Creative Light - Issue 22 by Guild of Photographers

Master Craftsman - Heather Burns Wedding photography - Morag MacDonald Fashion Photography - Richie Crossley Guild Success - Photography Exhibition, Inner Monglia Yorkshire Air Ambulance Calendar - Helen Walker Issue 22

Creative Light Magazine

Issue 22

Contents 12 16

Saraya Cortaville New Panel Member

30 40

Helen Walker Yorkshire Air Ambulance

Ozzie Malik Craftsman, Wedding Photography

Guild Members Success Ulanqab Sacred Plateau Photography Exhibition - Inner Mongolia

Richie Crossley Fashion Photography

72 86 98

Morag MacDonald Documentary Weddings

Heather Burns Master Craftsman

Gold Awards August 2017

Phil Green Craftsman, Landscape Photography Gold Awards September 2017

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Creative Light Magazine

Guild Awards Night 2018 3rd February 2018 Crewe Hall, Cheshire Many of the tickets for the Awards night have already been sold, so donâ&#x20AC;&#x2122;t leave it too late to reserve your place!

Info & Book

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[click here]

STEVE & LESLEY THIRSK The Guild of Photographers Now, as we approach the end of the year, it’s all getting very exciting! The final months judging is underway. This will be followed by the selection of a short-list for the Image of the Year contenders in many different genres, and then the judges come together to choose the winners!

Also, the years points will be tallied, checked and double-checked to determine who the Guild’s ‘Top 10’ photographers are in each genre, and who has achieved enough points to become a member of the elite ‘Photographers Bar’! All the winners will be recognised at our Awards night on 3rd February 2018 at the magnificent Crewe Hall, a stunning Jacobean mansion in the heart of the Cheshire countryside. Also, all the short-listed ‘Images of the Year’ will be included in an inspirational yearbook which can be purchased for £17.50, though all those attending the Awards night will get a copy free of charge. Many of the tickets for the Awards night have already been sold, so don’t leave it too late to reserve your place! You can find out more and book here - https://photoguild.co.uk/events/theguild-awards-night-2018 PhotoHubs Coventry was held on 15th and 16th November 2017. It was a fantastic training event and sponsored by Loxley Colour and InFocus Insurance. Five incredible speakers on the main stage each day, several intimate workshops and the attendees had access to The Guild’s Trade partners, mentoring, and even a sensor cleaning service! We have been overwhelmed with the positive feedback that we have received. New dates for 2018 to be announced in the New Year. Just got home after a fantastic couple of days. The show was a great success and “I thoroughly enjoyed Gary Hill’s course. The whole organising team were superb, thank you.” “I have had an absolute blast at PhotoHubs considering I was going to this event alone not knowing anyone.. Everyone was so lovely and friendly. The training was really good and the talks were fab.” “A big thank you to everyone involved for making Photohubs such a great event. Lovely to catch up with a few old friends too.” “... I had a complete blast .. loved every minute .. it was great to see old friends, and meet some new ones.”

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Creative Light Magazine

Front Cover “

I have a couple of dates in my life that means so much to me, but remembrance Sunday is a chance for me, and everyone to spend a little time in thought and thank the people that have given there lives for our freedom. Unfortunately, I have lost many friends during my military service, I served in the 3rd Battalion the Parachute Regiment for eight years, and on one freezing and fateful wet evening, I saw twenty friends taken away. As you can imagine has left a significant imprint in my mind and my heart. I just wanted to do a little something to mark the poppy day and the fallen. That’s how this image came to light. It shows, reflected poppies in rays of sunshine with an out of focus landscape, so this could be anywhere. I have not used an image of a fallen hero here, for obvious reasons, but his face symbolizes looking down on us all, and he will never grow old as we that are left grow old. - Clive Hall MCrGPP

The Poppy I am not a badge of honour, I am not a racist smear, I am not a fashion statement, To be worn but once a year, I am not glorification Of conflict or of war. I am not a paper ornament A token, I am more. I am a loving memory, Of a father, wife, daughter or a son, A permanent reminder Of each and every one. I’m paper or enamel I’m old or shining new, I’m a way of saying thank you, To every one of you. I am a simple poppy A Reminder to you all, That courage faith and honour, Will stand where heroes fall. - author unknown

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Creative Light Magazine

Editor Rich Wiltshire’s image of a wave hitting the harbour wall is my Editors Choice for this edition of Creative Light. Rich entered this picture into February’s Image of the Month Competition, 2017. I just had to give this image a little bit more exposure as it’s definitely got the ‘impact’ factor. Great shot. If your website isn’t mobile friendly then Facebook can fill the void. Facebook is mobile first so you have to make sure that your Facebook adverts are optimised for Facebook users. I would strongly recommend that you get your website updated to a mobile friendly version. I am thrilled to feature some fabulous work for this editioin of Creative Light including the recent successful Master Craftsman Panel submitted by Heather Burns and two fabulous Craftsman Panels from Phil Green (Landscape) and Ozzie Malik (Weddings).

julie oswin

Ozzie Malik’s Wedding Craftsman is the first wedding submission to be awarded Craftman since the last successful panel was awarded in 2013 to Neil Bowler.

Nesting Pair - The Galapagos blue-footed Booby

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editors choice Rich Wiltshire Awarded Silver - February 2017

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Creative Light Magazine

ÂŠ Sal Cincotta

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The world is my studio Profoto A1

We created the Profoto A1 with a round head that delivers light that’s both natural and beautiful both on camera and off. It’s also incredibly easy and to use, with superfast recycling and a longlasting battery, so you’ll never miss a shot. It might be the smallest light we’ve ever made, but the creative possibilities are enormous. Discover the world’s smallest studio light at profoto.com Issue 22

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ÂŠ Saraya Cortaville 12

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New Panel Member

Saraya Cortaville Saraya Cortaville is an award winning portrait and social documentary photographer. She is only the second woman in the UK to have achieved two Fellowships - before becoming a Master Craftsman with the Guild. One of her Fellowships is for Studio Portraiture, and her most recent Fellowship is for Social Documentary which was based on a project she completed in 2015 while Saraya was living in Africa. Saraya was presented with the Peter Grugeon Award for the best Fellowship Portfolio of 2015. Awarded a Gold Award in the BIPP Visual Arts Professional Photography Awards 2016. Saraya’s passion for travel and people has pushed her career into a more adventurous phase, and she has recently lived and worked abroad for various international NGO’s (non-governmental organisation) documenting social issues in countries as far as Tanzania and Nepal. She skillfully manages to draw out her subjects feelings and emotions in a sensitive and empathetic nature. Her portraits are an observation and moment of connection, between two people, rather than the photographer and subject. When not abroad Saraya shoots primarily location portraiture specialising in children and also photographs documentary weddings. We welcome Saraya onto the Guild’s Judging Panel.

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Creative Light Magazine

Photos shown in mounts courtesy of

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congratulations Lisa Sumner Qualified Guild Newborn & Baby Photographers October 2017 Issue 22

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ÂŠ Heather Burns 16

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Master Craftsman

Heather Burns Introduction The story so far….

The two detectives stood in silent contemplation on the plateau, facing into a light northerly autumn drizzle of chilled rain as a new early November morning began to break over the Derbyshire moorland. Pistols still in hand, barrels emitting smoke from the final emissions of muzzle flash and stood amidst the many spent cartridge cases that lay all around them like precious gems glistening in the grass, illuminated by the thin shards of sunlight breaking through the last remnants of night time cloud. Inspectors JB Bass and AT Blackmore seemed at a loss for any further meaningful response to how the previous night’s occurrence’s had ultimately unfolded. Today, you are going to meet Detective Chief Inspectors James Bartholomew Bass and Alan Tiberius Blackmore, both late of the Prince Consorts 95th Rifle Brigade and of her Majesty Queen Victoria’s special Military Black Operations Unit. Newly promoted Detective Markus Jackson who has displayed constant loyalty to his colleagues in the field has been called upon to join the detectives due to his indelible knowledge of the deadly criminal community. But alas the timing is troublesome for the detectives as the acclaimed first violin and guest soloist with the world renound London Symphony Orchestra, Dame Pandora Scarlett Blackmore, is in preparation for a long awaited recital of her haunting, melodious concerto, reported to be one of the finest within the classical fraternity. You will join them in their mission to bring an end to the terrifying reign of “The Blood Demon”, whom transpires to be a mere man yet of royal blood, denounced by his church for indiscretion against his family, cursed to roam for eternity feeding on human blood. Yet this prince known as The Blood Demon has no concerns for any life force he may endanger during this, which is to be his last confrontation….

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Creative Light Magazine

The Case of the Blood Demon The dawn of the detectives… It all began with a weekend in Whitby several years ago at the Goth Festival. The boy’s love of Ripper Street gave them the idea of dressing as Victorian Detective’s. It’s an amazing experience in the town over the weekend and it became apparent very quickly that actually more is more when it comes to attire and attitude! I’d documented the weekend in images (predominantly a series of grab shots with a bit of posing thrown in) which sparked the creative in my husband to write a short story about the two detectives and the case they worked on whilst in Whitby using the images to illustrate the story. It completely escalated from there when the following summer the whole of our group of friends went to the Asylum in Lincoln and “The League of Ghosts” was established. Having thought long and hard about what I wanted to present for my Master Craftsman panel, I decided to bring the characters to life from this first short story in a way that embraced the Victorian Detectives and the world of “futuristic nostalgia” known as Steampunk and began to story board out a number of scenes from the book that I thought would make great images. It’s a responsibility bring to the life the characters of a book as the author will have a clear idea on how they perceive them to look in their own minds eye and I was delighted to achieve images that Jamie felt were fitting to his own thoughts on the look and feel of the story. The location we used for the shoot was the same one that featured in the book, a disused Lead Mine in the heart of the Peak District. The volunteers who work there are fantastic (although I think they think we are a little eccentric) and always allow us to roam about where we like to take photographs, it’s a location I use often as it has ambiance in abundance. I was also conscious that I wanted to capture the essence of the story as though it was unfolding in front of you as you look through the series of images, so unlike a normal shoot where you would specifically pose the subject we worked along the lines of making a “film” and captured the “still” as the characters acted out the scene (with a few “hold that poses” thrown in)!. To tie it all together I incorporated elements of some of my abstract imagery to give the series my own unique style and identity incorporating surreal, dark and steampunk facets. This has been one of the most fun and creative collection of images I have put together and hope you enjoy looking at them as much as I did creating them.

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ÂŠ Heather Burns

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ÂŠ Heather Burns Issue 22

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ÂŠ Heather Burns

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Creative Light Magazine

Print in photo courtesy of Sian Lewis Photography

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Creative Light Magazine

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Infocus Insurance has for decades been a committed supplier of high quality insurance products and services to photographers and videographer’s. We aim to do it with a smile on our faces and to bring a smile to the faces of our customers, especially when things go wrong. As a thank you to all the wonderful members of The Guild for your continued support we are offering 12 months cover for the price of 11. Every year! What you get when you insure with us: • Interest free instalments • Worldwide cover for your photographic & technical equipment • Include Professional Indemnity cover and you’ll automatically get PR help with our ‘Crisis Containment cover’. We’re the only specialist Photography insurer to offer this cover! • Policies underwritten by Hiscox Insurance • Your own personal handler • Also Available: • Home Insurance, designed with you in mind: • Business & home contents • Client home appointments allowed • No Claims Discount up to 25% • Interest free instalments • Low excess • Home Emergency & Home-care included as standard • Pensions • Critical Illness cover • Cyber and Media

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congratulations Chris Hunter Qualified Guild Photographer October 2017 28

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Creative Light Magazine

The high ‘Fashion Look’ made from Medical Equipment

“

I have been one of the GP partners at a surgery in Silsden, Keighley, (Silsden and Steeton Medical Practice) for 17 years. Two years ago, with my interest in photography, I had the idea to make a charity calendar with our staff at the practice; at a time when the NHS was (and is!) somewhat beleaguered and morale low, I thought it would be fun to do and something to bring the team together. It has also proved to be an excellent experience for me as a photographer. I have discovered I love the process of coming up with the ideas and working out how to do it all on a grand scale.

helen walker

There was a bit of trepidation to start with but now the staff are somewhat used to my odd ideas and humour me and in fact are tremendously brave and fearless about getting in front of the camera! This time I even had some volunteers!

The first calendar we produced was in 2016, and we raised £660 for our local “Manorlands” Hospice (and one of the images of the zombie doctors made the top ten “digital and creative art” images in the Guild of Photographers 2016 Annual Awards). Due to popular demand from the staff, we decided to do it all over again this year. This year in aid of the Yorkshire Air Ambulance Service. I chose this charity after I happened upon a severely injured cyclist on the side of the road and was privileged to watch the Yorkshire Air Ambulance team in action at close quarters. Recently they landed in the field behind our surgery to come to the aid of one of our patients. The choice of the Yorkshire Air Ambulance Service has also has proved to be a popular choice for staff and patients alike.

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The chosen theme for the calendar was to combine a ‘high fashion’ look with costumes made from medical equipment. Doctors, nurses, and the staff were featured wearing items of clothing, usually found as cubicle curtains, toilet rolls, a dress made out of tongue depressors, a tiara out of syringes, and a Santa Claus dressed in rubber gloves. After I mentioned the idea in passing to my good friend and model Scarlett Fox (who is well known to many in the Guild), she volunteered to do the styling for it. So we met up for coffee and had a fun day coming up with ideas and solutions on how to create the costumes. She then worked so hard on those costumes bringing the ideas to life, making a ball dress out of cubicle curtains and individually drilling 100s of tongue depressors and hanging them on little rings to make a 1920’s flapper dress that moves and clatters as you walk. So then it was a matter of press-ganging members of staff - luckily we had a few new doctors who had just come to work with us (and had no idea what they were letting themselves in for) and a few who had enjoyed the previous experience and wanted to do it all over again. We used weekends between February and June and five full days of shooting using the Health Centre as a studio. I was lucky to obtain the help of Dani Warren, a local makeup and special effects artist who kindly agreed to help; she came to all of the shoots and was just amazing. Dani worked closely with our very own Michelle Pan, one of our staff at Silsden Medical Centre who is also a qualified makeup artist and hairdresser and who styled all the hair. Aided by fellow photographer and good friend Kevin Prime of York Photo Studio who helped as always with equipment, lighting, and general support and endless patience and, because I had to be part of the calendar too (if you can’t beat ‘em) taking the necessary photos of me. Our assistants were my son Bradley Walker and fellow teenager Faith Martin who assisted and stood in when we were short on models - or when we needed someone light and athletic to be the spaceman! We’ve been selling the calendars at our two Health Centres and working closely with local volunteers from the Yorkshire Air Ambulance Charity to hold events where we sell them while they run a stall alongside us. So far we have sold over sixty calendars (and some Christmas cards made out of the Christmas images from both calendars) at two Flu Clinics at the Surgery over the last month, and we’ve got a stall reserved at the local Silsden Gala for the end of November. We’ve also made the local press in Keighley and Bradford, and the Yorkshire Post. - Helen Walker

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The calendars are priced at ÂŁ7.50 (plus ÂŁ1.50 P&P) and are available from:Silsden Health Centre, Elliott Street, Silsden, West Yorkshire, BD20 0DG.

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Creative Light Magazine

Creating beautiful websites & brands Hi, Iâ&#x20AC;&#x2122;m Yvette Craig, some of you may already know the name, as I am a member of the Guild and until two-years ago I was a full time Professional Photographer with over 14 years experience until I had spinal surgery that went wrong. Having always had a keen eye for design (I worked as an Interior Designer in Canada) and with a basic knowledge of websites I decided to re-train as a web designer. Twenty months ago I started my own business called Lemonade Design Co and I also work freelance for Melissa Love, who was instrumental in me learning all about website. I now specialise in websites for photographers and the creative industry. Lemonade Design Co, is a full-service design & social media marketing agency. Based in Kent and servicing small to medium clients across the UK and the world. With clients in the USA, Cambodia, Canada, Sweden, Oslo, Dubai, Monaco, France, Spain, Portugal & Ireland.

LEMONADEDESIGN.CO YVETTE@LEMONADEDESIGN.CO T: +44 (1)233 642 733 M: +44 (0)7984 470415 Because you donâ&#x20AC;&#x2122;t get a

SECOND CHANCE to make a first IMPRESSION 34

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creating beautiful BRANDS & WEBSITES

MORE >

“it’s an absolute dream working with a somebody who totally gets what a photographer needs.. because you are indeed also an amazing photographer with a wealth of wisdom, understanding and experience. You know what good looks like :-)” - Tamara “I couldn’t have asked for anyone better to help me with my website and I’m totally in love with it. I have no idea about websites or hosting, domain it was massive mind field but over the past few months Yvette has educated me talked me through any issues I have had and I’m now getting clients through my site. Thank you”. Helen Rowe - ROWE STUDIO UK “Yvette has been incredibly helpful and efficient from the very first time I spoke to her. I am thrilled with my new website! It’s exactly what I wanted. She was really patient with me and made me feel like nothing was too much trouble. She works very efficiently and always had things ready for me sooner than I was expecting I can’t recommend her enough. The techy stuff really goes over my head but she was great at explaining things and offering solutions. I will definitely be using Lemonade Design again when I’m ready to develop my second website. Great work Yvette – thank you so much again xx” Sandra Ace SANDRA ACE PHOTOGRAPHY

LEMONADEDESIGN.CO YVETTE@LEMONADEDESIGN.CO T: +44 (1)233 642 733 M: +44 (0)7984 470415 Issue 22

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congratulations Emily Endean Qualified Guild Photographer October 2017

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Creative Light Magazine

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Gold Awards

august 2017

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ÂŠ Mark lynham

da johnstone

ÂŠ tracey lund

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congratulations Steve Collins Qualified Guild Photographer October 2017 Issue 22

Creative Light Magazine

How to Use Studio Samples to Increase Your Sales An online product catalog is a great sales tool, but nothing compares to your clients seeing the products you offer in person. Here, two photographers share their sample strategies.

CHERYL, THE PORTRAIT PHOTOGRAPHER I’ve found that the best way to increase my print and product sales is to show clients samples of certain products. In my pre-sales consultations, I ask what clients are looking for and then decide what samples to bring with me to the shoot. For most family portrait sessions, I bring a 24x36 wrapped canvas or framed print so clients can see the size as well as the quality of the materials and depth of the colors. I let them take the large wall product home to see where it fits best. Once they see it in their home, they are excited to get one. If they have a young

baby or a smaller place, I’ll bring something smaller such as a 10x20 storyboard or an accordion album. My Zenfolio custom photo phone case is adorned with a great image of my kids and doubles as a marketing piece. I let clients know that they can purchase a case on my site or get one for “free” when they hit a certain dollar amount in purchases. As part of my welcome package, I give clients a visual of print sizes to help them get a better sense of what they will want to buy after the shoot. Ordering samples through my Zenfolio site is easy. I simply select an image, click Buy, and choose from the hundreds of quality products integrated in my account.

Cheryl is a portrait photographer and a mom of two amazing kids. She is part of the Zenfolio Customer Success Team, and her website is Cheryl Steinhoff Photography.

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AMANDA, THE WEDDING PHOTOGRAPHER Being able to show my clients what my products look and feel like has become a key factor to increasing my sales. I bring several samples, such as simple prints, image boxes, mat print folios, and albums, to client meetings. When a bride flips through an album imagining her own day, the product sells itself. I found a nice folio presentation box on Etsy. I print about twenty 5x7 prints for the mats. This is a perfect size to show detail and facial expressions. After clients see the presentation box, they almost always want to buy it, which they can do easily by going to my Zenfolio site, where I have the product in my price list as a self-fulfilled item. Filled with 4x6 prints from your favourite lab, an image box is a perfect product to add to your wedding packages. So go out and show clients your samples! The product sales are sure to follow.

Amanda is a devoted wife and mom to four children. She is part of the Zenfolio Customer Support Team and has been a professional photographer for 10 years.

GET 30% OFF YOUR SITE Use Code GUILD at zenfolio.co.uk/guild Issue 22

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Craftsman Ozzie Malik

Wedding Photography

WEBSITE https://www.divinciphotography.co.uk

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Ulanqab Sacred Plateau Photography Exhibition Inner Mongolia

Guild Members win Awards at the Ulanqab Sacred Plateau Photography Exhibition The ACES team were recently invited by the Ulanqab Sacred Plateau Photography Exhibition in Inner Mongolia to supply images from European photographers to be exhibited alongside their Asian counterparts. Entries were gathered by ACES team member Shane Young from various sources, particularly from members of the Guild of Photographers, and submitted for the exhibition. Team member Jason Du acted as liaison with the exhibition organisers and made the trip from Cheltenham to Ulanqab to be present for the event. Several entries submitted by the team won awards. Jason collected the certificates and prizes for distribution to the winners. Of special note is Guild member Helen Field, who earned a first prize for her horse and girl image. Mongolians love their horses! Other commended awards went to Julie Lomax and Katharina Heinrich.

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Creative Light Magazine

www.aces-glos.co.uk

info@aces-glos.co.uk

THE GREAT EASTERN PHOTO ADVENTURE AN UNFORGETTABLE PHOTOGRAPHIC TOUR OF BEIJING AND INNER MONGOLIA - JULY 2018 ACES offers this once-in-a-lifetime trip in conjunction with The Guild of Photographers, Photohubs, the China Photographers Association and China’s

Ministry of Culture

14 days fully hosted A superb photographybased itinerary taking in many world-famous sights but with the advantage of excellent local knowledge and the chance to witness some out-of-the-way exotic visual treats. The ACES team will be with you all the way. Jason lived in Beijing for many years, and Lei’s home town is in Inner Mongolia. Shane, who earned a lifetime membership to the Guild’s Photographers’ Bar, can offer shooting advice if needed.

All transport included All transport to, from and within China and Inner Mongolia is taken care of for you, including coaches, planes and trains. You only have to get yourself to Heathrow and we take care of everything else.

Translators always on hand Three bilingual team members accompanying you on your trip, so the language difference is no barrier to your enjoyment.

A photographer’s dream If you’ve always dreamed of a photography trip to China but wanted more than the standard tourist trail, this is for you. You won’t need to worry about local knowledge or lack of language skills. You’ll be hosted all the way. You’ll want early morning shoots to take advantage of the best light, so that’s been thought of. You’ll want model shoots, so that’s been arranged. You’ll want great food, and with the team’s fantastic local knowledge we’ll be taking you to some great eateries. You’ll want comfort, so your accommodation will be four-star or equivalent. You’ll want variety, so we’re taking you not just to the amazing capital, Beijing, but to the Great Wall, to a traditional Chinese circus acrobat show, to temples where early risers practise Tai Chi.

By booking, you accept that unforeseen circumstances may lead to alterations in the itinerary. 52

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www.aces-glos.co.uk

info@aces-glos.co.uk You’ll meet young Chinese fashion designers and photograph them wearing their creations, enjoy authentic Peking Roast Duck, visit the highest viewpoint overlooking Beijing, wander through atmospheric back alleys where traditional street food is served until the early hours. You’ll meet local photographers and ofﬁcials from the China Photographers Association and share your experiences. You will experience the overnight train within Inner Mongolia, the Naadam Festival for grasslands sports featuring horses, archery and outdoor wrestling in traditional costume, and to the Kubuqi Desert where you can experience sand sliding, camel riding and a model shoot. It’s a lot to ﬁt into two weeks, so we hope you’re feeling ready for action!

The all-important dates: Depart UK on the 8th July 2018 and return on the 21st July. All admission fees included Destinations include: Summer Palace - early morning Tian’anmen Square The Forbidden City The Great Wall - early morning Yonghe Temple Wudaoying Hutong Temple of Heaven Jigshan Park, Beihai Park, Houhai Alley Huhhot City Resonant Sand Gorge

The Price Per Person is £3987, based on twin room occupancy. Single occupancy supplements payable locally subject to availability. We’re limiting spaces to 20 people, so book early to be sure of your spot. A non-refundable deposit of £400 is required by 31st January 2018 to secure your place.* The balance of £3587 is payable by 15th March 2018. You will need to apply for your own visa, but we will send you details of how to do this upon receipt of your deposit. *In the case of insufﬁcient numbers of participants, the trip will be cancelled and all monies returned. If your visa application is not successful, we will re-apply on your behalf. If still unsuccessful, we will return all your money.

The info@aces-glos.co.uk Great Eastern Photo Adventure - JOIN Email to register your interest.

US!

See thefull full trip promo here: See the details of the trip: [click here ] https://spark.adobe.com/page/J7AdfpdHzOZ9J/ Or email info@aces-glos.co.uk to register your interest

Xilinhot Naadam Festival Chinese Circus Dazhalan Alley Maybe a little shopping…

Your three meals a day are also included in the price. By booking, you accept that unforeseen circumstances may lead to alterations in the itinerary. Issue 22

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congratulations Katrina Wilson Qualified Guild Professional Photographer October 2017 56

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Creative Light Magazine

... AND TIME “Shuttertax have a very straight forward and eﬃcient way of working which requires very little eﬀort from me.” We wanted to tell you what a fantastic online accounting service we provide for photographers but we decided to let Guild members tell you for themselves.

“The process of switching was painless and it has made me more productive, saves time and costs far less.”

INVALUABLE “I’ve found Paul's knowledge of tax issues invaluable, and he responds quickly to any questions I've asked. I've absolutely no regrets signing up with Shuttertax.”

NO ‘ACCOUNTANT JARGON’ “Any questions I had were answered fully without the use of 'accountant jargon'.” “He goes out of his way to explain things to me in a way that I will understand and answers my questions quickly.”

UNDERSTAND MY BUSINESS “They both completely understand my business, having "been there, done that!" themselves.” “Paul and his wife know the business too which he tends to keep quiet! They were excellent togs so know what hurdles we all face with running our business.”

PASSIONATE TO HELP “Paul is a brilliant guy, extremely helpful, understanding, and within minutes you will realise that you've found someone who's passionate to help other photographers.”

SAVED ME MONEY “Shuttertax has definitely saved me money in my first year and with Paul's help, I am sure my business will grow and grow.” “Paul took most of the tedium of accounting off my hands, and in completing two tax assessments for me so far, has certainly saved me more money than I've paid Shuttertax.” 58

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NO QUESTION IS TOO STUPID “No question is too stupid, communication is excellent and my tax returns have been painless now for two years.” “Paul patiently and expertly answered every single 'daft question' I threw at him and due to his expertise and patience my self assessment return has now been ﬁled in record time and with the minimum of stress on my part.”

TOP NOTCH SERVICE “Their customer service and professionalism is top notch too, after only a couple of months of working with Shuttertax I can see it has been a great decision and I can highly recommend them.” “Their professionalism and customer service speaks volumes about how they view you as a client.”

FRIENDLY “It felt like talking to a knowledgeable friend who's keen to help, rather than an accountancy ﬁrm who only see me as a commercial opportunity.”

UP TO DATE INFORMATION “Paul assured me that I would have up to date account information at my ﬁngertips but without all the hard work getting there.”

ACCOUNTANT WAS CHARGING ME A FORTUNE “I recently switched from a High Street accountant who was charging me a fortune and had me typing up spreadsheets and labelling invoices every month - time consuming and tedious!”

EXTREMELY REASONABLE FEES “They have simpliﬁed how information is recorded through the use of QuickBooks Online, providing access to information and reports I didn't previously have.”

“As if their friendly, professional service wasn't enough, I think their fees are extremely reasonable with no hidden costs which have resulted in reducing my accountancy fees by more than two thirds.”

TRANSFERRING IS SEAMLESS “The process of transferring my accounts to Shuttertax has been seamless. I cannot thank him enough and hope he won't regret all the extra transactions I get in as I have more time to focus on the business!”

WOW! “Wow, I wish I’d found Shuttertax years ago!” “I am deﬁnitely a customer for life!!”

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https://shuttertax.co.uk

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Creative Light Magazine

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Fashion Photography

Richie Crossley London-based photographer Richie Crossley, at only 14 years of age, had a defining moment in his life - he saw a photograph entitled “Keeping Up With The Joneses” by the late Bob Carlos Clark. That one image had such impact on Richie that he instantly knew what he wanted to do with his life. It fuelled a passion for photography and brunettes in him which has never left him! He went on to study photography and after working for various laboratories and photographers, Richie finally realised his dreams of opening his own photographic studio. His images have appeared in many publications world wide and he now specialises in: Beauty - Fashion - Portrature Richie’s photographic career has allowed him many opportunities worldwide and to date he has undertaken commissions in: London, New York, Paris, Milan, Frankfurt, Monte Carlo, Spain, the French Caribbean, several North African countries and Mumbles in Swansea - where he now resides and runs chicproduction.com with his partner/ model Maria. Of his success Richie says: “Although I have studied photography and printing, I am very much a self-taught photographer and have always been hands-on - no matter how big or small the job is. Becoming a photographer was the best thing that ever happened to me - not only for the experimental elements but also for the challenges that this medium presents. In simple terms, I do what I love and love what I do.”

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Â© Richie Crossley 64

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Q: What motivates you to get up in the morning to create your beautiful artwork?

Creating beautiful photographs of women into art! The moment I was struck by a provocative poster, keep up with the joneses by Bob Carlos Clarke, at the age of 14, I never looked back! I been extremely lucky enough to achieved my dreams. l retired from professional photography 5 years ago and I still love what I do, and do what I love! Never in 30 yrs have I felt l had to go to work! The difference is, now I get to choose what work l want with no pressure.

Q: One piece of equipment that you couldn’t do without and why?

My California Sun Bounce System reflectors. It’s perfect for my needs. It gives me that perfect controlled fill and lighting, especially when using fast lenses.

Q: Favourite lens?

My Canon 100mm 2.8L One of the sharpest lenses in my opinion, and is the closest result to my workhorse, Carl Zeiss 110mmF2f for my Hasselblad.

What have you found the most challenging in your area of photography? People! We are a funny species and sometimes when you want to create you are held back! They cannot see the project/final images like photographers do in their heads! But. . . . . My philosophy was always, “the client is right!!”

Camera equipment, what do you use for your photography? In my days, I had my Hassleblad as the majority of agencies and publishers preferred Medium Format Cameras. Since the digital era, I turned back to Canon and my latest kit comprised 1Dx’s and 1D’s MKIII with few Prime L series lenses. l started photography when I was 14 with my granddads Canonet, followed by my very own camera, the A1, then followed by the amazing Canon F1 which has never let me down. I still own all of my photography equipment from my days at University.

Q: What advice would you give to photographers about shooting fashion?

Have a mood board! Think about what you want to achieve and be well prepared before each and every shoot! Most of all, get to know the models you are working with! When you understand photography then break the rules.

Q: Do you use a Studio Stand or Tripod? If so, how essential is it to your work?

Yes, 100% l love my Cambo single column stand. It’s just perfect for all my needs and helps me be weightless! After 30 years shooting the joints starts to hurting.

Q: Post-processing and Photoshop, how important it is to your finished image?

I’m a control freak and tend to try finish my product when I’m shooting!! A bit of old school really! But some clients want their work “modern” or pale, the waxy look! That’s when l create few samples for the clients to choose from. Although I would love my interpretation on certain editing, the work is not mine if it’s paid! Issue 22

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Â© Richie Crossley 66

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Lighting equipment in the Studio what is your preferred choice for your work? I’m an Elinchrom man and have been for all of my career. But my favourite has to be my Maxi Dish, I get extremely good control of the shadows and the expression on my portrait subjects.

Q: Who inspires you?

Intelligent talented artists that are NOT self-opinionated! There is “ALWAYS” something to learn, irrespective your knowledge or success! As to published or know photographers, I adored the late Bob Carlos Clarke, Ellen Von Un-Worth and Helmut Newton

Apart from sheer hard-work and dedication, what would you say is the main ingredient to your success? KISS: Keep It Simple Stupid! God gave us two ears one mouth! Use them accordingly. Also, I love getting my clients involved in their shoots and get them to work with me.

Q: Favourite place in the world and why? Malta. Perfect shooting conditions and phenomenal backgrounds all over the place.

Q: Three words that describe you? • Interesting! • Provocative • Loud

Q: Favourite food?

It has to be Maltese food, followed by a Thai.

Q: And finally, where next?

After my past experience few years back I will be continue my venture in training and helping people suffering with depression and anxiety. l am so proud to help others. - Julie Oswin

Q: Can you recommend any photography books for the readers?

If you like stunning models and black and white like me, Russell James has a book called “Angels.”

Q: Interesting facts about you? I’m a Maltese!

Love breaking rules not conforming to the norm! I’m very eccentric!

Richie Crossley http://www.chicproduction.com

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Creative Light Magazine

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Creative Light Magazine

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ÂŠ Morag MacDonald

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Creative Light Magazine

documentary image MORAG MACDONALD

Creative Light Magazine

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Creative Light Magazine

documentary image MORAG MACDONALD M

orag McDonald has run a thriving business in Bristol for the last 20 years. After working for some years as a freelancer, she set up a successful Documentary Wedding business perfecting her trademark with a pure natural style. In 2007 Morag had her book ‘Wedding Photography a professional Guide’ published by Argentum. Morag’s photography is continually evolving, and now she directs a little more and has introduced touches of light at Winter Weddings to add a little extra sparkle to her images. Over the years she has been lucky to transform her work into a thriving and diverse practice by careful marketing, diversifying and staying sharp and focused on a high-quality end product.

Q: What motivated you to become a photographer?

morag macdonald

Photographer?

More importantly, a Wedding

I think photography is in my blood. I have always been passionate about images, reading books by the pictures as a child and studying art and photography in museums and galleries. This passion led to my father buying me my first 35mm camera at the age of 12. The camera never left my side. For a short while I lived in Portugal in my late teens and early 20s, I photographed the local population; it has always been people that fascinate me, their interactions and the invisible thing that bonds them together.

Q: What have you found most challenging in your career as a Wedding Photographer?

I began my career working in fashion, PR, and film, with a stint as a school photographer in my early days. Weddings were never on my agenda, at this point I think I thought that wedding photography was not real photography. After being persuaded to shoot a wedding for a friend and a producer from Aardman Animations this changed, and I found that weddings were a real thrill. I was addicted to the adrenaline, having to shoot all day at such a fast pace, having to think on my feet and never being able to reshoot anything. In 2005 I was approached by a publisher to write my book ‘Wedding Photography, a practical guide’ (Argentum 2007). In the early days of shooting weddings, I became very busy very quickly; weddings took over a much of my commercial practice. I moved into my studio in 2007, at this stage of my career was gaining pace, expanding the portrait side of my business I finally pulled back a little to restart my commercial practice. I have always been someone who needs a challenge. I get bored very quickly and always want to be doing something new. Having a broad base to my practice allows me to have the variety in my life that I to thrive on. I now regularly lecture to different photographic organisations and run training courses to both amateurs and professionals in the field. A few years ago, I was invited to co-write a new degree course, I led this programme for four years and now lecture across two universities on their photography degree programmes. Although my love weddings my photography is split between weddings portraiture and commercial work. Creative Light Magazine

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Q: What advice would you give to a member

of The Guild of Photographers looking to sell or make a living from Wedding Photography? Understand the business side of your photography is everything, but being good at business does not come naturally to many creatives. It is indeed something that I’ve had to work on steadily throughout my career. Being nice goes a long way, mainly when something goes wrong. I remember a time that I had major computer problems, having to let clients down was difficult when you pride yourself on excellent customer service. The best advice I can give is to keep in touch with your clients if anything goes wrong, provide updates, and if deadlines are passed think about sending out small tokens of appreciation. I was able to, not just keep my client, but be actively promoted by them as they were impressed by the way I handled a difficult period. Customer service and staying on top of the day-to-day correspondence is crucial in running a photographic business, what we do is, after all, is so very personal.

Q: Camera equipment, what do you use for your photography?

I am a self-confessed geek, I love cameras, and I love camera technology. I still have most of my early cameras as well as a collection of large format field cameras, twin-lens medium format cameras, box brownies and even a tiny 16mm spy camera. For some time now I have shot full frame Nikons (this started with my old FM2). I love their lenses, and use a mixture of primes and their brilliant 2.8 zoom lenses. My current camera bodies are a Nikon D810 and D800. For much of my work, I love shooting full frame I also use three-quarter frame Fuji’s. I have a collection including the X100, XPro1, and an X30. The latter I bought as a pocket camera when I was out in Greece working with refugees on Lesvos in 2016. What I love about the Fuji’s is the quality of the chip, twinned with prime lenses there is a filmlike quality to the images produced. The photos are dreamy, and the colour is excellent too straight from the camera.

Q: What advice would you give to photographers shooting a wedding?

Shoot for yourself! It sounds selfish, but when I shoot a wedding, I shoot firstly for me. Treating wedding photography as if it is personal work keeps me pushing myself forward. I need to stay fresh in my practice and need to learn new things. I try and do something different at each wedding I shoot. Come up with an original idea, or react to something that my couple says in our planning meetings. I want each wedding to be unique, but most of all it should be personal. I always show the work I want to shoot in my advertising and website. It sounds simple, but by showing the work, you love to do you attract a client who loves your creativity. Always try and be true to yourself. Issue 22

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Q: Post-processing and Photoshop, how significant is the use of software/editing to your finished images?

Very! Digital technology has allowed us to take back the control that we had when working in a darkroom. The raw file is like the negative, we then need to decide how it will look and be printed – just like in the darkroom, choosing the paper you print on carefully, toning, burning and dodging to get the look that you want. I print onto fine art surfaces and edit each image to look just as I think they should. This said I don’t like to over edit. If it is obvious, then I feel I have gone too far. Getting your image right in camera is crucial, then editing it to print at it’s best.

Developing your marketplace, how important was it to create a brand? Branding my business has helped me to carve out my position in the industry, your branding should go across everything in your marketing. But your branding is also you. You are the person who the client has booked, how you interact with your clients and handle enquiries right from the start is so important.

Have you any formal training from either Colleges or University? I am a great believer in learning. I always strive to push my business further, pushing my practice forward too. I studied Documentary Photography at Degree level in Newport, returning a few years later to do a Post Graduate Diploma in Higher Education. I have recently completed a higher education teaching qualification; I did this while I was running a new Photography Degree Programme at Weston College. I now teach part-time on the Photography Degrees at both Bath Spa University and the University of Gloucestershire in Cheltenham. I have been lucky enough to run lots of training sessions I also attend seminars, for me staying focussed and up to date with technological changes is key to staying relevant.

Q: Who inspires you as a Photographer?

I look at a lot of photography and art. I take inspiration from much that I see, but some photographers have come on a long journey with me, and I refer back to their work regularly. I have always had a deep love of documentary photography, some of those whose work has stayed with me are Eugene Richards, Stuart Franklyn, Nan Goldin. More recently I have respect for the work of South African photographer Pieter Hugo amongst others. I am happy when work with great photographers surrounds me, I have a collection of photography books and occasionally buy a few prints too.

Apart from sheer hard-work and dedication, what would you say is the main ingredient to your successful photography? Being able to see the light and learn where it will be next. When I arrive at a new venue I first scout for light, I love to work in soft washes of reflected window light,

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giving a Vermeer like wash to my images. I establish where the sun is and where it will travel so I can preempt the way that the interior will work at different times of the day. Although most of my images are taken with available light, I am not afraid to add light to create a little drama or get that wow shot on an overcast winters afternoon.

Q: Clients, how and what do you do to attract your customers?

Most of my wedding customers come through word of mouth. However, website and social media are an important way to market yourself. Making links with other wedding businesses is crucial, as networking is a strong and a cost-effective way of not just getting more work, but of working with suppliers that you have a relationship with too.

Q: Favourite lens, and why?

My favourite lens has to be the Fuji 56mm 1.2 portrait lens. It has a beautiful film-like look; the wide aperture means that I can shoot in the dark without flash during wedding receptions. It is the perfect lens for getting those guest portraits as the candlelit dinner is taking place. I often use this lens for my actor’s headshots too. It creates dreamy shallow depth of field in the shots and excellent skin tones.

Q: One piece of advice you would be willing to share with members of The Guild of Photographers?

Strive to be the best you can, and once you are, strive to be a little better. Don’t stand still and expect to carry on as you are, the world around us is continually changing, and we as photographers must change too. Oh, and lastly: Love what you do. It is so important to be fulfilled. Keep trying and keep learning, keep loving what you do.

How would you describe your ‘style and approach’ to weddings? A mixture of good old-fashioned observed documentary photography and a little creative direction and lighting to get something a bit different at each wedding I shoot.

Q: Interesting facts about you?

Hmm, let me think. No, I can’t possibly tell you that!

Q: Three words that describe you? Passionate, creative, loving.

Q: Favourite Food?

I am a good food lover. I love many things, but particularly tapas of vegetables and fish, a recent trip out to Spain saw my family eating squid each day, usually gently sautéed in garlic, herbs, seasoning, and butter – just divine. Morag MacDonald Documentary Photography www.documentaryimage.com

ÂŠ Morag MacDonald Issue 22

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ÂŠ Morag MacDonald

Creative Light Magazine

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congratulations Karen Brammer Qualified Guild Professional Photographer October 2017

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Craftsman

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Colour Grading By Dietmar Temps

Colour grading is a classic movie topic. The colourist is responsible for processing colour corrections and for matching the final movie in terms of brightness, colour, and gradation to achieve the mood desired by the director. Creating the “look & feel” The significance of the colourist has increased in the digital era. Advertising, music videos and cinema movies on a digital basis are often processed by colourists to a very large extent. On the one hand it is necessary to adjust the colours and moods of individual scenes which have been shot at different times and places. But colour grading also has an important creative and artistic aspect: the creation of a unique style or a distinctive “look & feel”. Up-todate colour grading goes far beyond the classical task of pure colour correction. 88 Datacolor : Creative Issue 22 ©2017 Inc. All rightsLight reserved.Magazine Datacolor and- Spyder are registered trademarks of Datacolor.

Colour grading in photography In analogue photography colour grading played a rather insignificant role. Professional photo productions were usually realized on diamaterial and the artistic colours of an image were the responsibility of the photographer. Necessary colour corrections for a complete image series, for example catalogs, were mostly carried out by traditional typescript editors. Digital photography has greatly changed this approach. Colour grading is an important part of the post-processing workflow. Either the colour grading is processed by the photographer himself or by other media designers. Thanks to the very popular Instagram filters, colour grading has also gained great popularity in amateur photography.

Professional colour grading If colour grading is used in professional photo productions, it should always be embedded in a standardized colour management process. For the production of an advertisment campaign it is important that the look & feel of the image material is reproducible. It is therefore recommended to carry out a correct white balance during the shooting and to work with calibrated monitors in the post-processing workflow. The artistic manipulation of the colours in the context of the colour grading depends often on the target group, e.g. poppy colours for children, cool colours for sports themes or colouring for retro effects. Manipulation can also be very subtle. Sometimes only the shadow areas or the lights of an image are manipulated. To get consistent results for a photos series, the best approach is to save the steps for the colour manipulation by using Photoshop actions. Creative amateurs will certainly put a little less effort on a self-developed look & feel. For them Lightroom or Photoshop plugins are probably a good choice. Using these plugins, the images can be manipulated with preset filters, for example with “vintage” or “retro” filters, a sepia tone or a “warm sunset” filter. It is possible to combine the basic filters and store them as compilations. This is a good alternative to the self-developed Photoshop actions, since the filters of the Photoshop plugins are easy and intuitive to use.

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Visual perception in the era of social media platforms Colour grading is also very popular on Youtube. Even simple-produced Vlogs show an amazingly good quality these days. Artistic Youtubers and Vloggers choose colour grading to give their Youtube clips a personal style. The visual perception of consumers is of course influenced by the large-scale usage of colour grading in advertising, movies, Instagram and many Youtube clips, especially as these images and clips are spread very quickly on social media platforms. In digital photography, amateurs often are a bit disappointed when they purchase an expensive ILC camera, but the resulting RAW files look a bit dull. However, good photography doesn’t require colour grading to a large extent, at least bad photography doesn’t become necessarily better. For this reason experienced photographers use colour grading as part of the post-processing workflow only very subtly. Based on this approach the captured photographic moods can be optimized very well. Many ambitious photographers are deliberately ignoring the mentality of publishing arbitrary snapshots combined with Instagram filters on social media platforms on a daily basis.

DIETMAR TEMPS Accomplished media designer and photographer Dietmar Temps lives in Cologne, Germany and has amassed almost 20 years in the media business. His first professional position as a photographic assistant took him through whole Europe and across the pond to America. After that he studied photo and media technology at the Cologne University of Applied Science. Currently he mainly realizes photo and internet projects with the focus on travel photography, social networking and video streaming. On his travel blog he writes about beautiful spots around the world which he visited in recent years. He realized many photo trips to Africa, but also to South America and Asia. On his website a series of photo galleries are available where he presents his photographic work, which also is published in many books, magazines and travel blogs. Contact: Dietmar Temps Photography and media design • Cologne, Germany dietmar.temps@gmail.com • http://dietmartemps.com

Dietmar about Colour Management: “The calibration is surprisingly easy. The device is really great. The colours are after calibration better and the contrast is slightly higher. The images are simply looking better. After using the before/after function my monitor shows a slight yellow/green colour cast which I hadn’t realized before. Problem: A few of my portraits are now too reddish which I have to retouch again….but now my display is calibrated! My feedback: very good solution!” Dietmar Temps // Travel Photographer and Photo Blogger // Cologne, Germany 90

Dietmar is a Datacolor Friends with Vision Member since March 2017. He is using a Spyder5ELITE+. Creative Light Magazine

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The first series of Cameracraft was a quarterly subscription-only magazine, covering three years of important developments in photography from 2012 to 2015 when it became part of f2 Freelance Photographer bi-monthly. A year later, from the November/December 2016 issue, Cameracraft returned as the main title for the magazine though youâ&#x20AC;&#x2122;ll still find the f2 logo there. Now Cameracraft is back and a new ISSN has been issued, the next edition will lose the f2. We have teamed up with The Guild of Photographers so all their members, professional and enthusiast alike, will receive Cameracraft. - David Kilpatrick

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Creative Light Magazine

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Creative Light Magazine

september 2017

Gold Awards

ÂŠ Mark lynham

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ÂŠ Mark lynham

ÂŠ karen brammer

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Creative Light Magazine

â&#x20AC;&#x153;No other photographic body offers what the Guild does... get an incredible package of business support, training and mentoring by some of the most respected names in the industry, insurance, legal protection and the rights to use our respected membership logosâ&#x20AC;?

Telephone: 01782 970323 www.photoguild.co.uk

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