the Photographer - Issue Two 2017

Newborn, new language Lyn Chapman gives her images wings

Janice Alamanou Making coastal photo-art work The Magazine of the BIPP / 2017 / Issue Two

Beauty and the creative Stefanie Calleja-Gera’s photographic vision

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www.bipp.com Get the most out of your BIPP membership, or find out all the information you need to qualify and make use of the many BIPP partners and benefits.

The BIPP website has all the latest updates on Awards and Events – both nationally and in the regions – and offers a photographer search and members’ area.

The British Institute of Professional Photography, The Coach House, The Firs, High Street, Whitchurch, Aylesbury HP22 4SJ E-mail info@bipp.com Telephone 01296 642020 TP-2017-2 IFC.indd 58

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Issue Two, 2017

Image © Stefanie Calleja-Gera

Image © Lyn Chapman

Stefanie Calleja-Gera 18 Super-creative fashion and studio work is what makes Stefanie tick – thinking outside the box to forge collaborations and networks that result in her finely crafted work Janice Alamanou 40 The Coastal Photography Gallery in Wells-Next-The-Sea forms the base for Janice’s fine art creations finding feature in major cities worldwide

Wings Photography 2 Lyn Chapman specialises in newborn and family portraiture. She says it’s vital to consider the lifestyle and language of her ideal client base in order to find those touch points that can result in new customers

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: Kevin Wilson Hon FBIPP Chief Executive: Chris Harper FBIPP Directors: Bryn Griffiths FBIPP, Roy Meiklejon FBIPP, Denise Swanson FBIPP, Frank Tomlinson FBIPP, David Wheeler FBIPP

Remember my baby 12 The charity offers a gift of baby remembrance photography to parents experiencing the loss of their baby. Could you volunteer?

BIPP Company partners, member benefits, regions and events 50

Somewhere in time 32 Extracts from a very personal project

by Adrian Ashworth that brings together the portraits and stories of dementia sufferers

Hill and Adamson 56 ‘A Perfect Chemistry’ is part of the Edinburgh Art Festival

Membership Services Advisory Board Annemarie Farley FBIPP (National) Frank Tomlinson FBIPP (National) Gerry Coe Hon FBIPP (National) Denise Swanson FBIPP (National) Jo Scott FBIPP (National) Jon Lee ABIPP – Scotland Faizal Kirk ABIPP – North East David Stanbury FBIPP – North West Katrina Whitehead LBIPP – Yorkshire Bryn Griffiths FBIPP – Midlands

Scott Johnson FBIPP – South East David Wheeler FBIPP – South West Roy Meiklejon FBIPP – Cotswolds David Campbell ABIPP – Northern Ireland

Flate rate scheme 62

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, Hoddesdon, Herts

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 2017

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Baby talk People make jokes about ‘baby brain’, but referring to new mums and dads alike this is exactly what a newborn photographer has to embrace. Lyn Chapman’s Wings Photography has turned this understanding into a fine art

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ow a photographer promotes newborn portrait work is a particular kind of challenge that requires getting properly into the mindset of the perfect client. This point in the life of such a person is likely to be topsy-turvy, powered by roaring emotions and screaming hormones – getting mum and dad ready for the wonders that are to come.

I think I’m [Ed] able to discuss this one directly having just managed to successfully play a major part in the first 14 months of our Little One’s life. We’ve all survived in good health so far… despite a couple of high-speed jaunts to hospital, and that’s about the sum of what it’s realistic to hope for. But amongst the crazyness, in the run up to our boy’s arrival into this world we spent increasing amounts of time Sat on the Sofa. Since most mums to be insist on constant multi-tasking, the consumption of numerous series on Amazon Prime and Netflix (ours was The Americans) tends to be accompanied by copious iPad browsing. This is important – not in the sense that lots of spending goes on, but that lots of stuff is looked at and thought about. How the forthcoming arrival is going to be marked is likely part of that. Dad’s just wondering how he’s going to pay for the Push Present…

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‘It’s really very important to be talking about what your ideal client is interested in,’ says portrait photographer Lyn Chapman, who works under the brand name Wings Photography. She explains: ‘But more than that, you have to try and imagine the circumstances in which they might cross your path and see your pictures.

Talking about all the things that go on in the run up to a baby’s arrival and getting those words and phrases worked into your web and social media activity is vital.

Without that, you’re missing out on the main channel that the majority of today’s mums use – the web.’

Already in this feature we’ve started using phrases that didn’t really exist in the same way before widespread use of on-line forums and discussion groups.

Mumsnet, for example, has brought us all sorts of abbreviations and ways of referring to subjects that from cold seem a total mystery. Your Little One, or LO, is one such example. There’s a whole language out there that needs total immersion in. Lyn agrees: ‘I don’t have a traditional shop front studio so the web has to play that part – and really it’s giving me much broader reach.

Most of my bookings come through word of mouth – people talking to one another, but more often than not on-line. Facebook is the main focus of this activity through sharing and commenting. People will search directly for particular services but more often than not they like to be seeing their friends and wider network of on-line friends having pictures taken.’

This is not about direct or immediate leads, however.

Lyn comments: ‘The task is to create a warm lead and then keep your offering at the front of their mind. The web can be fickle and people tire very easily so once that new lead is hooked there’s a need for regular enforcement of a high quality. Bombardment with anything is useless – perhaps some make that mistake – but a regular outreach lets everyone know what you’re doing and that you’re somehow with them in their world. The time frame between first touch and booking can be long –

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but I think that is very much the way of the world and advertising strategy these days, and hence is why traditional types of advertising no longer add up. I have run a lot of traditional magazine ads that have gone out to affluent homes without a single response. Spending the same with Facebook can generate 30 enquiries and 20 bookings.’ This is a relatively controversial approach, since many photographers consider Facebook advertising, or promoted posts, to be a waste of time. Lyn is realistic: ‘It’s worked for me over the last few years

that I’ve concentrated on it, but it’s only the route to the contact. The language you use when you talk about about your product niche is the key element.

You have to resonate with the buyer – so no matter what channel you use if the language is not right then you will not succeed. It’s always changing, too, and I don’t assume that a certain approach will keep on working.’

Social media activity for Lyn is always in the background – a continuous task: ‘I schedule posts for the next few days and I don’t spend much time socially on social media… It’s for my business and I think it’s what works at the moment for my niche as that’s how my potential clients communicate.’

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Whilst it’s not rocket science, a quick glance around the Wings website reinforces the points made here. We learn a great deal about Lyn’s interests and family; what’s valuable to her; what’s special. But what about the name? It’s common for photographers to simply use their name as their brand, so why not? Lyn explains: ‘Initially it was because I am absolutely terrible at names. I didn’t want people to be thinking “Lyn whatever her name is – oh I can’t remember”. The brand is now entrenched – I’ve had it for seven years

and I think it’s memorable. I went to a branding specialist, worked out who my ideal client was and the types of things that would attract them. Branding is considered personal but really it’s not – you have to like it yourself because it is representing you and you have to believe it but the role is to provide recognition in a crowded market. It’s one of the biggest elements of running a business.’ Lyn’s investment is clear to see – her logo suggests birth and passing time and it’s implicitly soft to the touch. It’s also neatly contained in an area close to a square which means it will always make the maximum use of the space allowed to it. So many name-based logos are long and so will always appear with much less impact. You shouldn’t have to work hard to understand

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Image © Lyn Chapmaan / Wings Photography

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a logo. Recognition is everything and it should actually talk to you. But how does a busy photographer find the time to do such a lot of contact work? Lyn explains: ‘All of the website content is written by me and I can see from the web stats that the contextual sections do their job well. My blogs are split, however – Friday blogs are commissioned whilst the Monday blog is personal. I think it’s important to recognise where you should bring in services.’ Currently the Wings blog is running a pregnancy diary – a perfect example of how to close the gap between photographer and customer. ‘I’m always on the look out for ways to create common ground,’ says Lyn. ‘This kind of initiative helps the right kinds of people come through to the business, having subconsciously decided that we’re a good fit.’

Lyn is the first BIPP member to gain an Associateship purely in newborn photography. It’s something she’s not afraid to shout about: ‘There’s nothing wrong with talking about personal goals and dreams – these are things that parents to be spend time wondering about.’

Indeed they are another kind of baby talk, where we ponder the future whilst sat on the sofa semi-watching yet another episode of whatever’s new on TV… tP http://wingsphotography.co.uk 10 the PHOTOGRAPHER / 2017 / Issue Two

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Remember My Baby is a UK-based registered charity which offers a gift of baby remembrance photography to all UK parents experiencing the loss of their baby before, during or shortly after birth.

The goal is to offer a service of baby remembrance photo­ graphy to all parents suffering the loss of their baby in every hospital and birth centre across the UK. Volunteer photographers When a family loses a lifetime’s potential for capturing milestones as their child grows, RMB’s volunteer photographers will capture a precious baby with parents, siblings and extended family for free. Each family receives a ‘free gift’ of high-resolution digital images with a copyright license to print for their own personal, non-commercial use.

Remember My Baby was launched in August 2014 and charity status was awarded at the end of 2014. The charity is well supported by the photographic industry, and is receiving enquiries from bereavement midwives and managers requesting that the service be put in place in their hospitals. As RMB works to raise awareness, the network of volunteer photographers and the g

“I would like to thank you profusely for the beautiful photos of our baby Mia. The suggestion from the nurses at the time horrified me, but my husband persuaded me this could be a good thing. I’m so glad I agreed. You have given me some beautiful images to treasure at an impossible time in my life. So much so that Mia is now centre of my living room and I can look at her beautifully captured face every day and this is making the hurt and pain ease. Thank you so much for your time. If there is absolutely anything I can do to repay you, please do not hesitate to ask. It’s a very special thing you do.”

Lots of love, Helen S 12 the PHOTOGRAPHER / 2017 / Issue Two

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Image © Remember My Baby

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Image © Remember My Baby

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number of hospitals offering our service to the parents in their care continues to grow.

The charity was created by a group of determined and passionate women from different parts of the UK with a shared goal to provide the most amazing gift for grieving parents at the most devastating time in their lives: the loss of their baby.

They have all been touched by loss, either their own, or that of someone close to them.

Professional photographers accustomed to capturing positive life-changing events such as weddings and the birth of a new baby are volunteering to capture a very different life-changing event, but one which could be deemed all the more important because of the very limited window of opportunity available to create precious images.

Parents are losing babies every day across the UK and sadly RMB is receiving an increasing number of inquiries from families and health professionals requesting our service. With each day that passes, it is becoming increasingly evident that more and more bereaved families want access to a local baby remembrance photography service.

RMB is recruiting skilled photographers in the UK to help meet this need – please support us and help raise awareness so more families can benefit from this free service. Since our launch, 1,000 sessions have been carried out in around 130 hospitals across the country and more hospitals are coming on board as word spreads. We now have over 230 volunteers on our list but we need many, many more.

If you’re a photographer and want to apply to join RMB, applications are invited from professional and highly skilled nonprofessional photographers to join. Applicants will be assessed to ensure a high level of skill and creativity, in particular with natural and artificial lighting, before being accepted for membership to the RMB organisation.

There is currently no assessment fee, but there is an annual membership fee of ÂŁ15 which will have Gift-aid attached to it, increasing the financial benefit to RMB. This income is needed to help pay for overheads such as domain names, insurance and other essential expenses required to run the charity. All RMB members will have access to comprehensive support and guidance including but not limited to training, documentation and

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REMEMBER MY BABY: THE FOUNDERS Cheryl Johnson – Chair & MAT Co-ordinator Cheryl Johnson is a photographer who specialises in family photography in Essex. Her first experience of a family’s devastation was when a friend had a stillborn baby on Christmas Day 1989.

All they had to remember their son was one black and white picture. Cheryl first became involved with remembrance photography in 2007 and says: ‘This is what I was meant to do.’ She is committed to Remember My Baby and its aims, and is willing to devote the necessary time and effort to develop remembrance photography within the UK. Nicky Heppenstall – Vice Chair & Bereavement Liaison Officer Nicky lives in Derbyshire with her husband, two children and three cats.

Their stillborn daughter Kim remains part of the family, and is the reason for Nicky’s evident passion for Remembrance Photography. Always a keen photographer, Nicky turned professional in 2010.

She runs a part-time photographic business and attended a workshop with Chicago bereavement photographer Todd Hochberg. Nicky is determined to see Remembrance Photography offered as a choice to parents as widely as possible.

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Alison Bryan – Treasurer Alison became interested in the work of RMB after becoming friends with co-founder Cheryl Johnson. She is passionate about volunteer work and is also a keen amateur photographer. She started life in finance in 1989 working in large international banks and now works for a local school as their finance officer, as well as running her own busy bookkeeping business. An East Londoner by birth, she now lives in Essex with her husband and son.

Michele Selvey – Membership Secretary Michele is married with four grown up children and experienced a pregnancy loss herself in 1989. She has over 20 years’ experience supporting pregnant women and their families as a Maternity HCA, student midwife and Doula and has been a photographer for the last four years. She is passionate about birth and newborn photography.

Ruth Trotter – NHS Liaison Ruth is an award-winning photographer, and the mother of three boys. She got involved with a remembrance organisation which was based overseas after her last child was born seven weeks early.

Although she now has a healthy child,

publicity materials as well as a closed Facebook support group, and a counsellor. Additionally, the RMB organisation has developed training to be delivered via workshops held around the UK that are specific to the nature of the task of Baby Remembrance Photography and include editing guidelines. It should be clearly noted that promoting your own photography business is against the RMB Volunteer Service Agreement and Code of Conduct. RMB volunteer photographers may include information about the RMB organisation on their websites or Facebook

she knows that without medical intervention he wouldn’t be here – her lasting image would have been a single picture.

Ruth completed a successful remembrance photography trial with Ninewells Hospital in Dundee in 2013 and has provided keepsake images for more than 30 families to date.

Heidi Fuentes – Web Administrator Heidi lives in North Yorkshire and is married with two young children. She knows that life is delicate and everything can change in a heartbeat – for this reason she feels very strongly about RMB and supporting it in whatever capacity she can. After moving back to the UK in 2012, she began working as a new born photographer.

Anna Marina Dearsley – Trustee Anna has been a photographer for over 20 years, running her studio in Weybridge, Surrey photographing weddings and portraits. She has experience of being a remembrance photographer since 2006, and has attended London and Surrey hospitals to reach out to medical staff and deliver training sessions to midwives.

pages, but must not use the misfortune of a family’s loss to gain interest in their own commercial business.

We are always on the look out to attend events to promote, raise awareness and recruit photographers and digital retouchers: to find out more about RMB’s Remembrance Photography service please visit www.remembermybaby.org.uk or contact us at info@remembermybaby.org.uk

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Image © Remember My Baby

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Creative networker Building a commercial photography business from scratch is no mean feat – with creative and production capabilities being only part of the challenge. Generating new relationships and managing current clients is something that Stefanie Calleja-Gera is tackling head-on as she seeks to grow her company

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tefanie Calleja-Gera, in a way, came into commercial photography via a very traditional route: training from the ground up at a big studio in the west of England; starting in front of house; progressing to assisting; and eventually shooting for major corporate clients like Cadbury and Sainsbury’s. It’s a method that is often ignored in today’s world of ‘collect five tokens and call yourself a photographer’ – the assisting model no longer seems to have due respect. It shows in her work – the back story of immersion in a real commercial environment with all its pressures, ups and downs. There’s no substitute for experiencing the client relationship and creative process right down at the coalface – Stefanie spent a total of eight years as the proverbial sponge, being the person who does everything, awaiting the moment to step out.

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Whilst everyone would rather jump than be pushed, in 2013 – a couple of weeks out from her wedding – Stefanie found herself the victim of downsizing, with the dream of setting out for herself now lurking only the other side of her honeymoon. She comments on this moment: ‘I always knew I wanted to run my own business and when it came about I also knew I had the experience to go and do it properly. It’s how you make challenges work to your advantage the counts.’

Therefore, with a blue sky above, was it clear what sector would define her name? ‘I find that it’s the uber-creative projects that provide the most enjoyment and it’s that sort of work that makes me tick; when it’s slightly outside the box, off the wall and different – whatever you want to call it, this gets me excited about shooting.’

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Profile / SCG Photography

Stefanie was part of a creative collective set up to encourage and foster creative talents in the Cotswolds, where she is based. She says: ‘It was made up of myself, the videographer I work closely with and a talented hair and make-up artist – although many more people were also involved. We worked in conjunction with the University of

Gloucestershire who made our brief part of their curriculum and we asked second-year Fashion Design degree students to compete to make outfits for our Four Seasons sustainable design project.’ Some of the Summer, Winter and Spring images feature in this piece. Stefanie continues: ‘Sustainability within the fashion industry is a hugely important issue right now and we wanted to explore this through a series of thought-provoking creative images. Through my time spent shooting at London

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Fashion Week, I arranged for the overall winning designer to have a week’s work experience working with Paul Costello’s design team in London – which turned into a month because they loved her so much and allowed her to design a garment for the Fashion Week show!’

Stefanie is equally at home in the studio: ‘I adore product photography – and it’s the main part of my turn­over.

It’s forever challenging, working with shiny products, locked away in the darkness of the studio. ‘This image [left] was a shoot with Crazy Frog London’s social media site in mind – a simple enough lifestyle image with an edge to it. I actually shot the ring separately as it looked so small next to the wings but in such a way that it’s a seamless part of the final image.’ Stefanie’s work clearly illustrates her love of detail and intricate production, but also real creativity: ‘From independent clothing labels, to renowned London designers, I have photographed for some great clients and would like to meet some new ones too, whether that’s photography only or a full project service including models, stylists, hair and make-up artists, locations, catering, assistants and more.’

Going back to the return from honeymoon, exactly where did the clients come from? ‘I think whenever, wherever you start it’s a bit scatter gun, and most photographers would admit that – you’re trying to generate turnover and get things moving a bit – it’s a big priority, otherwise you stall. But after the first year I began to target relevant people. I gained leads through strategic networking, which for me meant going to events where I knew there would be

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opportunities to get in front of the right people and have a chat. People buy You as much as the service, the question to be addressed is whether they could work with you.’ Following such non-sales informal conversations, came direct contact and the beginnings of a client relationship: ‘The majority of work comes through the building of relationships. A web presence can then firm up a lead, but for me at least it doesn’t really generate them.

‘Through to the end of last year, I had annual plans based on turnover

targets. Mostly I would achieve them or get close. But then I began thinking unless I make changes the business will inevitably level off because of the finite time any one person can put in. So I asked myself what changes I could make. Some results have been simple – such as getting involved with a larger networking group; and some practical – such as employing someone to do my books. Other initiatives are more personal and intensive: I set myself up with a business growth expert and a business coach – and began the process of developing specific plans and pointers. Whilst it’s reasonably easy to decide that you don’t want to be doing your books at the weekend, it’s far harder to develop a commercial plan and actually act on it.’

All images © SCG Photography

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A major client for Stefanie is Robert Welsh. The image below was shot in a warehouse using a scaffold rig, a purpose-made tracing paper wall and with the camera extended out on a boom. She explains: ‘The shoot had to happen quickly and we needed the height in the warehouse to get up high enough above the products, which we laid out on a massive background raised slightly off the floor. The biggest challenges here were keeping everything clean – we had to create almost a “clean room” by building tracing paper walls with a metal frame and using white colourama overhead to give clean reflections.’

The image went out in the official 2016/17 brochure and has been since used for an online campaign. Stefanie continues on the client theme: ‘There’s only so much you

can achieve yourself – there are options around sub-contracting, if you can have enough quality control but what should you spend money on? For me, last night coming back from a shoot I thought I have a number of jobs “on the back burner”. Maybe the client hasn’t been able to get internal decisions made or might have postponed and in my head I’ve thought it’s never going to happen.

I stopped and set it down and we’re talking about 11 jobs – I need to reconnect with these people and find out if there’s anything I can do to help push the job

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g along. The solution could be a PA or

business development manager who doesn’t necessarily respond with quotes but who understands the industry.’

Stefanie’s business enjoys the advantage of lacking London overheads and she feels that the industry is no longer London centric – clients being quite into having a nice day out to the country where applicable: ‘My London-based clients consider me a bit more reasonably priced, but it’s something about which I’m very strict. Pricing is and should always be all about end use.’

Stefanie works in partnership with a videographer for moving image projects and it’s something clients ask for more and more: ‘Video on websites and social media drive traffic – those platforms are almost beyond stills now. On Facebook and Instagram short films are the “in thing” to identify with a brand – they generate much more interest than images do. You need to take on board how social platforms change – Facebook is shifting to be more commercially orientated.

Linkedin, meanwhile, is a little different.

I post stories aimed at illustrating the varied nature of my work and my love of what I do. I have met a lot of interesting people through Linkedin, for example someone who runs a branding agency and he in turn introduced me to a networking group locally and then in London – through that you get introduced to different client sets. But Instagram is my go to – I am trying to keep it concise and target content at fashion and behind the scenes stories. Some element of consistency is important, and the idea that your audience understands your story. tP http://scg-photography.com

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Fujifilm / Original Photo Paper

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Let’s get back to a silver future A group of leading UK pro labs visited Fujifilm’s vast photographic paper manufacturing plant in Tilburg, Holland, to see for themselves that silver halide technology is alive and very much kicking

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he Fujifilm Europe B.V challenge was to assemble a cluster of print experts from professional labs around the UK, secure their undivided time and attention for a full two days and create an opportunity to not just see the creation process first hand but to hear about the exciting future of silver halide.

The tour was also timed to coincide with the launch of Fujifilm’s new ‘Make it an Original’ silver halide photo paper campaign – which focuses on creating awareness of the blossoming silver halide marketplace and Fujifilm’s own inventory of twenty-seven different colour papers with varied surface types and sizes.

For those that believe that the unstoppable tide of digitisation has all but carried away traditional processes it might come as a surprise to hear that silver halide has a future at all in fact, but the pro labs know better, and Fujifilm’s classic Crystal Archive paper, revered for its exceptional quality and archival qualities, is still the media of choice for professional and hobbyist photographers right across the board.

But nothing stands still, and the lab representatives who had been invited to Fujifilm’s vast Tilburg plant in Holland, an enormous 150-acre site that, amongst many other things, outputs

the photo paper on which over a third prints made worldwide are output, were keen to see for themselves the work that goes on behind the scenes to keep Fujifilm ahead of the game and to hear about the plans that are afoot to ensure that silver halide products continue to hold their own.

Those making the trip comprised owners and senior managers from Loxley Colour, Metro, GF Smith, One Vision, Bayeux, Digitalab, Genesis and Colorworld, who had flown in from airports all around the UK. One of the truly great things about the pro lab business is that, despite the fact that all of those on the Tilburg trip are in serious competition with one another, there was still a great sense of camaraderie in evidence, along with a willingness to network and to share experiences. So, it was a buzzing, lively crowd that donned the mandatory white overalls on that first afternoon to undertake the factory tour and to see for themselves where the papers they use actually come from.

Focus on quality Nothing was off-limits, barring those areas where coating processes need to be carried out, 28 the PHOTOGRAPHER / 2017 / Issue Two

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for obvious reasons, in complete darkness. So, guide Wil der Kinderen who, like so many of the Fujifilm employees encountered on the tour, has worked for the company for decades, proudly showed his guests everything from the store where the vast rolls of paper waiting to be coated were kept – along with the ingenious automated traverser system employed to move them around – through to the high-tech systems that cut the paper to size and take care of quality control. Everything is checked thoroughly at every stage, and attention to detail is impressive: Fujifilm’s reputation and that of its customers is on the line, and that message has clearly been received loud and clear.

There was no shortage of questions on the way round the building as the various processes were explained. Ken Sethi, CEO of Genesis Imaging, a lab that handles the printing for many major exhibitions as well as the fine art print requirements for Getty Images, was one of those that was having his eyes opened as to how much goes into the production of silver halide print materials in terms of r&d and physical production methods.

‘It’s incredible when it’s all explained to you,’ he enthuses, ‘a real eye-opener, and not at all what I imagined it to be. Silver halide paper still represents the vast bulk of my business. It’s what brings photographers through my door, so it was reassuring to hear from Fujifilm about their confidence in the future of the product. When you hear this first hand you realise that you’re in safe hands and that you can rely totally on silver halide papers being around for the long term.’

Tim Berry, commercial manager at GF Smith, was another taking a huge interest in the tour, appreciating the opportunity not

Fujifilm Original Photo Paper swatch

Above, the Tilburg site with its wind turbines

Fujifilm / Original Photo Paper

just to get an insight and a deeper understanding of the products that his lab uses extensively but to get a feel for what the future might hold for silver halide papers in general.

‘GF Smith has worked with Fujifilm products since the start of 2001,’ he says, ‘but I’ve personally had dealings with the company for over thirty years now on various projects. I was very impressed with the whole paper-manufacturing process, but equally it was really good to see the knowledge of the staff at the factory and the pride they had in their work.’

The following day the pro lab party was back at the Tilburg plant, this time to hear from Fujifilm product manager Judith van Linden and key account manager Evert Groen, who both gave presentations that focused on the bright future that lies ahead for silver halide paper. In particular, a dedicated website that will focus on the massively growing market for fine art prints has been launched with the aim of this driving custom to professional labs that can evangelise the supreme qualities of the silver halide papers that they’re working with.

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Fujifilm / Original Photo Paper

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From raw material paper rolls to cut sheet final products: Wil der Kinderen explains the process control.

‘We are constantly working to achieve ever greater print permanence,’ Evert told his audience. ‘Statistics show that the amount of prints still hanging on a wall after fifty or sixty years is less than 1%. That’s a reasonable lifetime but we want to extend that longevity still further. Fujifilm paper prints are officially the best in class amongst silver halide print types – especially our renowned DPII Professional Paper. Fujifilm professional paper prints will last 48 years under 250 lux and 12 hours’ indoor light exposure.’

The growth of albums There’s also going to be a strong focus on the booming market for albums that are printed on silver halide paper, especially those that feature a lay flat design, with Fujifilm looking to secure 50% of the album market in the not-toodistant future.

‘We are seeing an exponential increase in growth,’ says Judith.

‘Today 95% of all professional albums within the EU are created with Fujifilm colour papers. We currently have an inventory of twenty-seven different colour papers with varied surface types and sizes – and of course innovative new products such as Album XS paper. Our album papers are growing by 17% a year and we have new papers for wall décor in the pipeline.’

‘It’s great to see that Fujifilm is continuing to invest in silver halide papers in this way,’ says Metro Imaging director Tony Window, who has worked with the company’s products for around twenty-five years now. ‘I was delighted to learn that the company’s paper range is going to continue to expand and obviously we’ll be looking to incorporate any new products that are introduced going forward. We’ll also be continuing to work with Fujifilm to promote the value of printing on professional photo papers, and it’s great to be hearing that silver halide has such a positive future.’

Look out for the Fujifilm Original brand – the new identity for real photographic printing

Overall this was a valuable bonding exercise, a chance to cement relationships, for those that base their businesses around the quality of silver halide paper to be able to see first-hand how much goes into the manufacturing process and to share the news about the exciting plans that will firmly establish traditional printing at the heart of professional photography for many years to come. All of those who made the trip came away enthused and inspired, and now it’s the turn of their customers to reap the benefit of the considerable investment and development that is currently going on in the depths of that cavernous Fujifilm plant in Holland.

Browse the new Fujifilm website dedicated to photo papers at www.originalphotopaper.com

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Adrian Ashworth / Somewhere in time

Somewhere in time

Adrian Ashworth FBIPP has created a project that brings the stories of dementia sufferers to the fore – it all started when he recognised one of his father’s special moments of recollection.

In conjunction with Barnsley Independent Alzheimer’s and Dementia Support, Adrian has combined their stories and portraits in an exhibition that heads to the House of Commons this Autumn. Adrian explains it all in his own words and offers us just a few selected stories from the burgeoning collection

‘T

hroughout my life, my dad Alan was by far the smartest man I have ever known. He was a whizz with maths and never failed to amaze me how he worked out the size of a carpet needed to fit my new lounge, never even asking for pen and paper, I still have to reach for a calculator, or type it into Google for a trusted answer. Dad used his brilliant mind all through his working life, eventually retiring as a Senior Lecturer in Business studies from Richmond College, Sheffield, aged only 55. Dad is now 84 years old and living in a retirement home where people care and protect him, supplying all his daily needs while making sure he can’t come to any harm. Rewind two years, and dad was my accountant and had been since I started working for myself in 1997. I had trusted him with every penny I had earned and never once needed to ask him what something meant, as I wouldn’t understand it anyway.

He’s way smarter than me, and I knew when dad said “balanced to the penny” at the end of the month, things were spot on and business was good.

Dad’s computer password has always been the same thing, “Mondeo”, as he owned a couple of these cars over the years and it was something he had always been able to remember. One day he asked what the password was and I had to give him a clue. “Oh yes, what am I thinking!” was the reply and he’d be ok, but this was soon followed by “only a penny out”, and then “only a pound out”.

Now I’m no expert in memory issues, dementia, Alzheimer’s and the like, but knowing my dad and how fastidious he was with being right in numeracy, I real-

ised there was something wrong. I made several appointments with the doctors for dad to see someone, only for him to deny any problems and not attend. He still denies to this day that he has any memory issues, other than those associated with “I’m 84, you know”.

Sadly, we all know these actions as being symptoms of dementia and in the space of two years, he has a very shortterm memory span of current events and serious bouts of confusion, with the odd bit of foot-stamping and OCD thrown in for good measure.

I see dad every day, the home is five minutes away, and I feel guilty he’s not living with me, but for both our sakes, it works better this way. This is what he wanted, not burdening me or my brother and sister. We all offered to have him live with us, but secretly I think we all sighed with relief when he chose the home instead, delivering 24/7 care and trying to have your own life is impossible.

Looking around for help for dad I came across BIADS, Barnsley Independent Alzheimer’s and Dementia Support, a local charitable organisation that was extremely understanding of the issues we were going through.

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Somewhere in Time – Alan and Adrian. Image © Adrian Ashworth

Somewhere in time / Adrian Ashworth

Linda, their Chief Officer, made me feel very welcome and Jackie one of their brilliant support workers, offered sound quality advice. Looking around their meeting rooms, I met people with similar life experiences, though it was evident looking at them that they were helping each other, and everyone was made to feel part of the group.

One day I was spending time talking to dad about what he’d had for lunch and mid-conversation something special happened. He just recalled how he’d lost a Lincoln bomber while serving in the RAF during his national service in Egypt 1951-53 (the story is accompanying his picture in the exhibition). Amazed at this revelation, I thought I’d better record it so reached for my mobile and hit the audio record. Not knowing what to do with the recording, I just left it on my phone for a month or so, just listening to it now and then.

Sundays in our household consist of giving our four huskies a good long walk and tiring them out as much as possible to give us time to relax in the afternoon and catch up with all the TV we have recorded. One such Sunday afternoon led us to watch one of my wife’s favourite films, ‘Somewhere in Time’. I have to confess to having a soft spot for it too, as one of the stars is Jane Seymour, a definite favourite from my youth. The narrative of the film is that Richard Collier (Christopher Reeve) an author, is smitten by a picture of a young lady in a hotel and, without spoiling the plot too much, uses hypnosis to go back in time to find and

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Adrian Ashworth / Somewhere in time

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be with her. If you’re a romantic, you need to watch it, have the tissues ready though!

Self-realisation is a wonderful thing and while walking the huskies, it came to me what was happening with dad, he was having a ‘Somewhere in Time’ moment, suddenly dropping into a time and reliving the experiences by telling his story. He’d quickly forget the conversation and, when quizzed about it, he’d say he couldn’t remember it, or change the subject.

This gave me the inspiration of joining a narrative with a picture to capture and embellish that moment, and ‘Somewhere in Time’ was born.

Albeit just an idea, I knew it would be something special worth doing that would help those living with dementia, their partners and loved ones relive something unique about their past that was once forgotten, or needed retelling, with a current picture. After meeting with Linda from BIADS, it was decided to ask the members if they would like to be part of my project and that it consisted of an interview and, at some point during the interview, pictures would be taken and a story created from it. I’m pleased to say we had a great response and here just a few of the results.

Not everyone’s stories are life-changing, some are happy, some sad, some very tragic, but they are real stories from real people living day by day, helping each other the very best way they can. I can only respect them with all my heart understanding the battles they face every day.’

‘C

ath was born in Kingussie, in the Highlands of Scotland in 1943 to father James, who worked in insurance, and mother Betty.

Her father’s job meant that they moved quite regularly, so she attended schools in Perth, Stockton, Ripon and finally Barnsley. She left school without qualifications, something she would rectify later in life.

She started nurse training aged 17 at Becketts Hospital, Barnsley, and this was to form a foundation for her future career. It was while training that she met her future husband, Vin, out in Barnsley with friends. Vin was a miner and keen pigeon fancier. They were married in 1962 when she was 19 and the service took place at Barnsley Town Hall.

In 1963, their first daughter, Tanya, was born, followed by another daughter, Jenny, in 1967. Cath decided to take time out from her nursing career to spend more time with the children, so she became a postwoman, the hours suited school time perfectly.

Once the children were old enough, Cath decided to return to nursing, and this time it would be more specialised, as a psychiatric nurse at Stanley Royd Hospital, Wakefield. She would go on to complete an Open University degree course and gained promotion to Sister, a role she loved passionately and spent 30 years doing until she took early retirement at 50 to help care for husband Vin. Once, while training staff at the hospital in the ‘kiss of life’ procedures, her false teeth fell out, something she never lived down and was constantly reminded about.

Cath has a love of animals like no other and while being a volunteer for g

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Somewhere in Time – Cath and Jenny. Image © Adrian Ashworth

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Adrian Ashworth / Somewhere in time

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Mind Mental Health, sheg trained to be a pet bereavement councillor. Helping people and animals has been such a passion for Cath, she has been a debt councillor with Citizens Advice, and even went on to become a Justice of the Peace at the local magistrates’ court. Her favourite saying to friends and family was “if you ever end up in front of me in court…”

Cath’s husband Vin was ill for many years with a heart condition, but they both had a passion for the outdoors and loved walking in the countryside, especially North Wales, where they eventually bought a holiday home for all the family to enjoy. Vin had a triple heart by-pass during the 1980s and continued an active life before sadly passing away in 1995.

Cath threw herself into her voluntary work. She took up creative writing and debating on a study course, she also became involved with the RSPCA and has fostered many animals over the years, having as many as 13 cats at any one time, hence the cat ears in the picture. Cath recently lost Oliver, a border collie who she rescued when he was just six months old. He died aged 21, another devastating blow to Cath.

While Cath completed her writing course, she met John, who would become her friend and partner, and they would enjoy many happy years on holidays. John had suffered a stroke when he was younger and together they started a Young Stroke Club to help support people in the area. Sadly, and tragically, John died in 2013 after a fall. Shortly afterwards, Cath lost her father, who was aged 96.

Cath’s passion for animals has gained her media attention and she had a cat called Lady Nadia of Fantasia who would accompany her and Vin on their hillwalking adventures, either in a sling or walking on a lead. After appearing in local papers, Cath was asked to attend ‘Arthur’s Pet Food Awards Ceremony’ in London and went on stage with Fiona Philips one side and Patrick Moore the other. Recently, Cath has been involved in the judging of local shop awards in her community.

While Cath’s husband Vin was ill, she turned to the church and eventually converted to Catholicism. It brought her great comfort. Not content to just care for herself, she would become a taxi driver specifically for

the church, and it wasn’t unusual to see her driving to the airport with a car full of nuns.

In 2000 Cath was diagnosed with multiple sclerosis and became dependant on her car to continue doing charity and voluntary work, which she did until her memory problems were evident and she could no longer drive. At this time, Cath was a volunteer at Addaction (providing food for the homeless).

Giving up her driving license was the hardest thing for Cath to do, as she had been driving since the early 1970s.

Tanya and Jenny, her daughters, have been a strength to her and Cath comments “the girls have always been there for me”.

Cath suffers from anxiety and often describes herself as lost. She has a wonderful sense of humour, something very evident if you were to meet her, she constantly jokes with everyone and you cannot help but smile when in her company. Tanya and Jenny realise this is just the start of the journey, but are committed to being there every step of the way for their mother as she has been for them throughout their lives.’

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Somewhere in Time – Graham, Gareth and Lesley. Image © Adrian Ashworth

Somewhere in time / Adrian Ashworth

‘G

raham left school and went straight into employment, spending 10 years within the steel industry, after which he worked at various industrial companies as a mechanical fitter, before finishing up his career as night shift manager at West Yorkshire Found-ries. Graham was never afraid to work 16 hours a day to provide for his family, wife Lesley, sons Gareth, 40, Mathew, 30 and daughter Sarah, 36. Sadly, Graham’s life in the steel and industrial environment of the 70s and 80s left him with lung disease, and he retired at the age of 53. Coping with COPD, Graham refuses to

take it lying down and continues to be a supporter for dementia care in our community with wife, Lesley, both speaking and fundraising.

Lesley started working life as a checkout girl at a local supermarket until she was 21, then she became a machinist at a sewing factory for several years until their children came along and she had the full-time job of raising them while Graham worked as many hours as possible to help raise their family the best they could.

When the children were old enough, she returned to work as a cleaner for 28 years and retired early to help care for Gareth.

They devoted all their time, effort and finances to ensure their children didn’t go without, and helped as much as possible to make sure they all got the very best opportunities in life, all three children went to university.

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Like all children, Gareth had desires and aspirations, his was to become a famous actor, being in the movies, playing heroic parts. Growing up in South Yorkshire, Gareth worked hard and gained his secondary school and college qualifications with the aid of a grant, and mum and dad, before attending university to study drama and theatre, all the time hanging on to his dream of becoming an actor. Every chance he had to take part in acting he would perform, and always to the acclaim of teachers, friends and family. He was always the centre of attention, and loved to play to the audience.

His parents were told on several occasions “why doesn’t Gareth train for a proper job”, but they stood by his side and encouraged him to live his own life and follow the dream.

After leaving university, Gareth gained invaluable experience, appearing in several short films and eventually landed a role as Gargan the Giant in the series “Jack and the Beanstalk The Real Story” in 2001, meeting and working alongside such stars as Matthew Modine, Vanessa Redgrave, Mia Sara, Daryl Hannah, Jon Voight and Sir Richard Attenborough. It must have been awein-spiring to a young actor like Gareth.

Gareth became friends with one of his own heroes, Brian Blessed, and went to school with one of his nephews, a truly great inspiration to Gareth, who loved to meet and speak with the great man himself. Gareth loved to help others and was the gentlest of men, as he realised the acting life was such a difficult game to be in, he took jobs that would enable him to inspire others with performance.

In 2010 at Christmas time, Gareth started showing recognisable signs of dementia, he would make you a drink then disappear to another room and be quiet in his own company, something that was so out of character for Gareth, who lived for being centre of attention.

He eventually moved back home with mum and dad in 2011 as home life was becoming unbearable for his partner and her children.

It quickly became evident that there was more to his issues than just mood swings, and he would display signs of OCD, including hand washing and foot tapping.

He was initially diagnosed with depression and it took

a great deal of persuasion from mum, Lesley, to get Gareth in front of the right people, who would eventually diagnose him with dementia.

Like all families, the pressure of dementia on one so young has left its scars on those who love and care for Gareth, arguments about the littlest of things get blown out of all proportion, and life generally is so much harder to get through day by day, but in so many other respects it has brought this family closer together, with a strength and bond that has seen them devote their existence to their son and brother. They talk openly about their experiences and problems with Gareth, and they are a fountain of knowledge on the subject of dementia and speak frequently at meetings, on TV and at support clinics.

Above all, they have maintained their humour and love for one another, in spite of facing something that would otherwise split a family apart.

Fast forward a few years and Gareth now resides 24/7 at a specialist care home being constantly visited by family who never give up on him. He goes for little walks and still shows the actor in him when a camera is pointed at him.’ http://www.adrianashworth.co.uk

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Somewhere in Time – Cath and Jenny. Image © Adrian Ashworth

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Image Š Janice Alamanou

Profile / Janice Alamanou

Big skies and shifting sands

Observing the world around her came naturally to photographic artist Janice Alamanou. It’s become the foundation for international recognition and representation.

We take a moment to consider photography as art in the context of the broad horizons of the north Norfolk coast

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Profile / Janice Alamanou

W

hat is fine art… photographically speaking?

An image of perfection, beyond real-life perception? Something that only the author could create? Perhaps it’s easier to say what it is not.

For example, it’s probably not just a matter of ‘doing something’ to a bog-standard image; it’s not about sticking a mis-guided vignette over the top and pumping up the adjustments; and it’s not a result of software filters that seemed a good idea 20 years ago. Perhaps fine art is just images that sell, or that you can buy… and maybe too many people, organisations and groups of photo­ graphers have lost too much sleep over it already.

What’s for certain is that making a practical living out of non-commissioned image-making takes a great deal of self-confidence and drive, let alone imagination; the ‘risk’ associated with spending large amounts of time and essentially money upfront creating works with no sure future value would keep many people awake at night. If it were a business plan or a loan application it wouldn’t get very far – especially when you consider how hard it is to

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All images © Janice Alamanou

Profile / Janice Alamanou

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set a price. The photographic medium adds even more trouble since it’s impossible to define the edge that lies between recording and creating. However, there must be something in the creative definition – it’s art if the author has taken it a step beyond that which any Tom, Dick or Harry would be left with should they be given the same toolbox. The artist’s eye, then, makes all the difference. It’s all the more weird, therefore, when landscape photographers seem to think they have a God-given right to a location, and fall into the chip-on-the-shoulder

trap where letting down other ’togs’ cars tyres seems like a good idea.

The hope with all of this, for the optimistic fine artist, is that getting your work seen leads to more and better opportunities to get your work seen by ‘better’ people – those for whom a given price tag is reasonable exchange for having something special occupying their wall space. Opening a gallery in a

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Profile / Janice Alamanou

beautiful location certainly helps, but has the down side of actually preventing you getting out doing exactly what you should be doing. Who said this fine art malarkey was straightforward?

It’s amongst this context that photographic artist Janice Alamanou successfully operates – her images sit confidently in the zone marked ‘created’, offering up ways of seeing

both landscapes and portraits that demand time of the viewer simply because she presents her unique view of the world, inspired by the environment around her.

Janice describes nature as ‘fleeting beauty’, and it’s her job if you like to show us lesser mortals what we missed. Whilst obviously Janice’s images enjoy the benefit of today’s cameras, capture and post-production techniques, all of her images are true scenes – no reflections are added or skies inserted. Everything we see is for real, but somehow a very different view.

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Profile / Janice Alamanou

Janice’s career in photography began at an early age – time well spent waiting a week for the prints to come back from the chemist. She says: ‘When you’re paying for processing out of your pocket money, mistakes stop being funny pretty quickly, even as a child.’

Her first ‘job’ came early too: ‘I was eight years old when I was set to work in the family beach shop. I was the security detail – my task simply to watch customers. No one expects a small child to be observing them like that and I caught so many people. Something about it touched me – looking at the

world and the people moving about in it was fascinating and that remains part of me now.’

Janice’s Coastal Photography Gallery is located in Wells-Next-The-Sea on the north Norfolk coast. She is Norfolk born and bred and her ‘watching’ of the environment feeds into personal interpretations of time and tide: ‘I now watch when things may happen; sort of predicting the world around me; it’s a way of adapting my life skills into photography. My work inititally formed an escape from everyday life for me – it wasn’t formulated around what could sell; it’s still very personal, but the fact is it started selling and so the business developed from there.’

The big skies of the local environment tend to inspire large-scale use of images, and this is something

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All images © Janice Alamanou

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Profile / Janice Alamanou

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that Janice has embraced: ‘The biggest installation of my work is at more than 20 meters across. More commonly aluminium mounted prints are anything from one to two meters. There’s something about coastal imagery that makes you want to do that.’ The quality of Janice’s output has not gone unnoticed either – she’s been invited to exhibit internationally and has more than 100 artworks available through Saatchi Art – perhaps the world’s leading online art gallery offering an wide selection of paintings, drawings, sculpture and photography at a range of prices. It also provides artists from around the world with a curated environment in which to exhibit and sell their work. Based in Los Angeles, Saatchi Art claims to be redefining the experience of buying and selling art by making it easy, convenient and welcoming for both collectors and artists alike.

Janice’s exhibiting history of recent years clearly demonstrates her artistic clout – Barcelona, Florence, Paris, Moscow, Cannes, Milan, Vienna, London, Rome… She comments on this enviable list: ‘One thing tends to lead to another in the art world and I would say in terms of pricing I have been led by those representing me – as a professional my area of focus is on making my images unique, expanding my view and allowing the time and space for the evolution of my work. I don’t like to be too stringent in terms of what should happen, change or develop – I think it’s important to go with the flow.’ tP coastalphotography.co.uk

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BIPP / Company partners

Trust the UK’s leading, multi award-winning professional print lab to print your images. Loxley Colour has a long history in the photography industry, which has given us invaluable insight into what makes the perfect printed product. Choose from a wide range of hand made products direct to you or your customer from our 72 000 sq. ft. facilities located in the UK. Whether it’s photographic and Giclée prints, the iconic Bellissimo albums range, wall products that wow or a complete mounting and framing service that offers photographers limitless options, Loxley Colour is the lab of choice for professional photographers who care about quality. Enjoy Complimentary Colour Correction, a free test prints service and exclusive discounts for BIPP members’ qualifications prints.

Quick, convenient online ordering and an award-winning customer service team make partnering with Loxley easy.

For more information visit the website or contact us on 0845 519 5000 or cs@loxleycolour.com www.loxleycolour.com

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BIPP / Company partners

Premier Image’s main activities are digital photographic printing, handmade framing and the assembly of contemporary artwork. With over 15 years’ experience of printing and handmade framing, they have helped artists, illustrators and photographers from all over the UK and abroad to reproduce and frame their artwork.

We specialise in Epson Digigraphie printing which allows reproductions of work printed to a high quality specification. And as members of the Fine Art Trade Guild , you know that Premier Image are working to the Guild’s very high standards, giving buyers extra confidence in both the quality of the artwork and the framing. www.premierimage.co.uk

Datacolor is a global leader in colour management solutions, providing software, instruments and services to assure accurate colour of materials, products and images.

The world’s leading brands, manufacturers and creative professionals have used Datacolor’s innovative solutions to consistently achieve the right colour for more than 40 years. www.datacolor.com

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BIPP / Member Benefits

Law Express is the BIPP legal advice and helpline provider and is a benefit available to all fully qualified BIPP members. If you ever have any concerns regarding legal or business issues Law Express are the people to call.

Their services include access to a free 24-hour telephone advisory service on legal issues and links to both personal and business-related legal issues. All of these features can be accessed via the Members’ Area of bipp.com, under the ‘Benefits & Discounts’ tab.

Infocus Photography Insurance provides protection for Photographers & Video Makers. Helping to protect your business and recover from catastrophes as quickly as humanly possible. As a member of the BIPP you will benefit from a generous discount on all of our policies.

If you’re confused by the world of insurance then we’ve broken down our policies into digestible chunks: www.infocusinsurance.co.uk/insurance-explained/ Read our latest blogs for helpful tips, advice and industry news www.infocusinsurance.co.uk/blog/

Visit our website www.infocusinsurance.co.uk, or contact our experienced team on 0161 925 5051 for a quotation.

All we can ask is that you try us out, we hope you will be pleasantly surprised.

BIPP ON INSTAGRAM Be sure to check out the BIPP on Instagram. We’ll be using Instagram to profile Members’ work and raise the awareness of qualified professional photographers. Follow us by searching for @theBIPP on Instagram.

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BIPP / Regions & Events

REGIONAL AWARDS WINNERS Over the last eight weeks there have been a number of Regional Awards Presentations including the Midland Region, Scottish Region, North West Region and Cotswold Region.

Midland Region Print Competition Congratulations to David Taylor FBIPP who was announced as the Midland Region Photographer of the Year and well done to Martin Grahamme-Dunn FBIPP who was the runner-up. Congratulations also to everyone who took home awards on the night!

Scottish Regional Awards Congratulations to Scott Hogg LBIPP who was announced as the Scottish Region Photographer of the Year 2017! Also huge congratulations to Suzanne Forrest who took home the award of Scottish Region Student of the Year 2017, and also to everyone who achieved an award this year!

Yorkshire Regional Awards Congratulations to Ozzie Malik LBIPP, who was awarded Yorkshire Region Social Photographer of the Year, and Tony May LBIPP, who took home the award

2017 QUALIFICATION ASSESSMENTS Wednesday 20 September 2017 BIPP Offices (Submission Deadline - 23 August 2017) Wednesday 22 November 2017 Barnsley Submission Deadline - 20 October 2017

of Yorkshire Region Commercial Photographer of the Year. A special mention also to Stewart Jackson LBIPP who won the People’s Choice Award, and of course to everyone who took home awards this year!

North West Regional Awards Many congratulations to Jo Rutherford ABIPP who was announced not only as the North West Photographer of the Year, but also as the NW Portraiture Photographer of the Year. The award of Commercial Photographer of the Year went deservedly to Charles Coleman ABIPP, and Ioan Said LBIPP took home the award of North West Wedding Photographer of the Year. Once again, we congratulate everyone who won awards in the region!

Cotswold Regional Awards Laura Eperjesi LBIPP was announced as the Cotswold Photographer of the Year 2017. Special mentions also go to Katharine Tetley and Kate Ransome who were Joint Winners of the Cotswold Region Provisional Photographer of the Year award! A huge well done to those not mentioned who also won awards this year!

At least 4 weeks before Assessment (by the deadline date) the following items need to be sent to Head Office: • Completed Membership Application Form (for non-members) • Completed Qualification Submission Form • Submission Fee • 4 copies of your Supporting Evidence • Copies of Professional Insurance • Your disc of 25-50 images including digital copies of your supporting evidence

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BIPP / Regions & Events

Cotswolds Stefanie Calleja-Gera ABIPP stef@scg-photography.com

Midlands Paul Witney ABIPP linkingrings@hotmail.com

North East Kevin Weatherly LBIPP kevinweatherly@mac.com

EVENTS & DATES COMING UP

SOUTH EAST

Michael Wharley FBIPP Tuesday 12 September 2017, Makespace Studios, London

Social Media Strategies with Avi Jacobson Wednesday 19 July 2017, Makespace Studios, London Image © Michael Wharley

LOSE THE FLASH FEAR FACTOR

Michael, South East Regional Photographer of the Year in 2014 and 2016, cut his lighting teeth shooting reportage for cinema chains and actors’ portraits, and has since earned a reputation as one of the UK’s leading authorities on actors headshots, working with an array of entertainment industry clients including many famous faces.

Today he is active across a broad span of work: whether it is creating a subtly varied headshot portfolio for an actor, producing high-end advertising imagery for film, theatre & TV, working with strobe on location or producing fine art quality portraits in the studio, Michael works fluidly with continuous, strobe and natural lighting to achieve radically different styles of portraiture.

Co-Founded in 2005 by brothers Avi and Adam Jacobson, Flix’n’Pix are an award-winning, industry leading Professional Commercial Event Photography & Cinematography company with Studios in London and Manchester specialising in Portraits, Weddings, Bar Mitzvahs, Bat Mitzvahs and Private Parties as well as Corporate and Charity Events.

As a Google Squared Graduate and experienced digital entrepreneur, Avi leads the digital strategy of the organisation. Having built a Facebook following of more than 12,000 with a reach of more than 250,000 Avi will discuss the strategies Flix’n’Pix have used to not only reach but engage and convert customers online.

NORTH EAST North East Regional Awards 2017 Thursday 27 July 2017 A quick heads-up to let you know that the 2017 North East Awards will be launching in June. For full details, please visit the North East regional page on the website.

You will join Michael at his busy studio in the heart of London, gaining an insight into the processes behind the creation of some of his award-winning work through discussion and practical demonstration, with plenty of opportunity to ask questions.

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

Northern Ireland David Campbell ABIPP marlin1@ btconnect.com

Scotland Jon Lee ABIPP jonleephoto@ o2.co.uk

South East Chris Harper FBIPP chris@bipp.com

South West Bella West FBIPP bellawest@me.com

Yorkshire Katrina Whitehead LBIPP katrinabipp @gmail.com

EVENTS & DATES COMING UP

SOUTH WEST

reveal his ingredients to ‘cook a fashion recipe’. You will get the chance to follow the whole process, from concept to completion, discovering what happens behind the scenes and talking with Marco about your own experience and goals.

Wedding & Fashion – Full Day Seminar with Marco Fazio FBIPP & David Wheeler FBIPP Thursday 27 July 2017, The Grosvenor Arms, Shaftsbury, Dorset

Image © David Wheeler

Join two photographers at the top of their game with this South West presentation through pictures, videos and words. Marco will introduce his work and

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Image © Marco Fazio

Following Marco, David Wheeler, one of the most esteemed and talented wedding photographers will be discussing his ethos and sharing his creative eye in a live shoot on location. Feel free to bring cameras for this inspirational workshop.

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A perfect chemistry PHOTOGRAPHS BY HILL & ADAMSON UNTIL 1 OCTOBER 2017 SCOTTISH NATIONAL PORTRAIT GALLERY

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his summer and Autumn the Scottish National Portrait Gallery in Edinburgh explores the captivating images produced by the unique partnership of Scottish photographic pioneers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848). A Perfect Chemistry comprises more than 100 photographs – the result of just four short years in the 1840s, when these two men changed the path of photography and created a remarkable body of work.

This is the first time in 15 years that the work been the subject of a large exhibition in the UK. The artistic partnership between the painter Hill and the engineer Adamson was remarkable in many respects: only four years after the invention of photography was announced to the world in 1839, the Scottish pair had not only mastered and improved upon the new medium, but were producing breathtaking works in extraordinary quantities. Their innovative images appear surprisingly fresh even today and their subjects range from intimate portraits to beautiful cityscapes that document the urbanisation of the Scottish capital as well as fascinating images of the Newhaven fisherfolk which form one of the most significant groups within Hill and Adamson’s oeuvre; their photographs belie the technical challenges faced by the duo and are arguably among the first examples of social documentary images in the history of photography.

Meeting of minds The meeting between Hill and Adamson was precipitated by a polarising religious dispute: on 18 May 1843 a group of ministers walked out of the Church of Scotland’s annual General Assembly in Edinburgh and officially established the Free Church of Scotland.

The event rocked the nation and political status quo, sending reverberations around the world.

Hill was so moved by the ministers standing up for their beliefs that he decided to commemorate the event in a large-scale painting representing all 400 of them. He turned to Adamson, 19 years his junior, as the first and only professional calotypist in Edinburgh, to photograph the sitters as preliminary sketches for his grand painting.

Hill quickly became smitten by the new art form and within weeks of meeting, the two men entered into a partnership and began making photographs together. Within a matter of months David Octavius Hill and Robert Adamson their works were featured in exhibitions and received critical David Octavius Hill, 1802 - 1870. acclaim, often being compared to Rembrandt’s etchings due to Artist and pioneer photographer, 1843 – 1847 the strong chiaroscuro (or contrasting dark and light) quality of Calotype print, 21.30 x 15.30 cm the prints.

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(Left) David Octavius Hill and Robert Adamson The Sir Walter Scott Monument under Construction, 1843. Calotype print, 20.10 x 14.90 cm, Scottish National Portrait Gallery (Right) David Octavius Hill and Robert Adamson Jeanie Wilson and Annie Linton [Newhaven], 18431847. Calotype print: 20.80 x 15.70 cm, Scottish National Portrait Gallery

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Ironically, Hill had approached photography as a means to expedite his painting yet it took him 23 years to finish his large commemorative canvas: The First General Assembly of the Free Church of Scotland; Signing Act of Separation and Deed of Demission (1843-66). The imposing picture was ultimately sold to the Free Church of Scotland and it continues to hang today in their headquarters in Edinburgh.

The success of Hill and Adamson’s partnership relied on professional alchemy as well as personal affinity, with both men working and living in Rock House, a landmark building located on Edinburgh’s Calton Hill. Since making calotypes required natural sunlight, the photographers used the house’s south-facing garden as their studio, employing a series of props and several different backgrounds for their outdoor images.

These portraits made at Rock House represent a real ‘who’s who’ of Edinburgh’s society and illustrate the vibrancy of the capital’s cultural life in the 1840s; eminent sitters ranged from the artist Sir David Allan, to Isabella Burns Begg, the sister of poet Robert Burns, and the inventor of chloroform James Young Simpson. A string of foreign sitters also attested to the international nature of the capital at this time.

Hill’s artistry gave him an eye for composition, evident in an intriguing portrait of Lady Ruthven, whom he posed with her back to the camera to exploit the intricate lace detailing of her shawl against her dress. The image reads as a metaphor for photography itself: the negative and positive image captured on paper. Adamson appeared to push the

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A Perfect Chemistry: Photographs by Hill & Adamson, 27 May – 1 October 2017 Scottish National Portrait Gallery, 1 Queen Street, Edinburgh EH2 1JD

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boundaries of photography – demonstrating skills few possessed at such an early period in the history of the art form.

To create calotypes the photographers dealt with a complex process of applying light-sensitive chemical solutions to paper in order to create the images. The steps involved were cumbersome and variable, yet the consistently high quality of the prints indicate they had perfected the process and mastered the fickle chemistry of early photography.

The exhibition also reveals how Hill and Adamson made clever use of stylistic and practical devices when creating their pictures. Books not only suggested the sitter was educated, but the white pages allowed light to bounce back on the subject (at a time when there were no studio lights), while the actual object would keep the sitters’ fidgety hands occupied for the duration of the exposure. Poses were held anywhere from 30 seconds to several minutes depending on the available sunlight, and any fidgeting during that time would result in a blurred image.

The untimely death of Adamson on 14 January 1848, at the age of 26, marked the end of this unparalleled partnership. The fact that the photographs continue to delight is indicative of the special chemistry shared by these two Scottish pioneers. A Perfect Chemistry: Photographs by Hill & Adamson is part of the Edinburgh Art Festival.

David Octavius Hill and Robert Adamson Sir David Brewster, 1781 - 1868. Natural philosopher, 1843 Calotype print, 19.50 x 14.20 cm. Scottish National Portrait Gallery

David Octavius Hill and Robert Adamson Sandy (or James) Linton, his boat and bairns, c.June 1845. Calotype print, 19.8 x 14.5 cm Scottish National Portrait Gallery

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Business / VAT FRS

Not so simple for all V

AT is supposed to be a simple tax.

It’s collected from customers on your sales (output tax), and is paid to your suppliers on your purchases (input tax). All you need to do is keep track of what you’ve collected and what you’ve paid, and send (or reclaim) the difference to HMRC. In theory, it’s easy to understand, but Mike Thexton, a Chartered Tax Adviser specialising in VAT and a member of Council of the Chartered Institute of Taxation, says in reality it’s not. Why? Because some sales may be exempt from VAT, some may be zero-rated, and some may be taxed at 5% instead of 20%. Worse, as Thexton points out, ‘all those expenses should be backed up with a proper VAT invoice, or you’re not supposed to claim. And if you get any of that wrong, you might be charged a penalty, even though you’re acting as an unpaid tax collector for the government.’

And to complicate matters, modern technology allows photographers to create a bound book that can qualify for zerorating as ‘printed matter’. The point was considered in the 2012 case of Harrier LLC, and HMRC published their policy after the decision http://webarchive.nationalarchives. gov.uk/20130102175236/http://hmrc.gov. uk/briefs/vat/brief0412.htm. It’s also worth noting that all activities by way of business are covered by the same VAT registration, so a photographer operating as a sole trader with other sidelines could also be making zero-rated or exempt supplies. For example, a sole trader with a buy-to-let is covered by a single registration, and the buy-to-let

In theory, Gordon Brown’s creation of the VAT flat-rate scheme simplified life for small businesses and left many better off on paper. But recent adjustments made to catch abusers in the form of the Limited Cost Trader category means photographers must assess whether their business now falls into that definition income would be exempt rent of residential property. The point is, VAT is very complex.

Big help Now anything that makes VAT simpler has to be a good thing and one of Gordon Brown’s better innovations was the introduction of the Flat Rate Scheme for small businesses (FRS). It’s open to traders who expect their VATable turnover in the next year to be up to £150,000 excluding VAT. Thexton considers it a boon as ‘it gets rid of two complications at once – distinguishing different types of sale, and complying with all the rules on expenses’. Quite simply, in exchange for not claiming input tax (which means that there is no need for VAT receipts or dealing with ‘partial exemption’) you’re allowed to keep some of your output tax as compensation.

‘Putting yourself in the right category makes a big difference. HMRC may disagree with your choice, but as long as you can show reasonable grounds for believing it applied to you, they won’t make you change it retrospectively.’

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Business / VAT FRS

Brown’s idea was to help small businesses to get on with trade and not waste time on bookkeeping. For many people, though, it is all about the money – nearly everyone who joins checks first that what they gain will be more than what they are giving up. They’d be mad not to.

How to apply You can apply online to join the FRS at the same time as you register for VAT; or if you are already VAT-registered, and using the normal rules, you can mail a form (see www.gov.uk/ vat-flat-rate-scheme). You will usually be allowed to use the FRS from the beginning of your current or next return period.

One question that Thexton gets asked, regularly, is whether a trader can turn the clock back on previous VAT returns and reclaim any monies. He says that traders have often tried to persuade HMRC to let them recalculate past periods, usually because they’ve only just heard about the FRS and they realise that it would have benefited them financially: ‘The taxman and the appeals tribunals always turn these applications down, because the FRS is supposed to be about simplicity, not money.

If you missed out because you didn’t know about the scheme, that’s tough.’

How it works If you follow the website link above you will find a list of business categories, each with a flat rate percentage, for example, ‘Photography – 11%’. You choose the description that best matches your main source of income. You apply that rate to your gross, VAT-inclusive income, not bothering with the difference between the different categories. That’s the flat rate VAT you owe on sales: it goes in Box 1 of the VAT return instead of the normal output tax. It’s usually less than you would owe under the normal rules. The flip side of this is that you don’t get any credit for VAT on costs, unless you spend at least £2,000 VAT-inclusive on fixed assets – it has to be a single item of goods that is over the limit, and as usual, you can’t claim anything on cars. The rules allow all the bits of a new computer or a camera body and lens to be counted together if they are bought on a single invoice.

Here Thexton says it’s essential to check whether you are better off before you apply. He offers the following example based on a firm’s annual figures (excluding VAT):

Sales – standard rated £100,000, zero rated £20,000, exempt £10,000.

Expenses chargeable to VAT (no fixed assets) – £15,000 ‘Under the normal rules, you would owe output tax of 20% x £100,000 = £20,000, less input tax of 20% x £15,000 = £3,000, net due to HMRC: £17,000.

But under the FRS, you have to apply the flat rate to all your gross receipts including VAT – that’s £120,000 + £20,000 + £10,000 = £150,000. With a 11% rate, you will owe HMRC 11% x £150,000 = £16,500. Your life is simpler and £500 less expensive.

So, you look at the list again and you find something you missed because photography isn’t the main part of your business – let’s say “Retailing not listed elsewhere” at 7.5%. Now you owe 7.5% x £150,000 = £11,250, and the FRS leaves you £5,750 a year better off.’

It’s clear that putting yourself in the right category makes a big difference.

HMRC may disagree with your choice, but as Thexton points out, “as long as you can show reasonable grounds for believing it applied to you, they won’t make you change it retrospectively (that is, ask you for extra VAT).’ He says that if they persuade you that you’ve got it wrong and should change going forward, you can leave the FRS and go back to the normal rules if you will be better off.

There is one note of caution: You are supposed to reconsider your category each year on your anniversary of joining the FRS, based on your expectations of what your main business will be in the year to come.

If you think you will fall into a different category, you must change your rate.

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Business / VAT FRS

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Is it that simple?

Calculating FRS VAT is simple – total income, including VAT, multiplied by your rate. But if your customers are VAT-registered, they will want a VAT invoice so they can claim input tax.

Your being on the FRS makes no difference to how your customers can reclaim the VAT you’ve charged.

For Thexton input tax is the big simplification: ‘You treat all your general expenses as gross, VAT-inclusive costs.

You don’t have to worry about whether they were VATable or not, or whether the invoice meets all the VAT regulations. You’ll still need an invoice in case HMRC wants you to justify a profit deduction for income or corporation tax, but there is less that can go wrong.

And you don’t need to make fiddly accounting entries to claim back VAT on small expenses – if you can keep some of your output tax instead, it’s a relief not to bother.”

But it’s not all plain sailing.

Big change: 1 April 2017 In November 2016, Philip Hammond made a surprise announcement – to ‘counteract aggressive abuse of the FRS’, he made a significant change to the rules that took effect from 1 April 2017. Thexton says it turns out that HMRC had received thousands of FRS applications from small companies set up to ‘supply’ one or two individuals to VAT-registered large businesses – in effect, acting as employees – in order to exploit the difference between the input VAT the customer can claim and the FRS VAT those companies have to pay.

HMRC were effectively giving extra

money to the workers, who were not really running a ‘business’ – they hardly had any accounting to simplify.

Thexton expands: ‘HMRC says that they tried to think of a way to stop this abuse without affecting genuine businesses that have been using the FRS as intended, but they haven’t been able to. The only way they can catch all the abusers is to bring in a new category called “Limited Cost Trader” (LCT).’

An LCT is someone who spends less than 2% of their turnover on goods, with a long list of exclusions. Services (such as rent, advertising, accountancy, software, phone and internet) don’t qualify. This means that most businesses that sell services will be LCTs – stationery for use in the business is the only significant expense that counts towards the 2%. On the other hand, businesses that buy and sell goods will not be LCTs – retailers, wholesalers, restaurants, builders who supply materials as well as labour. In a photographic context, if you sell work electronically you will probably be caught by the LCT rules whereas if you sell physical prints and books you won’t be.

If you’re an LCT your rate is now 16.5% and in our example above you’ll be paying HMRC £24,750 and so will be £7,750 worse off.

Thexton says HMRC sent a letter to all FRS registered traders to warn them of the change, but it arrived very late – in the last week of March, in many cases – and it did not stress what a serious disadvantage the LCT rate will be. ‘HMRC seems to believe that many traders will stay in the FRS and check each quarter whether the LCT rule applies to them. In fact, anyone who is likely to be a LCT should leave the scheme before they incur a significant amount of input tax, because they will surely be better off outside it. It will be a shame to have to go back to the complications of normal VAT accounting, but the cost of applying the LCT rate is likely to be too high.’ The differentiator will be what the photographer supplies – physical or electronic imagery.

To conclude The FRS has provided a relief from some of the intricacies of VAT for many small businesses. The LCT rule change is something that all FRS traders should think about. If you will be worse off, you should take action now before filing your next VAT return.

But if you spend enough on goods each quarter, you will still probably be better off – and enjoy simpler accounting – within the scheme. tP

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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.

Next available dates: Tuesday 18 July 2017 | London Monday 18 September 2017 | London Tuesday 7 November 2017 | London Thursday 23 November 2017 | Barnsley

Visit events at www.bipp.com for more information

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