Professional Photo 126 sampler

ES SENTIAL MONTHLY ADVICE FOR WORKING & ASPIRING PROS

W ONDER W EB Why keywording is crucial to boost your online traffic

ISSUE 126 £4.75

W HI T E W EDDING S Essential advice to help you capture winter ceremonies

IN T HE E X T REME Meet the pro photographers who live life on the edge

TAKE THE LEAD How Sue Bryce transformed her business - and you can too!

TESTED: FUJIFILM X-T2 A revolution in stills and video? Our full review will give you all the answers PP126-001 (COVER) rpsubbedljc.indd 1

PLUS WIN Nikon, Sony

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and Pentax camera kit!

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ED I TO R ’ S LETTER

WELCOME

BELOW: Take a leaf out

Of course, I’m not suggesting for one moment that you start making rash decisions, but maybe just asking yourself that question and coming up with a rational answer could make a big difference to the way you work.

On another note, I’d really appreciate it if you could take the time to fill out the survey that appears on page 74 of this issue. As part of TIPA (the Technical Image Press Association), completing this will help us learn more about your magazine and equipment buying habits.

Spend ten minutes doing that and you could end up winning some fantastic prizes, including award-winning cameras from both Nikon and Sony.

Surely there’s nothing stopping you doing that? Enjoy the issue.

Editorial director Roger Payne

R O G E R P AY N E @ B R I G H T- P U B L I S H I N G . C O M @ R O G P AY N E © SUE BRYCE

of Sue Bryce’s book and shake things up. You may never look back!

As professional photographers we ask ourselves a lot of questions. How much should I charge? Do I have the right kit for x, y or z? Should I spend more money promoting myself? These are some of those that are regularly posed. But I’ve started asking another one recently: what’s stopping you?

The fact of the matter is, much of the time you is what’s stopping you.

Many of us have a natural propensity to talk ourselves down - I know I do - and when you think about it, that’s pretty detrimental to your business. Take Sue Bryce, who is one of the biggest names in the portrait photography business and is interviewed in this very issue.

She’d spent a good few years making a decent living as a working pro, but 15 years ago that all changed when she decided to ‘shake things up’.

There were probably many reasons why she could have played it safe and stuck with what she was doing, but she chose not to let negativity cloud her judgment and now look; she’s known the world over.

It’s her story - along with the stories of many other photographers that we’ve spoken to in past issues - that make you realise the importance of challenging yourself, having faith and going for it.

@PHOTOPROUK

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E D I TOR IA L Editorial director Roger Payne 01223 492244 rogerpayne@bright-publishing.com Deputy editor Lisa Clatworthy Contributing editor Terry Hope Features writer Jemma Dodd Sub editors Catherine Brodie & Siobhan Godwood Contributors Adam Duckworth, Kingsley Singleton, Will Cheung, Julian Mitchell, James Abbott, Trevor Lansdown, Matt Condon

A DV E R TISIN G Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Advertising manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Sales executive Shannon Walford 01223 499457 shannonwalford@bright-publishing.com

© SUE BRYCE

D ESIGN Design director Andy Jennings Senior designers Mark George, Laura Bryant Designer Emily Stowe, Katy Bowman Ad production Lucy Woolcomb

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WEB Digital development manager Ashley Norton Interactive designer Will Woodgate

P U B L ISHIN G Managing directors Andy Brogden & Matt Pluck Head of circulation Chris Haslum

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Professional Photo is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Professional Photo is a registered trademark of Bright Publishing Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

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S U B S C R I P T I O N O F F E R – G E T 1 3 I S S U E S F O R £ 26 It’s never been easier or cheaper to subscribe to Professional Photo.

See page 41 for more info on our special offer…

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COVE R BUYERS’ GUIDE: INSURANCE

From rainforest canopies to high-rise flats, and on the streets of New York city Shaking it up with the worldrenowned portrait photographer Ideas to fulfil the happy couple’s dreams and their album, even on the darkest and coldest days In the ’hood and endangering his life, Andres Herren shoots gangs Foolproof advice to get your website noticed Exposing the set-ups behind two real-world studio shots Meet four photographers whose risk-taking has been rewarded This motor sport and automotive photographer is on the fast track to success Take five minutes to answer TIPA’s questions and you could win a new camera body Will the X-T2 convert DSLR shooters? And videographers?

Exclusive first look at the company’s first battery-integral location light

Who you gonna call?

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T HE STORY B EH I ND It’s a meaty story this issue…

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U PF RO N T .1

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O P ENI NG SH OT

IN THE TREES Don’t just dream of success, make it happen – as Tim Laman did with this prize-winning image TIM L AMAN

L I S A C L AT W O R T H Y

If at first you don’t succeed, try, try again, goes the adage. And it’s advice that won Tim Laman this year’s Wildlife Photographer of the Year title.

He’d tried to get a wide-angle shot of orangutans in the canopy with his film cameras – no success, and with his DSLRs – no success. So he tried again with a GoPro – success! And double success, as the shot won Tim the accolade he’d dreamed of. “It’s been a long-time dream to have success in this competition,” he says, “one of those goals you have when you’re a young photographer. It’s a dream fulfilled.”

With three cameras rigged 100ft above the ground, Tim controlled his GoPros from the ground, watching two orangutans visit this fruit-bearing tree over two days to get his shot. It’s not the first time he’s used GoPros in his work, but previously he’d used only them for behind-the-scenes shots. It was only recently that they offered the quality he needed.

Describing himself as a field biologist by trade, Tim turned his lifelong interest in photography into his career when he used his PhD research for his first National Geographic article – appropriately, on orangutans in this rainforest.

NHM.AC.UK /WPY The Wildlife Photographer of the Year exhibition is at the Natural History Museum until September 2017, when it travels to another 59 venues worldwide. The Wildlife Photographer of the Year Portfolio 26 book is out now, priced £25 – with Sam Hobson’s urban fox shot on the front cover (as featured in issue 124).

@PHOTOPROUK

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NEVER MI ND TH E…

PUNK. PROUD Celebrate four decades of punk with a look back at the original punk acts, through the lens of music photographer Adrian Boot

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CLOCKWISE FROM TOP: The Clash in Belfast, 1977; Blondie, Boston, their first US tour, 1978; Specials concert in Brighton, stage invasion brings the concert to a climax, 1981; Madness photo session in band’s London neighbourhood, 1981 OPPOSITE: Teddy Boy, Johnny Rotten – Sex Pistols Oxford Street Glitterbest photo session, 1977

LIS A CL AT WORTHY

Renowned for music photography dating back to the 1970s, Adrian Boot could be described as having come full circle. His latest exhibition is at Proud Camden – which is more or less the site of Rehearsal Rehearsals, where he photographed The Clash at the height of their infamy in 1977.

The exhibition, 40 Years of Punk: Photographs by Adrian Boot, includes many of those iconic images, which were also in Adrian’s earlier London Calling show. Now though they are joined by more of his seminal shots of punk acts from the late 1970s and early 80s such as the Ramones, Blondie, Siouxsie Sioux, Sex Pistols and The Damned.

With a back catalogue as extensive as Adrian’s, choosing which photos to include could be a monumental task, but he says, “After all this time they kind of choose themselves. These particular photographs have been used in all kinds of contexts over the years, including record covers, magazine spreads and previous exhibitions and so the best, most popular images come to the top.”

It’s 40 years since punk first made headlines. Despite the title, this exhibition isn’t tracing the last four decades of punk bands. Instead Adrian describes it as “a historical record of punk, which is still very relevant today.

The revolution is ongoing because the injustices are still with us. Not much has changed and young people today have even less opportunity. At least then you could go to art school for free, form a band, have a party and create new ideas, but these days it seems that authority is closing down venues, pricing young people out of housing, imposing impossible student debt, criminalising them for the odd spliff etc. Therefore, there are lots of good reasons for punk’s legacy to still be relevant today.”

And in that vein, Adrian isn’t ruling out any punk happenings. When asked if there are plans afoot for any events in the style of Burn Punk London (Malcolm McLaren’s son threatening to burn his punk memorabilia), he replied: “TBC. Watch this space…”

40 Years of Punk: Photographs by Adrian Boot, is at Proud Camden until 8 January.

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PROFOLIO SUE BRYCE

THE SECRETS OF SELLING SUE BRYCE

TERRY HOPE

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There’s no denying that Sue Bryce produces some of the most exquisite portrait photography around, but as well as getting the product just right she’s also fully mastered the arts of marketing and selling

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PROFOLIO SUE BRYCE

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T EC HNIQUE

DING DONG! ADAM DUCKWORTH

The groom’s there spruced up and in his prime, the bride looks amazing, but the light’s going and it’s cold. How do you get the shots? Like this, says Adam Duckworth

@PHOTOPROUK

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T EC HNIQUE

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etting paid to photograph a wedding is already a highly stressful experience. It’s the happy couple’s big day and you’ve been hired for your amazing people skills; photographic prowess in every genre from reportage to still life and beauty; calmness under pressure; and the ability to not only capture every detail of the day but make the happy couple look wonderful too – all in a very tight time frame.

Blessed with the glorious sunshine of a summer’s day with typically up to 18 hours of daylight and guests frolicking in the lovely warm light of a midsummer evening, it’s a high-pressure day where a lot is expected.

But with the best wedding venues being booked up and expensive in the summer months, the wedding season now extends right through the year and winter is a far more popular time for couples to tie the knot than ever

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before. And with that comes far more unpredictable weather which can lead to all-indoor weddings, or risking giving a bride hypothermia if you dare to venture outside, all in a very short window of daylight. After all, it can be dark at 4pm in the depths of December, so your window of opportunity to get natural light shots is much reduced. Especially if the wedding doesn’t start until 3pm!

So the first thing to do when faced with the potential of a winter wedding is to plan, starting with the all-important time of the ceremony; usually earlier is better to maximise the amount of daylight. And ideally at a venue that has huge windows to let what little light there may be flood in. But perhaps more importantly, it’s imperative to IMAGES RIGHT: Take advantage of your surroundings; whether that means getting outside and using a venue as a beautiful background, or making use of beautifully lit indoor set-ups

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PRO J E C T

GANG S TAR

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ANDRES HERREN

TREVOR L ANSDOWN

Bringing a whole new meaning to ‘photoshoot’, Hasselblad Ambassador Andres Herren photographs gangs

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STR EET GA NG S

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[ B USI N ESS MAT TERS ]

ON TA RGE T

DO YOUR RESEARCH Don’t take a stab in the dark, take wedding photographer and business guru Mark Condon’s advice and investigate keywords

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MARK CONDON

IF YOU ’ R E IN T E R EST E D in growing your photography business using SEO, a good place to start is with some keyword research. In essence, keyword research is a way to find out the actual search terms that people enter into search engines. Without adequate keyword research, your SEO efforts will be a bit like taking a stab in the dark.

You’ll probably be surprised when you do a bit of keyword research and uncover what the average client in your area is typing into Google to find a photographer. You’ll also be one step ahead of your competitors, who are blindly targeting highly competitive keywords, or ones that don’t attract any traffic whatsoever.

Before I lose you with too much technical jargon, let’s return to what is the actual goal with SEO in your photography business. The bottom line

is that you want to book more shoots.

To do this, you need to attract more clients to your website. After they arrive at your site there are many variables as to whether the client actually books you, but SEO is only concerned with this first step of the process – getting the client to your site.

Traffic Without increasing the number of visitors to your site (ie. the ‘traffic’), it won’t matter how good you are at photography or at selling – you simply won’t be able to book more work. This is of course disregarding referrals or word-of-mouth traffic.

With keyword research, you’re discovering what people are actually typing into search engines to find a photographer. This is incredibly powerful information.

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PP126-055-058 (LIGHTING SECRETS)sg cbljc.indd 56 STUDIO WHIZZ KIDS AND ASSISTANTS: PANCHEEWAN THEEPTANAPAT, JIRAT THEEPTANAPAT, CHATCHAI BUMROONGTHUM

MODEL: IRA PARUCHA DARWAN; DESIGN: EGGIE JASMIN IND; MAKE-UP ARTIST: YUDHA ISWARA; TECHNICAL GURU: GLEN ALLISON

LIGHTING SECRETS

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STUDIO WHIZZ KIDS AND ASSISTANTS: PANCHEEWAN THEEPTANAPAT, JIRAT THEEPTANAPAT, CHATCHAI BUMROONGTHUM

Brought to you by

WHY DID YOU TAKE THIS SHOT? My photographic work has always been very heavily influenced by the Eastern Asian culture. I spend half of the year in the UK and the other half in Asia, as my wife’s heritage is Thai and Chinese and my daughter lives in Bangkok – I love it there. The Asian culture is completely enchanting and the creative talent in that part of the world is astounding. My connection with Asia inspired me to create a series of images that channelled some of the culture I am so passionate about.

I began with the vision of what I wanted to create, I envisaged a goddess of beauty, a figure that represented love, peace and harmony. I worked alongside the Indonesian designer, Eggie Jasmin, to produce this intricate headdress for the costume that incorporates the culture of Indonesia and Thailand. The image sits within a series, alongside the contrasting piece Demon Goddess Lilith.

TO WHAT EXTENT DO YOU PLAN YOUR SHOTS? This, really, depends on the shot.

Sometimes I draw up a plan but have to abandon it altogether. I shoot at studios all around the world and I’m often challenged by the physical space I shoot in. I may not be able to get the look that I’d originally wanted, as I don’t have the space or the conditions. If something just isn’t working you need to be brave and abandon it, because you could find the perfect shot instead.

Other shots I will plan meticulously, with months of work to engineer

THE MORE ELEMENTS YOU HAVE THE MORE THINGS CAN GO WRONG

SHOOT 1: ASIAN-THEMED PORTRAIT

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IMAGE INFORMATION: 1/200sec at f/11, ISO 100 EQUIPMENT USED: 3x Profoto B1s, stripboxes & beauty dish, Phase One XF system and IQ260 back every aspect. The lighting will be just so and the costume will have been in the making for months. When I have an idea for a concept, I often search for the perfect designers, make-up artists and model, then, together, we work on creating a piece of visual art.

For example, with this shot I knew the concept that I wanted and intricate details, such as the contact lenses, from the first moment.

HOW DID YOU LIGHT THE IMAGE? I knew exactly what I wanted from the light in this image way before I pressed the shutter – I wanted a high-key image with very little shadow. Despite this shot appearing quite complicated, I kept the lighting set-up simple. Sometimes simple is key, the more elements you have the more things can go wrong.

It’s so important to use your equipment wisely, it doesn’t matter if you use three lights or ten – if you don’t set it up correctly, it’ll look rubbish. I wanted this high-key look so I started with the Profoto beauty dish to distribute light evenly over the model’s face and give that lovely catchlight in her eyes. I used two 4ft stripbox RFi softboxes, one on either side of the model and another on the floor that was slightly raised to light the underneath of her chin to ensure that very few shadows were cast on her face.

I make sure that all the gear I buy is the best I can possibly get. I can’t ask

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Profoto RFi 4ft stripbox

Profoto RFi 4ft stripbox

WHAT’S YOUR MAIN PRIORITY WHEN IT COMES TO CAMERA GEAR?

@PHOTOPROUK

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Profoto 6ft stripbox on the floor pushed up, and Profoto beauty dish

Phase One

people to invest in my work if I don’t invest in the best equipment I can. My work involves so much travel, I need lighting equipment that can cope with that lifestyle. I always carry four Profoto B1s and at least eight batteries with me everywhere I go, as they’re just so dependable – they never let me down.

WHAT CHALLENGES DID YOU ENCOUNTER WITH THIS SHOT? We were really struggling to get a catchlight from the beauty dish in the model’s eyes. I was adamant about the eyes being a focal point and something just wasn’t working out. Quite by chance, the model glanced up and the shot just fell into place perfectly.

The light hit her eyes and cast the loveliest catchlight; it was such a serendipitous moment. Despite being so perfectly planned, it took a splitsecond unplanned action to bring the shot together.

HOW MUCH POST-PROCESSING WAS APPLIED? As a general rule, I spend a lot of time post-processing and ensuring that my shots are as good as they can be. This one, however, required very little work.

The make-up artist was extremely talented and the model had flawless skin, which was lit perfectly – I barely needed to touch it. I always try to get everything as good as I possibly can in camera then use post-processing to give it that extra edge. If you don’t get things right in camera, you will struggle to get the effect you want in post-processing.

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CHALLENGES

RISK AND REWARD VA R I O U S

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KINGSLEY SINGLETON

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Risk and reward

How far would you push your skills for a better shot?

This month we talk to four very different photographers, taking on very different challenges...

“I WAS HIT WITH A SNAKE” Photographer: Philip Lee Harvey

THIS PAGE: Philip Lee Harvey, who was voted Travel Photographer of the Year in 2014, has shot in over 120 countries, and occasionally risked his neck to bring home the bacon

t’s mid-afternoon in the hazy heat of Lucknow, northern India, and Philip Lee Harvey is following a tip. As a highly experienced travel photographer, Philip has seen a great many exotic things in his travels, but reports of local snake charmers who’ve become immune to the venom of their serpents? That’s more than enough to get his index finger hunting for the shutter button.

I

An hour later and he and his guide are exiting a situation best described as ‘assault with a deadly serpent’. “I don’t like snakes anyway,” confesses Philip, a veteran of hundreds of magazine shoots for titles like Condé Nast Traveller, Lonely Planet Traveller and National Geographic Traveller, adding what we expect is tongue in cheek, “they shouldn’t be allowed.”

He and his guide had been halfway through shooting when the snake charmers started getting agitated. “They started to look at my camera equipment, and the guide I’d employed, and decided they wanted more money from me.

But my guide wouldn’t tell me what was happening as he thought it was his responsibility to handle it.

“Despite the fact that I’d already paid quite generously, it came to a head and, in frustration, one of them threw his cobra at me. It hit me in the chest, and at that point I don’t know who was more perturbed, me or the snake. That’s when we decided to leave.”

Going for goals Take a look at the portraits created that day in 2000, before the snakes started flying and you’ll see it was well worth it; worth investigating the tip, worth extending his time in the city after the scheduled shoot had ended, worth overcoming that phobia. Even worth the momentary panic and orderly retreat.

A great deal of Philip’s work clearly comes down to this skilled reading of photographic risk versus reward. “That’s the challenge really,” he explains. “You know you must come back with good images, so everything else is just a hurdle on the way to that goal.”

For Philip then, risk assessment, means asking ‘is it worth it?’, an example of which he recalls from shooting a feature for Lonely Planet Traveller in Siberia. “It was a very, very cold morning, but the sun on the snow and the freezing fog looked so amazing, I couldn’t resist working it. I got some good shots, then, at one point, my tripod plate came loose and in a moment of panic I took my gloves off to get a Leatherman at it.”

@PHOTOPROUK

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R I S ING S TA R

DOM ROMNEY

JAMES ABBOTT

From work experience with the press to editorial car photography and Formula 1 to advertising, Dom Romney has done it all.

And he’s still only 26 with a long career ahead!

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Dom Romney

@PHOTOPROUK

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