC Imaging Ltd

Is Fujifilm ProfessionalISVelvet the missing FUJIFILM PROFESSIONAL L VEL LVET THE MIS Fujifilm’s Professional Velvet provides the missing link for fine a link for fine art photographers?

METRO IMAGING’S creative director, Steve Macleod,

ETRO IMAGING’S creative director, Steve Macleod, believes Fujifilm Professional Velvet could provide ‘the missing link’ for some fine art photographers. ‘There is still both a demand for, and an appreciation of, archival photographic print media and to have this stock added to the range is very encouraging,’ says Macleod. ‘Orchestrated by our client base, we have been searching for a paper that displays a dead matte, no-reflective surface. A paper that absorbs light rather than reflecting it – creating a rich, textural finish. This paper does all these things and more, and we think that for some photographers this could be the paper that has been the missing link in their workflow.’ Interiors photographer John Baxter, who won ‘Best Image’ at the SUN27 (Shot Up North) Awards with his ‘room with a view’ picture, says the innovative ‘velvet’ touch was critical to his win: ‘I believe that print quality today is more important than ever before. My winning image was output on the new Fujifilm Crystal Archive Professional Velvet paper and the quality was superb. The picture incorporates a fairly limited colour palette with subtle tones, which reproduced really well on this very convincing new product. Fujifilm Professional Velvet has a really creamy texture which is perfect for both black and white and colour prints,’ says Baxter, ‘and the non-reflective quality is ideal for both portfolio and exhibition work. I can never be sure what lighting conditions my work will be viewed under, and with the Velvet paper finish also helping to diffuse the light, it’s a great combination of qualities.’ Fujifilm has created a paper surface with strong resistance to fingerprints before and after processing. ‘Every photographer

STEVE MACLEOD

JOHN BAXTER

KEN SETHI

JOHN WELDON, director at CC Imaging Ltd says: “We printed the SUN Awards exhibitions images using Professional Velvet and were suitably impressed. It’s easy to work with, shows no fingerprints, is easy to clean and is virtually reflection free.“

ADVERTORIAL FEATURE

BY IAIN JACK

ds’ development of Professional Velvet wards image, printed C Imaging Ltd

Left: Iain Jack’s SUN 27 Awards image, printed on Professional Velvet by CC Imaging Ltd

knows that fingerprints can be really tricky to believes Fujifilm Professional Velvet could provide “the remove fromfor without scratching,’ says missing link” f prints some fine art photographers. “There‘so is still a demand for f , and an Baxter, theboth added protection layer on the appreciation of,f archival photographic print media, new Velvet paper is a real bonus for us.’ and to have this stock added to the range is very Alongside photographers, Fujifilm encouraging,” , says Macleod. “Orchestrated by our client base, weVelvet have been for f r a paper that Professional hassearching been catching the displays a dead matte, no-reflective surfac f e. A paper eye of some of the imaging industry’s most that absorbs light rather than reflecting it – creating a experienced lab professionals. Genesis’s This paper does all these things rich, textural finish. and more, we‘Professional think that for f some photographers Ken Sethiand says: Velvet adds to this could be the paper that has been the missing link the already successful range of silver halide in their workflow.” papers we have John beenBaxter, usingwho forwon C-type Interiorsthat photographer ‘Best Image’ the SUN27 (Shot Upconstantly North) Awards printing foratmany years. We strive with his ‘room with a view’ picture, says the innovative to‘velvet’ innovate and this paper offers unparaltouch was critical to his win: “I believe that print diffusion quality today more important ever leled ofislight and low than reflections befor f under e. My winning was output on the new even harshimage or direct illumination. Fujifilm Crystal Archive Professional Velvet paper and Photographers favouring the C-type process that the quality was superb. The picture incorporates a ffairly limited r palette with subtletrue tones, which now have thecolour ability to produce matte reproduced reallyy well on this very convincing new prints that have a resemblance to some of the product. matte giclée papers on offer. paper “Fujifilm Professional Velvet has a‘The reallynew creamy texturethe which is perfect for f r both blackasand white and shares same characteristics alternacolourr prints,” says Baxter, “and the nontive papers in the Fujifilm Crystal Archive reflective quality is ideal for f r both portfolio and range – true continuous long-term exhibition work. I can neverr betone; sure what lighting conditions my work will be viewed under, and with image stability; accurate colour reproduction. the Velvet paper finish also helping to diffuse the light, And through our Lambda machine, we can it’s a great combination of qualities.” produce photographic Fujifilmultra-sharp has created a paper surfac f e withdigital Cstrong resistance to fingerprints befor f e and after type images with crisp edge-to-edge printing processing.“Everyy photographer knows that and absolutely no distortion. Velvet offers a fingerprints can be really tricky to remove from prints new option, and, that’s always a good thing.’ without scratching,” says Baxter, “so the Fujifilm’s Ton Reynders, technical market support manager, says: ‘Our new paper for fine art prints features clearer, more distinctive print images and sharper text quality; a unique deep-matte surface; highest levels of image stability; expanded colour reproduction range ideally suited to commercial, wedding and portrait shooters. This is an added value product and part of a new creative line-up we have in the pipeline.’ Fujifilm released the new Professional Velvet paper and also new Crystal Archive Textured at The Photography Show at the NEC in March. www.fujifilm.eu/uk

added protection layer real bonus ffor us.” Alongside photograp Velvet has been catchin of the imaging industry lab professionals. Genes “Professional Velvet add range of silver halide pa f r C-type printing fforr m for strive to innovate and th diffusion of light and lo or direct illumination. P type process now have matte prints that have a matte giclée papers on “The new w paper share alternative papers in the – true continuous tone; accurate colour reprodu Lambda machine, we ca photographic digital Cedge printing and abso offers a new option, an Fujifilm’s Ton Reynders manager, says: “Ourr ne f atures clearer, more d fe sharper text quality; a u highest levels of image reproduction range ide wedding and portrait sh value product and part have in the pipeline.” Fujifilm released the n and also new Crystal Ar Photographyy Show BU U www.fujifilm.eu/uk

42 the PHOTOGRAPHER / 2016 / Issue Three M PROFESSIONAL L VEL LVET THE MISSING LINK?

ssional Velvet provides the missing link for fine art photographers TP-2016-3 Fuji 42-43.indd 42

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William Eggleston / Portraits

Untitled: backstories revealed The Father of colour photography always left the viewer in the dark when it came to the whys and wherefores of his subjects. William Eggleston Portraits at the NPG allows them to step out of the shadows for very the first time

he National Portrait Gallery has a long tradition of photographic exhibitions which have usually centred upon a subject, a theme, or a famous portrait photographer. ‘William Eggleston Portraits’ (National Portrait Gallery, until 23 October) is a little different. Eggleston is one of the most successful living photographers, and has been firmly established as an artist since his first major show at New York’s Museum of Modern Art in 1976, but he has never really been considered a portrait photographer. Indeed, an interview in his 1994 publication, Horses and Dogs, quotes him as saying: ‘I’ve never known why there are so goddamned many pictures of people. People in general are not that attractive.’ To mount a portrait exhibition might therefore seem difficult, but the reality is rather different. If we look at William Eggleston’s Guide (the catalogue that accompanied the 1976 show), we find that out of the 48 plates, nearly half have people as the principal subject. But still, when we think of Eggleston we mainly think of images of the deep South, and so this show which features only his photographs of people is interesting already, if only for the idea to look at this prolific photographer solely through his portraits.

The exhibition begins with a small room of early photographs from the 1950s and 60s, when Eggleston was still unknown, and working in black and white. These prints are shown here for the first time and offer a revealing glimpse into the development of the young artist. There is a photograph of a

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Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee) by William Eggleston, 1974 Wilson Centre for Photography ©Eggleston Artistic Trust

maid seemingly unaware that she is being observed making a bed in the family home. We are told that a very grainy shot of his mother sitting on a bed was taken with a ‘spy camera’ that involved him having to hand-cut special fast film to fit it, sprocket holes and all. As he moves out into the world there are ‘street’

portraits of women in hats, or people caught eying his camera suspiciously. A tall man standing awkwardly next to a stop sign on a deserted road signals most clearly a move towards the style that he would later fully develop after his discovery of colour. What Eggleston considers to be his first successful colour photograph did not come until 1965, and is shown later in the exhibition. Again, it is a photograph of a person, a young man collecting

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trolleys outside a supermarket in Memphis. Eggleston said of this image: ‘Some kind of pimply, freckle-faced guy in the late sunlight. And by God, it all worked.’ When we move into the main body of the show, it is no surprise to find that colour dominates. It is hard for an audience in 2016 to appreciate the shock and incomprehension that greeted the MoMA exhibition. At that time, ‘serious’ art photography was black and white; colour was considered a distraction for the holiday snaps of the masses. ‘The most hated show of the year’ wrote one critic; ‘perfectly banal’ another. Seven photographs from that exhibition appear in this show and they do stand out, perhaps due to their familiarity. Even 40 years later it is still possible to find threads on amateur photography forums where someone has posted an Eggleston image for anonymous review and, after it has been taken apart for its general lack of interest and poor composition by the happy snappers, it is revealed with a flourish that it has just sold at auction for $100,000. But Eggleston’s greatest photographs etch themselves into your mind – the pictures hint at stories that are full of drama and tension, but remain ultimately ambiguous. Notoriously close-lipped about his

work, he has been known to respond to long and complex questions about his work with a simple ‘no’, to make cryptic remarks such as that he photographs ‘democratically’, or the wonderful statement that he was ‘at war with the obvious’. His pictures have almost always been offered with no more explanation than a location, and sometimes a date. So the famous photograph of the child’s tricycle is titled ‘Memphis, 1970’, and his red ceiling simply ‘Greenwood, Mississippi, 1973’. Addressing this lack of information Eggleston has said: ‘I want to make a picture that could stand on its own, regardless of what it was a picture of. I’ve never been interested in the fact that this was a picture of a blues musician or a street corner or something’. Philip Prodger (NPG Head of Photographs g Issue Three / 2016 / the PHOTOGRAPHER 47

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and curator of the exhibition) relates a conversation he had with Eggleston during the two-year gestation of the show about this lack of information. ‘You said it never mattered,’ Prodger said to him, ‘so let’s see.’ Eggleston decided that this was a good idea, and it is a major coup for the gallery that, for the first time, many of the subjects are identified and we learn the backstory behind the photographs. So now we know that the red-haired girl lying on the grass – a southern angel in sunlight – is called Marcia Hare, and we can see that she appears in other photographs. The two girls talking on a couch become ‘Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee)’. But we are not left with just the names, and a caption on the wall explains the situation in some detail: we find that Karen was upset about being snubbed earlier that night by Alex Chilton, the lead singer of a successful band with whom she was infatuated. Lesa is consoling her. The text then goes on to explain that Lesa then started dating Alex herself, and that this developed into a six-year relationship, the extreme volatility of which was to fuel Alex’s song writing. We also find out that Lesa Aldridge would herself go on to become a singer, in an all-female punk band. It is strange to view this familiar photograph and suddenly to have so much knowledge about who the people are and what happened next. There is another very famous shot of two men standing in autumn leaves by a white car. The relationship between the men is unclear, but they appear to be waiting for something. In the 1976 exhibition it was simply described as ‘Sumner, Mississippi, Cassidy Bayou in background’, but now we discover that the men are at a funeral; that the white man in the suit is Eggleston’s uncle Ayden Schuyler Senior, and that the black man in the white jacket is Jasper Staples, who worked as the Schuylers’ ‘house man’ for over 60 years until his death in 1992. Our relationship to the photograph is changed. We have a new insight into the dynamic that existed between these men,

and what they are doing. Furthermore, we are told that Eggleston spent a large portion of his childhood living with his aunt and uncle and that Jasper Staples ‘had an important role in his upbringing’. The print on show here is a digital print that appears to have been made for the exhibition. At five feet across it dominates the room

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it is in, and the size of the print enables you to see that there is a third man at the wheel of the car. As with Lesa and Karen, some of the mystery of the photograph has gone, but this has been replaced with no less interesting questions about the subjects, and about Egglestonâ&#x20AC;&#x2122;s life. Prodger was right: knowing more about the subjects

Untitled, c.1975 (Marcia Hare in Memphis Tennessee) by William Eggleston, c.1975 ÂŠEggleston Artistic Trust

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does not detract from the work; instead this information makes the pictures more intimate, while they still retain tension and a sense of distance. Perhaps the most striking photographs in the show are from a series of ‘nightclub portraits’ that were taken in 1973-74, when Eggleston was in his mid 30s. They stand out from his more familiar work in that they are posed, and are taken using a 5x7 camera and umbrella flash, which lends them the fantastic clarity that comes with large-format film. The subjects were found in the bars and clubs of Memphis, and the detail and size of the prints seems years ahead of their time. They are a clear break from the recently finished work that was soon to be shown at MoMA. Four of these portraits in bold colour stare out into the second room, and the rest are to be found in the next room, placed alongside other works from the period. It could be argued that the decision not to hang these pictures together slightly lessens their impact as a distinct body of work, but these photographs are worth the price of entry on their own. Strikingly different from his more familiar work, there is something undeniably great about these images, a connection to the subjects even as they appear to have been taken slightly unawares, a window into the nightlife of 1970s Memphis, and Eggleston’s place within it. Often referred to as the ‘father of colour photography’ Eggleston is renowned for his use of the intricate and expensive dye transfer print process that he discovered in the early 1970s. This process, which at the time was really only used in bigbudget advertising work, gave him access to the colours that he imagined and saw in his slides. It is testament to the huge advances in inkjet printing that the mixture of vintage dye transfer prints and the modern inkjets in this exhibition is largely noticable only through the captions, or from the extreme large format of a couple of prints that we know could not have been made with the old process. Curiosity and innovation marks him out. Taking a 5x7 camera out on a bar crawl, or making

dye transfer prints. These were not normal things to be doing in the 1970s. In doing the unexpected Eggleston found greatness. tP William Eggleston Portraits is at the National Portrait Gallery, London, 21 July – 23 October, organised with the support of the artist and the Eggleston Artistic Trust.

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Untitled, 1969-70 (the artist’s uncle, Ayden Schuyler Senior, with Jason Staples, in Cassidy Bayou, Sumner, Mississippi) by William Eggleston © Eggleston Artistic Trust

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Part of the big picture Pavel Tamm now runs a commercial studio in Edinburgh – a city that also hosted his formal education in the photography world. In conversation we find that being a team player turns a passion into a thriving business

How would you say you’ve got to where you are now in your career? Can you pinpoint a pivotal moment where everything seemed to click (excuse the pun)? Since my early childhood I was very much inspired by spending time with my dad, who was a press photographer, and had his own home-based darkroom. Well, to be strictly honest it was the bathroom without the lights on really… But I got to know how photographs were printed in the traditional way and later also tried to capture my own moments using his film gear. Of course it was just a hobby – but years later, I found myself photographing my wife – in some life moments – and various other people; I always received a good response to those pictures. That was it I would say – a pivotal moment – that formed my decision to study professional photography at Edinburgh College. Initially, during the first year of my study, I didn’t take it too seriously. But my first tutor Susie Lowe almost dragged me into further study with her positivity and critical comments. After what I would describe as four hard years, I now have my BA, graduating this year, and operate my own studio in Edinburgh. I couldn’t imagine my life now without photography being at its base.

Can you describe your photographic style in your own words? How did it develop? I’ve always had in mind high-quality, punchy and narrative imagery that perhaps is more angled towards the advertising market. So my images are produced with a commercial, advertising and fashion/portraiture style. I truly believe that for an image to adequately represent any brand in a national advertising campaign it has to be developed with a major contribution from a professional team. For every image I create, there is always a bunch of people carefully collaborating with me – make-up artist, hair stylist, models and stylist. What’s been your biggest inspiration in professional life? Both photographically and also in business? I believe that inspiration can come from many good people around you. I would not separate my professional life from my personal inspiration, since my wife has always supported me through both my education and career path. Now she is working full-time in our studio. Looking back at my first year of study, one of my tutors wrote a message to me on a small piece of paper – Richard Avedon In the American West – perhaps this was one of the first highly inspirational books I ever read on photography. Now you are established, are you the type of person who sets specific goals to achieve, or do you just find your own way forwards as it comes? I am driven to be the best at what I do and I want to work somewhere where

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I’ll have opportunities to develop my skills, take on interesting projects, and work with people I can really learn from. My goal right now is to acquire new clients within the professional industry in order to gain their trust and prove that I can be a reliable partner by bringing success to their projects. What formats and equipment do you favour and why? For any commercial images, it is vital to use the best available equipment – there can be no second best. So I’m using only full-frame Canon latest generation D-SLRs and lenses with variable focal lengths depending on the project. However, where images are required at larger print sizes and every detail is vitally important, I only rely on medium-format cameras, such as Hasselblad H6/H5 systems or a Phase One XF body with Schneider Kreuznach leaf shutter lenses. For any project I take on I would never rely on cheaper, third-party alternative equipment. Do you use assistants in the studio? Do you do all your own retouching? The right team is the foundation of a successful business, especially in the creative industry. In our daily studio workflow, we always have people collaborating in every single project, serving both public and corporate clients. Every person is making a significant impact on final products we produce. For sure, retouching is an important second step after taking a picture. I would never leave a client with an image that fails to achieve their total g Issue Three / 2016 / the PHOTOGRAPHER 57

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satisfaction. For large-scale projects I do all retouching myself, however for daily routine work we also have full-time retouchers on hand. However, I always personally carry out a final inspection prior to releasing images to the clients. What is your post-processing workflow like? How do you communicate this process to potential clients? Do you ever find this difficult? Most of our clients are already asking for ‘photographers’ magic tricks’. However, I always make clients aware that some post-production work is required prior to them viewing the first drafts. Knowing that and having to wait a little time for the results tends to spark their imagination and increase their expectations, which we see as highly positive. The fact is, all our clients are aware of the high standards we aim to achieve and what that will involve. Our post-production workflow starts on the shoot. First of all, we upload and catalogue all the RAW files to our internal servers. Then we go through a selection process, which is usually carried out by two or three people including myself to ensure we make the right decisions in selecting only the best shots. At the third stage, all selected images are retouched and prepared for the client’s viewing. The whole process for one client usually takes around one or two weeks, but it depends on the volume, of course. g

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What was your first client shoot, and how did it go? What would be your dream client to work with/for? It was at our studio, and I was a bit nervous of course. I had to think of the right way to communicate with the client – to meet their expectations and moreover to keep them in a relaxed atmosphere, but still being professional at all times. Fortunately, I already had my wife assisting me, and it all went well (I can say now). Importantly, that client left satisfied and recommended my team for future work. I remember those first days very well! I don’t separate clients as ‘dream’ types – all of the work I undertake is very important to me. Listening to the client’s brief, respecting their requirements and guiding them professionally is, I believe, the best way of achieving success. To what extent does social media play a role in your business? What are your preferences? In our modern computerised world surely social media plays a significant role in every business. Apart from the studio and my own professional websites, we run pages on Facebook, Twitter and Instagram accounts. But being busy myself at the photography work, I cannot have full control over media channels. We have a dedicated person for carrying out all social media activity for the studio and my professional Facebook account. What is the most challenging part about being a photographer? Well, it’s hard to define just one part of being a photographer. The photography business is not just about taking pictures. It is about how to run a business successfully which involves having the best support team; negotiating with clients; offering products that are competitive in your market; keeping up with current trends; being active; financially literate; complying with legislation; controlling copyright issues and resolving daily challenges. Photography is my passion and that encourages me to keep on going forwards, even when times get tough. www.paveltamm.co.uk

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The long way around W

hen the UK voted on 23 June to leave the EU, many creators and those working in the creative industries were left stunned – unable to comprehend how that could happen and wondering what on earth it would mean for them and what the impact would be on their livelihoods. The creative industries in the UK contributes £84.1bn a year to the economy, with an estimated 1 in 11 jobs (that’s 2.9m) in the creative sector and exports accounting for £19.8bn – around 9% of all our service exports. These figures have been growing consistently in recent years so it is fair to say that the vote for Brexit, with all the uncertainly that ensues, is likely to have a significant impact on the sector. Baroness Neville-Rolfe, the pre-referendum IP Minister, stated a week after the vote: ‘The UK has one of the world’s best intellectual property environments. The changes that will be triggered by the outcome of last Thursday’s vote will not alter that.’ An assurance from the Intellectual Property Office (IPO) then Chief Executive John Alty said: ‘What I can say with certainty is that I am working with colleagues across government, with the senior leadership of the IPO and with stakeholders across all IP rights to ensure that the UK IP environment remains world class.’ At the time this article was begun, we did not know what Brexit really meant or what shape it would take and even now, several weeks later, we still don’t know, even

There’s nothing more certain than the uncertainty created by the UK’s vote to exit the EU. Whilst the subject is surrounded by uncertainty, the knock-on changes already brought about are well worth keeping a handle on. Denise Swanson reports with a new prime minister and a completely new government. It was only in the last two weeks that we learned whom the new minister for IP would be and in which department they would be based. The IPO – although at present we are not 100% sure what its remit will be – has been moved to the new Department for Business, Energy and Industrial Strategy (BEIS) but even now it has been announced that John Alty is being replaced as head of the IPO. Ed Vaisey, the longest serving Arts Minister of six years has sadly gone from government and has been replaced by the Rt Honourable Matt Hancock MP, who has been appointed Minister of State responsible for digital policy at the Department for Culture, Media & Sport (DCMS). Karen Bradley MP has been appointed Secretary of State for Culture, Media and Sport. Things are certainly changing. It was with some relief we heard it confirmed that Baroness Neville-Rolfe is to remain as Minister for IP. She has been effective in that role since 2014 and has clearly been listening to

‘The UK has one of the world’s best intellectual property environments. The changes that will be triggered by the outcome of last Thursday’s vote will not alter that.’

Baroness Neville-Rolfe

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‘We will still have access to the Digital Single Market, so for now if you are VAT registered and are buying or selling goods in the EU, you will still complete the appropriate sections on your VAT return.’ our concerns, so it is good news that we won’t have yet another change of minister to deal with. Her official title is Minister of State for Energy and Intellectual Property, so here’s hoping she’ll be able to bring some of that energy to IP. Now in the newly formed Department for Business, Energy and Industrial Strategy (BEIS), the IPO is also now sponsored by that department. The BIPP has long been a supporter of photographers’ rights and consistently raises issues with government, through its membership of various organisations such as the British Copyright Council, British Photographic Council, Creative Rights Alliance and others. Through these collaborative efforts we can ensure that our new relationship with Europe is informed by a

clear understanding of the needs of not just our members but of the wider photographic sector. Sustaining a robust copyright framework within the UK, which protects the interests of rights holders, is paramount. We have seen many changes and reviews of copyright legislation over the past few years and whilst we may not have welcomed some of those changes, we now have a more balanced framework that is better able to deal with the modern age. UK copyright legislation is recognised worldwide for its effectiveness in supporting creativity and it underpins much of the EU legislation. Through our membership of the British Copyright Council, the BIPP enjoys an excellent relationship with the IPO and will continue to work with them and the minister, as well as with the EU in responding to consultations to ensure that any changes are balanced, evidenced and carefully thought through. For the immediate future, of course, nothing changes. We are still a member of the EU and will be for at least another two years once Article 50 has been triggered, g

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whenever that may be and possibly for much longer. During that time it is business as usual and we must continue to abide by all EU Directives. We will still have access to the Digital Single Market of course, so for now if you are VAT registered and are buying or selling goods in the EU, you will still complete the appropriate sections on your VAT return. British creativity and culture will remain in demand, so we will be encouraging government initiatives to promote and protect creators as well as the interests of those who invest in creativity and innovation. If and when we finally leave the EU, all of our UK laws will stay in place, the CDPA (1988) and all exceptions included. We will continue to abide by the appropriate EU Directives as whilst we might potentially no longer be a member of the EU, if we are dealing with clients within the EU this legislation will still apply. We will still have the IPEC fastback claims system for infringements and will still be able to use the ‘Berne 3-step test’. It is now becoming apparent that it is going to take considerable negotiation to extricate the UK from its EU membership so nothing will happen quickly. It may take some time before we understand exactly what shape it will take. If as some are suggesting, Article 50 either is never triggered or its legality is contested and found to require a vote of parliament to trigger, we could stay part of the EU for longer than some would like. It may even take a general election to give a new government the mandate to be able to trigger A50. Regardless of when, how and who triggers it, even after it has been triggered it is going to

Government statement Copyright: While the UK remains in the EU, our copyright laws will continue to comply with the EU copyright directives, and we will continue to participate in EU negotiations. The continued effect of EU Directives and Regulations following our exit from the EU will depend on the terms of our future relationship. The UK is a member of a number of international treaties and agreements. This means that UK copyright works (such as music, films, books and photographs) are protected around the world. This will continue to be the case following our exit from the EU. Enforcement: The UK is widely seen as a world leader in enforcement of IP. By working in partnership with law enforcement and industry, the government can deliver an IP environment where legitimate businesses thrive and consumers are protected. For the time being the UK’s enforcement framework remains unchanged. We are still part of the EU and we will still play a part at the EUIPOs Observatory, and in bodies like Europol. The process for intercepting counterfeits and other infringing goods at the border remains unchanged. The UK remains a part of the EU until the negotiations to exit are concluded. We will continue to play an active role in the review of the Enforcement Directive, and the Commission’s work on tackling commercial-scale infringement. take years to unravel all of the EU legislation in which we have become so embedded. Nowhere is this less so than in the realm of copyright. As much of the EU copyright legislation is informed by our robust UK system anyway, this should not make much impact on us in the UK. However, whilst the process of extrication is being unravelled we have to be on our guard to ensure the big multinationals don’t find a way to sneak in through an open window and steal the family silver. Regardless of what happens over the ensuing months or years, there will no doubt be much conjecture and protestation. My personal feeling is that now is the time for the photographic industry to really come together, disregard any differences and speak with one voice. To paraphrase, we have more in common than that which divides us. It is time to come together and tackle the challenges ahead with a calm, rational and informed approach. Fighting amongst ourselves, or in small opposing groups, will be counter-productive. tP

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