Creative Light - Issue 35 by Guild of Photographers

FLOWER ART - GAILLE GRAY WEDDINGS - CHRIS CHAMBERS FAMILY - LUCI SCHOFIELD PROJECT BATHTIME - LEE GLASGOW SOCIAL DOCUMENTARY - JOHN BOLLOTEN THE FINALISTS - THE FOUNDERS CUP Issue 35

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Creative Light Magazine

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Contents John Bolloten Social Documentary Photography

14 28

Regional Meet-Up The SW + SW Regional Group

Guild Spotlight - Lee Glasgow Project Bathtime

Guild Spotlight - Chris Chambers Wedding Photography

Regional Meet-Up Birmingham Street Photography

Guild Spotlight - Luci Schofield Family Photography

Guild Spotlight - Gaille Gray Art of Flower Photography

The Founders Cup 2019 The Finalists

Photo: Laura Galbraith

Photo: Stacy Joyner

Photo: Cynthia Schotvanger- Hoekstra

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Steve & Lesley Thirsk The Guild of Photographers

On the 1st February the Guild of photographers has it’s Awards Night. We thought that this year it would be a great idea to have a pre-Awards edition of Creative Light, rather than one just after. By doing this we have been able to share all the images shortlisted in the Founders Cup and Image of Year genres. The ‘Founders Cup’ is a unique competition as anyone that who has achieved Craftsman status with the Guild or Associate elsewhere can NOT enter. Entry is also restricted to those who have NOT previously won any regional, national or international photography competitions run by photographic bodies. This means that in most cases those entering will be having their first taste of submitting a themed or cohesive body of work for assessment, thereby encouraging personal development. Entry requires the submission of a 3 image mini portfolio or Panel (ie the images must be themed or link together in an obvious way). You will see the submissions from those shortlisted as Finalists within this edition, and I’m sure you will agree the standard is amazing! The Guild also runs an ‘Image of the Month’ competition which runs for 10 months of the year. As well as being fun and challenging, it can help you push yourself and for those in business it offers some great marketing or Blog post potential. The entries each month are then assessed by a number of highly experienced Judges who grade them and the higher scoring images are given Bronze, Silver, Gold Awards or maybe even the highly sought after Platinum Bar. There is even an option for entrants to obtain direct 121 feedback from the judges to assist with personal development, and we encourage members who enter to help each other by creating and joining small ‘Buddy’ groups in order to share learning, advice and feedback. The Image of the Month competition also feeds Our ‘Photographer of the Year’ Title chase with ‘Top 10’ Photographer awards in several categories, from Newborns to Weddings and Pets to Natural World. The person who gets THE highest overall score from any of the sections also becomes the Guild’s Overall Photographer of the Year .... and the person who gets the highest overall combined score from any TWO sections will be the Guild’s ‘All-Round’ Photographer of the Year! Our ‘Image of the Year’ competition (with ‘Top 10’ finalists and overall winners in each of around 15 genres) There are also two Guild overall Images of the Year – ‘The Judges Choice’ (chosen from the Image of the Year category winners in printed format) and ‘The Members Choice’ (chosen digitally from all the Gold award winners through the year). The quest to become a member of the Photographers Bar (a lifelong distinction). This is a unique distinction awarded to those photographers who score the equivalent of a point for each entry made over the course of a competition year. In short this really is a demanding all year competition which is both fun and extremely challenging. It definitely helps people push themselves! Because this is a digital magazine we have been able to embed a video showing all the images shortlisted in the 2019 ‘Image of the Year’ competition, as well as the Founders Cup competition, so do make sure you watch it! With a new year come ‘resolutions’…make 2020 a year you push yourself! Either enter the IOM competition or consider the 121 mentoring the Guild offers from incredibly talented photographers who are willing to ‘Pay it Forward’! Meanwhile, enjoy the inspirational images from the competition that you will see in this edition as well as ‘members spotlights’ and more… - Steve & Lesley Thirsk Directors Issue 35

Creative Light Magazine

Front Cover “

“I woke up one dark morning in January to what looked like a light dusting of snow outside. Living near the South Coast snow is a bit of a novelty, so I took the camera with me on my early morning dog walk. It was the right decision; the sunrise was spectacular with light kissing everything with a soft pinkish palette. As I watched the sun, my attention turned to my little rescue Collie, Nuala who seemed to be pausing to appreciate the magnificent scene too. My immediate reaction was to lie low on the ground and capture the moment.

jackie eke

Nuala is a beautiful dog both inside and out, and I never tire of photographing her, but I love the intensity of her gaze in this image against the wintery backdrop.”

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Editor “Photography is a way of feeling, of touching, of loving. What you have caught in an image is captured forever… It remembers little things, long after you have forgotten everything.” – Aaron Siskind

julie oswin

Welcome to the first edition of Creative Light 2020! A decade and new beginnings! As we say goodbye to 2019, is it time to say goodbye to our blog posts? If anything it is an area we should concentrate more on and an essential content marketing strategy for your website. In 2020. ... more than half of internet marketers consider blogging to be an essential part of your business and an astonishingly 850+ million new blog posts are published every month. That figure equates to over 10 billion posts a year. We are all guilty of getting wrapped up in the day-to-day running of our businesses that our website is one of the first things to get neglected. A blog on your website is a powerful tool and a great way to communicate with your potential customers. People study and research the content of a website for reassurance that you are the business they are looking for, especially when you are generating fresh, engaging, relevant and useful content. One of the significant benefits of writing a blog is that you keep your website content up-to-date and to connect. Search engines and Google likes that! Now we are in 2020 our New Years Resolution should be to write at least one blog post a month!

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editors choice Lisa Mullins Awarded Silver - July 2019

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Erin- Wilmhurst-Smith

Qualified Guild Photographer

December 2019

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John Bolloten Social Documentary Photographer

“I am John Bolloten, a Bradford-based photographer. I didn’t start photography until the end of 2008 when I was 43, and I bought an entry-level DSLR. I spent the first few years teaching myself how to use a camera and how to take photos. My first real piece of work was a portrait series called Punk Survivors which was an intimate look at the original artists from punk and new wave but how they looked later in life. Around 2013, I began to shoot street photography daily and started to find my identity as a photographer. I was always interested in people and cultures on the margins of society and working-class issues. Being on the street a lot led to meeting a lot of homeless people and through that, I started to focus on those people who addiction issues with class A drugs, mainly heroin and crack. This work lasted five years and somewhere along the way I started to become a social documentary photographer, being less interested in single images and more concerned about telling a story through long-term work. As I got deeper inside this world, the work became more personal and intimate, and I predominantly photographed in places where people were living like squats, supported accommodation, hostels or abandoned buildings. The first part of this work was published as Nothing To See Here in 2017, and I followed that up with Love Story in 2019.” - John Bolloten John has published six books to date: “Bradford Street” (2014); “Belgrade” (2015); “Shabash” (2016), “Nothing To See Here” (2017), “Field of Broken Dreams” (2018) amd “Love Story” (2019).

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Q: What motivates you to capture and create your

powerful documentary images? I take photographs of things I am curious about or personally interested in. I started photographing amongst people who use drugs as I did that myself when I was younger, and I understood the psyche and mentality of those people. I like to photograph things that I can connect with in some way.

Q: Your favourite lens for your photography? Fuji 18mm on my Fuji XT1

Q: What advice can you share for people interested

in documentary street photography? Shoot what you are interested in or passionate about. Aim to do work that reaches a high standard photographically that has power, emotion and intimacy. Stay around for the long haul with patience, determination and persistence.

Q: What have you found most challenging in your

area of photography? Spending five years photographing at the roughest end of injecting drug use was very challenging mentally, physically and emotionally. Now that the work complete, I have no desire to go back into that environment again. Working in low light situations and trying to take strong, well-composed photos was always a difficult technical challenge.

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Q: Have you found yourself in situations photographing

your subjects where you have felt afraid or scared for your safety? I never felt uncomfortable around people who were using drugs, and I think the people I worked with by and large didnâ&#x20AC;&#x2122;t feel uncomfortable with my presence. However, it was a challenging and sometimes very dangerous environment with some characters who were particularly unpleasant. I was in a few situations where I was fortunate to emerge unscathed. Having said that, most of the drug users I worked with were pleasant, and I formed some really strong relationships with around two dozen of them.

Q: Post-processing are you a Lightroom or Photoshop

user? Lightroom only. I aim to get my photos correct in camera and I usually only spend a couple of minutes per photo in post-production if that. Some small tweaking, often correcting any exposure issues and using the contrast, blacks and highlight sliders. I am not a fan of heavy postprocessing like excessive use of the clarity slider or HD.

Q: The lighting of your images, what is your preferred light

source choice for your photos? Always natural light unless it is simply too dark and I have to use flash. In my work with drug users, it was common to be shooting at 3200ISO, f2.8 and at 1/30 or 1/60 maximum handheld.

PEOPLE & SUBCULTURES INSPIRE ME

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Q: Where do you find your inspiration from?

People and subcultures inspire me at the margins of society, so all my social documentary work has this at its heart. The work of some other photographers also inspires me, but I always aim to shoot for myself and not copy what has gone before. I am a naturally curious person, and there is nothing more interesting than people!

Q: Can you recommend any photography books?

My shelves are straining with books. Most important to me are books by Eugene Richards, Josef Koudelka, Miron Zownir, Boogie, Tom Stoddart, Jim Mortram and Brenda Ann Kenneally, to name just a few.

Q: Interesting facts about you?

My grandfather was Jewish, my father was a Christian, and I am a Muslim.

Q: The photographer Don McCullin has inspired you, can you explain

why? McCullin, apart from being a brilliant photographer, understood that one didn’t need to go abroad to photograph war. He knew that there was a war in our inner cities, and needed to be documented. McCullin also shot some incredible images in Bradford in the late 1970s that had a big impact on me.

Q: Love Story of Garry and Maree is powerful. How difficult was it to

build the trust to document the emotion and depth of the story? Although working with drug users has trust at the heart of it and this could be very difficult to get, I got on well with Gary and Maree from when we first met about a year and a half before I started working on Love Story. Because of this relationship, it became obvious that I would approach them when I started to think about doing a very personal and intimate story. It sounds obvious, but one just cannot turn up with a camera and start shooting this stuff.

Q: How many books have you written on documentary photography?

I have published six photography books to date and written none although the big book that encompasses all of my work with drug users is due to be published by Bluecoat Press in 2021 and will feature a number of stories in peoples’ own words about their lives. I knew instinctively that these Incredibles couldn’t be told any better than in their own words.

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John Bolloten

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Q: Do you exhibit your work in galleries?

Although the gallery/curators world is largely made up people who make very safe decisions, I was fortunate enough to be asked to exhibit my work with drug users at Photo North Festival in 2018. This led to me exhibiting at Hull International Photo Festival in 2019 and a return to Photo North for their second edition. I also exhibited in Belfast for homelessness awareness week. I am hoping that more people will approach me so that I can show these images and talk about this work. We need more contemporary documentary photography in the galleries and media and not wait until thirty years later when we can see it with some kind of misty-eyed nostalgia.

Q: Favourite place in the world, and why?

No one favourite but I would be happy to return to all of these - Damascus, Istanbul, Mexico City, Belgrade, Belfast and Manila. They are all places I have felt connected to in some way and really enjoyed photographing there.

Q: Three words that describe you?

Thoughtful. Emotional. Determined.

Q: Your favourite food?

No absolute favourite but living in Bradford, I am always happy to eat decent Indian food.

Q: Where next?

I am publishing a book on the cockfighting scene in Manila called Gladiators on Fistful of Books in spring 2020 and am continuing to work in the grime and battle rap scenes. Thank you John for sharing an insight into your powerful social documentary photography with Creative Light Magazine readers and wish you every success with your new publication, Gladiators. - Julie Oswin, Editor

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www.johnbolloten.co.uk/

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Lynne Williams Qualified Guild Professional Photographer

December 2019

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Regional Meet-Up Who: Gemma Varney Where: The South West & South Wales Regional Group When: 27th November 2019 What: Reciprocal Headshot & Social Day

At the beginning of last year, Ed Burrows asked everyone in our regional group what meet-ups we would like to see across our region, and I instantly offered to host! We had a multifaceted day here with the lovely Gemma Varney offering some lighting training in the studio. Clive Hall brought his Master Craftsman panel for us to view and gave one-2-one critiques and Ed lead a group out on our farm on a bit of a nature stroll. We had breakfast baps and jacket spuds for lunch (Rowen Crowley’s chilli was epic!). Everyone bought bits and mucked in and about 15 of us, who had never met before face to face, had a great time together! I decided the next meet up here would be more sociable based and less about training but more skill-sharing so in November I invited everyone for a reciprocal headshot day. The idea was that we took it in turns in small groups in the studio and outdoors to shoot headshots for one another. Nik Proctor kindly came with his Colorworld products for people to look at, Jayne Bond kindly bought her most recent panel for us to swoon over and while drinking too much tea and eating too many biscuits, we had a brilliant giggle! If you haven’t given regional meets ups a go my advice would be go for it! I guarantee you will find likeminded people, pick up invaluable tips, and be made to feel a part of something. With lots of help from Ed and Clive, I am currently planning the next SW x SW meet up on March 10th- it’s set to be an awesome day, and we always welcome any members from further afield who can make it! - Tess Chapman (Host)

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Creative Light Magazine

Behind The Shot: Richard Peters’ wildlife photography Everyone appreciates a great photo, but only the photographer really knows what went into capturing that perfect image. In Datacolor’s Behind the Shot series, accomplished photographers share their stories of exactly what went into getting that perfect shot. And as UK-based wildlife photographer and former Nikon Ambassador alumni, Richard Peters, tells us, it’s almost always a balance of patience, preparedness and providence. Richard is a UK based wildlife photographer and Nikon Ambassador alumni best known for a style that often favours dramatic light. His work has received numerous accolades, including being one of the only British wildlife photographers to be named the European Wildlife Photographer of the Year, alongside winning several awards in the prestigious Wildlife Photographer of the Year.

‘Little owl’ Not pictured: A 1-month wait for the perfect shot A weekly hour and a half drive Lots of used batteries < 2 minutes to calibrate your monitor

“I had long wanted a more interesting perspective on a little owl photo, one of my favourite of the owl species. My opportunity came with a nesting pair in an old abandoned farmhouse I had access to. In order to capture this image I had to leave a camera trap in position for 1 month, around an hour and a half drive from home, checking in on it once a week to change batteries. During that month, the camera only recorded two photos that were usable. This one at sunrise was the most striking of the two.” 30

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‘When I grow up’ Not pictured: A once in a lifetime opportunity A chance taken with a 400mm lens A single lucky shot < 2 minutes to calibrate your monitor “Photographing giraffe, and showing their height, can often be tricky due to their awkward shape and size. To include the full height of the giraffe and something of scale can result in messy background elements. When I spotted these two at some distance from our jeep, I had time to only frame up and fire one single image before they parted ways. I didn’t even have time to look at or change my settings. I realised I had shot at f2.8 with my 400mm but thankfully this provided enough depth of field to render both mother and young sharp.”

‘Steve’ Not pictured: A cafe owner with an unlikely friend A few enticing crumbs A deceptive angle < 2 minutes to calibrate your monitor With wildlife photography, it’s important to take advantage of any opportunity you can. This Raven was actually photographed on top of a cafe in Montana, USA. The cheeky chap, named by the cafe owner as Steve, was frequently seen by locals as he hung around in the hope of a few crumbs left behind. The image was actually taken with Steve about 12 feet above me, so I stepped back a little in order to reduce and disguise the steep angle I needed to shoot at as he called out.” Richard Peters uses SpyderX to calibrate his monitor.

Meet SpyderX - our best Spyder ever With SpyderX, you can be sure that what you see on screen is the most accurate representation of the shot you took. When you start editing and you know the color on your monitor is accurate, you can confidently control every aspect of your image. And when it’s time to print, your output will match what you are seeing on screen and better reflect your creative vision. For more information: http://bit.ly/meetSpyderX

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GUILD SPOTLIGHT Project Bathtime Lee Glasgow

This ‘Guild Spotlight’ interview focusses on the project by Guild member Lee Glasgow and his series of photographs aptly name “Project Bathtime” and what inspired him to create a set of images based purely on a pair of legs!

“I fell in love with photography by being spoilt. I picked up A Canon 300d, the clunk of the bayonet fitting lens had me hooked from the beginning. From that point onwards I believe I’d be incredibly rich if I stopped buying photography gear from that point. I have photographed so many things since picking up this fantastic little camera, from nudes to horses and even nude horses. Photographing people in the final days of their lives and even funerals, there is nothing like holding up a camera with tears streaming down your face to make you realise what your photography is all about. I have run a wedding photography business for about 12 years, and I love being my own boss. I’m an all or nothing kind of person, and my business allows me to be as lazy as I like, but at some point, you have to put in the work. When you have your own business, you are in control to make instant changes and see the results first hand. After all this time picking up a camera for business, I lost my hobby. So the birth of a project began, Project Bath Time #projectbathtime on Instagram. Why legs? I was thinking of a project, but this idea came from nowhere, I posted an image on social media of my legs hanging out the bath with shopping bags around my feet (I could not get my feet wet as I’d had a Podiatry Procedure) it got a bit of traction, the project was born and grew legs ever since. This project is liberating, frustrating, it’s a great talking point, but above all, it gives me a reason to pick up a camera for me. This project was photographed with the Fujifilm X100F (it is one of the few rules, I set myself). The others include, only legs can be on view, no added lighting and only one bath can be used in each image.” - Lee Glasgow 32

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Q: What motivated you to create your portfolio of ‘Project Bath Time.’

As a professional wedding photographer, I never wanted to pick up a camera form me. “I lost my hobby” I Became friends with the team at Fotoholics (used to be called Fujiholics) and in turn started watching and doing talks at the Hip festival in Hull while viewing the beautiful galleries. I started to meet a much broader section of the photography world and was excited at this new area of photography. My friend Matt Hart has been banging on about projects since I had first met him, and he inspired another friend (Claire Armitage) to create a ‘365’ project of self-portraits. Every day, Claire made an image of herself to create a collection. No matter what mood she was in, no matter what was going on in her life, she made 5 minutes of her day to take an image. By the end of the project, she had a body of work (literally), from this, she produced a book, then was invited to talk about her project, up and down the country.

Q: Your favourite lens for your photography?

For my wedding work, it has to be the FujiFilm 56mm f1.2.

Q: What advice can you share for people interested in creating a project of images based on a subject?

The joy of a project is that you make the rules. Matthew Finn photographed his mother for 30 years, Simon Roberts spent three years photographing UK Britain’s Seaside Pleasure Piers (his book is called Pierdom). Claire Armitage spent one year photographing herself. My Advice would be, see any failings, as a story to tell in the project, expect people to let you down, this is your project, not theirs. Your project, will at times be put on the back burner, this is natural. I found rules vital because it makes you think, rather than being lazy.

A book by Someone I have met? In photography, our inspiration is essential, Don McCullin’s images remind me that it’s not the equipment that makes the difference, but the person. For me having humanity, even at a wedding is so important if you want people to trust you.

Q: Lighting equipment, what is your preferred choice for your images?

In this project, one of my rules was to use the lighting available (I could not bring any of my lights with me) in my wedding work I simply love the Godox 200AD amazing quality, power and cost.

Q: Where do you find your inspiration for each photograph?

The image has to have something that draw’s the viewers’ attention! My biggest struggle was to find a person with a Passion/Job that I could visualise an image. People and their passion inspired me. Not only that but listening to each person’s story has been amazing, its incredible what people tell you while their legs are hanging out the bath.

Q: What advice would you give to a person starting in photography?

Surround yourself with talks and exhibitions, not gear. Try all kinds of photography to see what suits you. If you like a photographers style, see if they do meetups or talks.

Q: Interesting facts about you?

I love my Dog Alfie (The unmentionable) More than my beautiful wife and children.

Q: What have you found most challenging in your area of

photography? I’m going to keep this on topic and talk about the Challenges of the project (Project Bath Time), not my weddings. My two main challenges have been to find and secure people that are willing to take part! And, trying to find a way to get the book published or printed at a costeffective/quality way.

Q: Do you use a tripod? If so, how important is it to your photography work?

In short no I don’t, Out of all the images the only one where I did, was my picture of me in the bath.

Think about how your images will look in twenty years, will they look un-naturally dated.

Q: Favourite piece of equipment that cost you less than £50?

This is a hard question as I love spending money, I’m not sure I have anything for less than £50, can I say a book? :

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Lightroom

Q: What is your best editing tip?

Q: Post-processing are you a Lightroom or Photoshop

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Q: A photographer or artist whose work inspires you?

This is a hard one! For years, I have been blind to the world of photography as I was focused on my own business. Going to Hull Hip festival three years ago was like an epiphany. Ok, I’m going to pin my flag to Peter Dench, I guess I have more of his books than anyone else. I love A&E [Alcohol & England]

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www.leeglasgowphotography.co.uk/news/news/project-bath-time/Â www.instagram.com/projectbathtime/ 36

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Q: Favourite place in the world, and why?

My back garden on a Monday when the sun is at its hottest and the hot tub is not playing up.

Q: Your favourite food?

Without doubt, My wife homemade Lasagna layered with salami and sliced boiled eggs. Mmmmmmmmmmm

Q: The funniest image you have taken?

My parents naked, in their 70th year! There was a reason for this, honest!

Q: If you were to write about a book about yourself, what would the title be?

The Attention Seeking Whore

Q: Three words that describe you? Kind, Needy, Funny

Q: How has your photography style developed?

Valuing people has helped me see moments, I struggled for years with my style of photography (finding my style), but in the end, my style found me, I think it happened when I photographed my parents naked, but that’s a different story.

Q: Where next?

Well, this project is halfway there. We have an exhibition in Blackpool in October, it is being featured on https://www. onlysupernews.com/ along with some talks about the project and my life so far as a photographerr. As well as Creative Light Magazine, Amateur Photography magazine will also be featuring it.

- Thank you Lee for sharing an insight into your project and wish you every success with ‘Project Bathtime’ - Julie Oswin, Editor

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Creative Light Magazine

Emma Freeman

Qualified Guild Photographer

December 2019

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Creative Light Magazine

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GUILD SPOTLIGHT Chris Chambers

The ‘Guild Spotlight’ interview focusses on Wedding Photographer and Guild member Chris Chambers,who is based in county of Yorkshire.

Q: What have you found most challenging in your wedding photography?

Challenges, time constraints and pressure motivate me, sounds bizarre but I kind of thrive in this environment. On a business level, it is essential to stay current. As a fulltime wedding photographer for over 14 years, I find my style is continually evolving.

Q: What motivates you to get up in the morning?

Sounds cheesy but, I love my job and photography, for me, is still a hobby. I shoot for my clients and have great fun. On my days off I shoot for myself, mostly landscapes and wildlife so wholly different genres but relaxing and fun at the same time. Photography started as a hobby, and I’m a firm believer that you must take pleasure in using your camera and never just see it as just a tool for a job.

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

My wedding style is very flash heavy so would probably have to say flash, but then we need triggers, gels grids and all the other gubbins, so I suppose if it’s just one item, it’ll need to be my watch. I’m a stickler for timekeeping and would rather be thirty minutes early than two minutes late.

Q: Your favourite go-to lens for your wedding photography?

That’s got to be my 70-200. I shoot wide for the majority of my wow shots but shoot so much more on a 70-200, even most of the groups, bride and groom portraits, details, speeches etc. It’s a big old lens and can look quite intimidating. It allows me to stand further back to compress perspective, isolate with a depth of field, and it is a more flattering focal length.

Q: Your preferred choice of camera equipment?

2019 I jumped ship to Sony. I bought my first Canon body over 25 years ago and have been a Canon user ever since. The jump to Sony came about partly by accident. I needed a new spare body and wanted to see what all the fuss was about, so I bought a Sony body and a Canon adapter. Within a very short space of time, I’d switched all my equipment over to Sony. The handling, image quality, viewfinder are all firstrate.

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Creative Light Magazine

Q: Do you prefer IPS (in-person sales) for your wedding customers or an online gallery?

I’ve always worked with galleries rather than IPS. I have a pretty streamlined workflow and can turn a wedding round within a few hours. Therefore, client galleries are online quickly. Couples love being able to see their images quickly, and it also boosts additional sales with orders from guests. At the same time, they can still feel the emotion. This can mean the gallery is live while the bride and groom are away but very very rarely do bride and grooms ask to see the images first. They trust me to do a good job in the culling and editing and have faith that the images they and their guests see will be of a superb standard.

Q: Do you offer a pre-wedding photoshoot to your clients? If so, at their venue or your studio?

I used to include one in the package but have made it an optional extra. It’s a handy tool to have in the armoury; it has a high perceived value. But, actually, low cost so can be used as a tool to encourage immediate booking, helps negate having never shot at their venue before. If it’s a potential stumbling block, I just offer a complimentary preshoot at the venue. I can also use it to incentivise bigger packages.

Q: What is your turnaround from shooting a wedding to proofing?

If needed or the diary allows it can be the next day, sometimes I’ll wait a day or two. Since my first weddings, I’ve done some kind of on the day previews which quickly turned into a full-blown same day edit with slideshow. 95% of weddings have the slideshow, always popular with the guests and of course the bride and groom, it also helps with marketing me and my services to lots of potential customers. It’s also making them keen to see the gallery, which ultimately leads to sales.

Q: Wedding Albums, how important are they to your wedding photography business?

Massively. I have one digital-only package, and it’s the same price as my standard album. I very rarely shoot digital-only. My clients see the value in a wedding album, the family heirloom, the book to be looked at in twenty years. I’m very honest with my clients and tell them about my wedding album, how we’ve been married for, well a long time and the album’s in the loft. Still, the album comes out maybe once a year, and the kids laugh at what we were wearing, how dad had hair etc. However, it is the group photographs we stop and ponder over, looking closely at people who for one reason or another are no longer in our lives. They can relate to this, and it helps add value to the images with the album, not just the physical book. I’ve been a Graphistudio user for many years, and my full range of albums is now from Graphistudio. The customisation options help me sell the books pre-wedding and then afterwards make for significant upgrades. I’ve never offered High Resolution as part of my standard packages, they come with albums, and the high-resolution images are optional extras after the wedding. I would estimate 90% buy the high res files and then upgrade their albums too. A lot of new photographers feel obligated to 50

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offer the high-resolution files as standard for fear of losing bookings as the photographer down the road includes them.

Q: What advice would you give to members of The Guild shooting weddings?

Make your route and your own business. Looking at and creating a product similar to the photographer down the road is only going to make you a watered-down and inferior copy of them. By all means, look for inspiration but create images and market them to your strengths and style. If you build your business on copying other photographers, you’ll always be one step behind them. Also, self-analyse. When shooting, no matter how happy you are with a gallery and set of images, a week or so after the wedding, take a long cold look at them. Study your pictures for the little mistakes, the areas you could improve upon and next time you are in that situation you’ll create an even stronger image. If you aren’t sure of what the little mistakes and issues are it’s an indication to look at training or mentoring.

Q: Do you use a tripod? If so, how important is it to your work?

At a wedding, I only use a tripod on an evening for the couples after dark images, when the light has dropped, and shutter speeds are too slow to guarantee a sharp image. The rest of the day, I shoot handheld. When I am photographing landscapes or commercial work, I’ll use a tripod as it gives me more time to consider and check the image. But, general day to day wedding wise I wouldn’t find it practical for my style.

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

I enjoy processing as much as shooting. Often I shoot an image with an edit in mind and a plan for the finished look before I press the shutter. I’m not aiming for perfection in camera because there will be some processing required to achieve the desired look. It’s realism and making use of all the tools at our disposal that we have as photographers. Processing has become almost as important as the work in-camera. As image quality, resolution and dynamic range improve, people will sadly rely on it. Additionally, even more, people rely on post-processing to fix sloppy photography rather than enhance good photography.

Q: What are your thoughts on the request of brides

asking to have Photoshop enhancement to their faces and reduce the size of their arms, etc.? I don’t get that many requests. It appears as you move up pricing brackets brides request less and are easier to work with. Brides also take into account a lot of their own concerns when selecting dresses and have a good makeup artist to help instil confidence. I don’t, as a rule, offer any retouching but if asked, can always remove the odd spot if it’s causing concern on the day. If a bride requested retouching or liquefying I would happily do this for her but it would be a job I would outsource and with this would come a cost to the bride.

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Q: Developing your marketplace how important was it to create your brand, especially in Yorkshire, as it is the largest county in the UK?

I built my business from start to leaving my full-time job in under a year. Initially, I mistakenly built the business based on the local area but quickly realised the majority of my customers and weddings weren’t from this area. Being the biggest fish in a little pond wasn’t going to be good for long term business and wouldn’t support my planned pricing model. I looked at marketing myself further afield and created a brand that was easy to find online and a brand that would be seen regularly at wedding venues. My brand is being seen at and associated with some of the bigger wedding venues, which results in couples seeing my images as they explore different venues; this all helps with brand awareness. Winning awards and shouting about them on social media has undoubtedly helped raise my profile and has also resulted in several big wedding venues approach me with free invitations to attend wedding fairs and work with them. I have focused a lot of my marketing and even display products to suit the venues I want to and where I want to work

Q: Lighting equipment, what is your preferred choice?

My flash work at a wedding is all created using just speedlights, and when shooting Canon, the 600EX-RT flashes were superb, when moving to Sony flash choice was my biggest concern. The Sony hotshoe foot is a weak link in the system. It is made of plastic and very easily broken. I do abuse my flashes. I seem to break them frequently and didn’t want to be sending Sony-branded speedlights in for minor but expensive feet replacement on a regular basis. With this in mind, I switched to Godox, where I could order replacement parts myself and quickly swap out broken feet. The Godox system is an excellent and amazing value. Their triggers are similar to Canon and although the speedlights are around a stop less power than a Canon 600 they work well for all but the brightest wedding days when I may need two if shooting off-camera flash at f22.

Q: Favourite place in the world and why?

Italy. The people, the food, the variety and history. I’m not a beach or pool kind of person and Italy ticks a lot of boxes. 52

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Q: Who inspires you?

When I first started I was focused on just weddings and followed the work and took inspiration from wedding photographers such as Yervant and Jerry Ghionis, today my inspiration comes from everywhere and probably as much from architectural and landscape images as they do wedding If I see an image that inspires me, I will look at a photographers gallery looking to see how it was created and edited. Almost reverse-engineering the picture to understand their thought process, what made them see that viewpoint and why did they shoot from that angle and ultimately, what would I do differently to add my stamp and style.

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

I don’t actually own that many photography books, the internet is a massive resource and use it to its full potential but don’t just be narrowed down to one genre. One of my party piece wedding images is photographing the rings dropping into water. I didn’t learn this from a book or looking at wedding photographers; it came from wildlife photography.

Q: Interesting facts about you?

Mmm, I can’t do roller coasters and don’t really like glass elevators but am happy hanging upside down in planes or leaning out of helicopter doors. And a geeky fact, I can say the alphabet backwards as fast as I can forwards.

Q: Favourite food?

I should really say Indian, but it’s a Doner Kebab.

Q: Where next?

Over the next twelve months, I’ll be working on personal development and cementing relationships with suppliers and wedding venues. I plan to reduce again the number of weddings I photograph, also offering more training courses and expand on the one-year development program I offer. I’m also excited to be returning to Graphistudio’s amazing Castle to run a workshop in September and then to Santorini in October for a wedding and landscape photography workshop. Longer-term, the children have reached that independent teenage stage and I’m now looking at expanding my business again, employing more staff and offering associate photographers for weddings and events.

http://www.chrischamberstraining.co.uk/ceconi/

CREATIVE LIGHT SPECIAL OFFER Chris will be returning to Graphistudio’s amazing Castello Ceconi Castle in September 2020 (Monday 14th September) for a five day practical wedding and photography business workshop. Creative Light members can save £200 on the workshop price by using the discount code CL200 when booking. (Please note – the discount will be split between the deposit and final balance)

For more details and to book: CLICK HERE

TURN ORDINARY PHOTOS INTO THE EXTRAORDINARY On this workshop Chris will teach and demonstrate how to look for and create photo opportunities in limited environments, making the most of any location and turning the ordinary into the extraordinary; delivering wedding images that will wow clients and sell you and your products. This workshop will include lots of hands on photography time, during which you’ll use a mix of on and off camera flash with natural light. For more details and to book: [CLICK HERE] Issue 35

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Malcolm Jenkins

Qualified Guild Photographer

November 2019

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Creative Light Magazine

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November 2019 60

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Regional Meet-Up Who: Guild Street Photography Where: Birmingham Street Walk When: 30th December 2019 Author: Nick Brown (Wording) & Marc Osborne (Images) So in an effort to get off of the sofa and burn a few Christmas lbs before New Year Marc and I met up for an afternoon stroll around Birmingham to see what the streets of Brum had to offer. There is a considerable street photography scene in Birmingham and as with any city there is always plenty going on if you keep your eyes open. The plan was loose. Meet at the station and walk in no particular direction with cameras in hand. Heading first to the canals and then on to Broad St and to the library. We were

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spoilt with beautiful hard light offering some strong shadows. From there we set off to the shopping areas and markets before heading into Digbeth all the way nattering about photography, IOM and occasionally stopping without warning to take a picture. Taking to the streets is good fun but takes you out of your comfort zone. I never have to consider a building or landscape objecting to their picture being taken. And I’m sure Marc’s customers are mostly insistent on it. With street or reportage you do need to make some careful judgements about a shot if you’re not comfortable asking people to take their picture which Marc was with a couple of guys in the market. But there are always opportunities for story telling even without people in the photos. Or with unidentifiable people in them so you shouldn’t be put off. It’s a great test of the photographer’s eye and their imagination. It’ll be great to have a few more street photography meets in 2020 and increase the numbers. You’re never too far away from a bar as well! - Nick Brown

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Laura Galbraith

Qualified Guild Photographer December 2019

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Creative Light Magazine

Cynthia Schotvanger-Hoekstra

Qualified Guild Photographer

December 2019

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Creative Light Magazine

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GUILD SPOTLIGHT Luci Schofield

In my photographic journey, I’ve sought to create beautiful pictures which are my own. Understanding not just how to use my camera, but how to use the light. And then wrap this around the relaxed smiles and sentiment I’ve always loved capturing. I should add, I’m just at the point of being able to combine the three. So as you look at my images in this article, do please try imagining that work completed. My client work revolves around understanding what would mean the world to them too in their pictures, capturing the memories they want to hold on to. - Luci https://lucischofield.com 76

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Creative Light Magazine

Q: How did you first get into photography?

My Dad would get his camera out for special occasions, like holidays and birthdays, and I remember being interested in how it worked and wanting to take my photographs. My parents gave me a very basic little camera along with a precious roll of film “to be used carefully”. I used it to capture the things I liked - like my Dad cooking a stew on a Saturday morning with a huge grin on his face, our cat’s litter of kittens on their first outing into the garden plus many more random things from my childhood!

Q: What have you found most challenging in your portrait photography?

I would have to say that the most challenging thing has been creating a marketable product which is true to me!

Q: What motivates you to get up in the morning?

My three-year-old son. He kicks me out of bed if I’m not up before him in the morning! But in a less literal sense. The excitement I have for the direction of where my work/life is heading and my family’s support motivates me.

Q: What is your turnaround from shooting to proofing? I usually have the images with the client to view around 7 10 days from their shoot date.

Q: Do you sell prints, frames and wall art or supply digital files?

Digital images have always been my comfort zone, but in the summer, I added prints, a coffee book album and a portfolio box. I will be introducing wall art in the Spring.

Q: What advice would you give to members of The Guild shooting on location?

Q: How has your style of photography developed? It’s moved from documentary to directed posing.

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

I love my Sony A9 (mark I) because I know I can only blame myself if I’m not getting an image right!

Q: Your favourite go-to lens for your portraits?

I love my Sony 70 - 200mm F2.8 GMOSS lens for outdoor portraits (ideally shooting F2.8 200mm for beautiful bokeh), and my 24-70mm F2.8 GMOSS lens (ideally shooting at 70mm between F2.8 and F5.6.

Q: Do you offer IPS (in-person sales) or an online gallery, and why?

At the moment, I offer an online gallery to sell digital packages. When I’ve got a bit more time, I’d like to start selling wall art and think about bringing in elements of IPS to help with its promotion.

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If shootng in a client’s home, prepare your client in advance that you’ll want to be shown around at the start to look for the best spots to photograph them in. And don’t be afraid to ask to move furniture, or shoot somewhere obscure but with great light, for example in their bathroom! If you are shooting outdoors (so walking around with your clients), say to your clients that you’re going to try things which may or may not work and that it’s just a case of trying things out to see what fits. That takes the pressure off you re needing to be creative straight away, meaning you’re more likely to find your flair sooner. As you walk around, think about where the light is now, and how it may change. Arrive prepared with a shot list you can refer to throughout the shoot (it’s easy to forget the different combinations of people, and nailing these will help you with selling your images later). Help your creativity breathe by getting your safe shots done first and then think about your creative ones. And, finally keep talking with your clients throughout - show them the back of your camera - what do they like not like - what can you change to make it better for them - shall we try this? Sometimes a little lightbulb goes off, and they give you an idea (perhaps with something of sentimental value) which means the world to them and your creativity meets them there.

Q: What is the one piece of kit you wouldn’t do without and why?

My (Xrite) grey card. I find it helpful in capturing the correct white balance.

Q: How is Post-processing and Photoshop to your workflow?

I use a simple editing workflow in Bridge, followed up with some final adjustments in Photoshop once the client has selected the images they wish to purchase.

Q: What are your thoughts on the request of clients asking to have a digital enhancement to their faces and bodies?

I just ask clients before the shoot if there’s anything they’d like to draw attention to or away from, and then pose them accordingly. I’d much rather someone felt good about themself because they were positioned correctly (although I’m not against removing the odd spot or smoothing their skin a little).

Q: Developing your marketplace, how important was it to create your brand, especially in Kent?

There are a lot of people selling their photography services near me, so I want to have a brand which communicates my style of photography - professional, natural and pure capturing love and connection.

Q: What do you look for in your images?

I look for leading lines and for colours to look natural. And I try to go with my gut and capture the things which grab my attention - empathising with my clients and thinking about what would be meaningful for them.

Q: Who inspires you? My son and my family.

Q: If you were to be on a desert island and only able to take one item, what would it be?

A pair of trainers, so I could go for an early morning run or at least promise myself I will.

Q: How do you relax after a busy day?

Running around and being silly with my little boy, having a nice relaxing bath, pottering in the garden, cooking, listening to music, a couple of glasses of red with a sharing bag of crisps, not shared! Mostly things that don’t involve a screen, and not all of this at once!

Q: Favourite place in the world and why?

Paris - it’s such a beautiful city, filled with vibrancy and beautiful light. I loved living there as a student, and then I went back again to work, although that wasn’t nearly as fun!

Q: Three words that describe you? Conscientious. Creative. Lovely.

Q: Favourite food?

Fish’ n’ chips from the chippie!

Q: Where next?

Enjoying exploring my creativity within’ the rules’ and a nice relaxing bath or maybe the other way round! Thank you Luci for sharing your photography, your inspriation and your thoughts with the readers of Creative Light Magazine.

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GUILD SPOTLIGHT

Gaille Gray

“I was introduced to the world of photography just over five years ago by my partner. Before this, I would shy away from cameras from both sides of the viewfinder. I attended our photography started I was arecall young boy. I remem local cameraMy club with my partner, andwhen will always only a few years ago that I realised I too viewing members images and being completely in awe enjoyed of the taking ph work I saw. Unexpectedly my partner disappeared for a short While I was at school I loved food and so that wa while one day and returned home with a present, andcooking, on the legendary Gary Rhodes to being opening theing gift,with I looked at the camera within the box and lucky enough quietly said to myself “and exactly what am I supposed to do with that!” Aviation Photography was where my photographic journe Now five years on I am entirely I have spent August 2001. Theyself-taught. were also recruiting forhours chefs at the tim studying YouTube videos, and finally, I am completely Afghanistan, Cyprus and thenow Falkland Islands. I have bee at ease behind my camera.C130K, My loveC130J, of photography Globemaster, Hercules,grows Puma and Chinoo stronger each day. all gave me some fantastic photographic moments. Recently I have been concentrating on my flower work which brings me such joy,the peace contentment. inspiration Over last and couple of years, myMy interest has changed cour comes from tours the beautiful colours that mother nature I have done in the Falklands and a few Portraits. Pho provides. I love the use of colours and tones and always try to ensure that the pure beauty of the flowers shines through. Awarded the distinction of being a Qualified Photographe Photography has become my closest friend, and I often refer have been awarded The Photographer’s Bar. to it as “my go-to place”. A place where my imagination roams free and allows me to reflect my inner self and my love Coningsby, home of the Battle Of Britain Memorial F for my worldRAF around me. lent photographic opportunities coming my way with the L I have set up a small studio in my garage with a couple of ting the Typhoon fast jet that wow airshow crowds every y softboxes and additional daylight balanced lights. I use Photoshop to process my images. Last year my garden was planted to allow me to plan my images for the next growing season, so when in full bloom my flowers are cut and then make their way into my small home studio for photographing. I tend to use a limited colour palette when processing my images and try to maintain harmony and balance to enhance the natural beauty of my flowers.” - Gaille Gray

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mber sitting and watching my Grandad take pictures. I was fascinated. It was hotographs and capturing memories.

as the path I ended up going down, I had some fantastic times from workh to cook with the Jaguar Formula One Team.

ey started, and part of the reason I enlisted into the Royal Air Force in me. During my eighteen years in the RAF as a chef, I have been to Iraq, en so lucky over my time to fly in various aircraft from a Hawk Trainer, C17 ok Helicopters as well as VC10, Tristar and most recently the Voyager. They

rse. I now photograph Landscapes, Wildlife which is thanks to the many otography is a big part of my life, and itâ&#x20AC;&#x2122;s great fun!

er with The Guild of Photographers in 2018 and this year I am delighted to

Flight, is where I am stationed now. I know that there will be some excelLancaster, Spitfire, Hurricane, Dakota and Chipmunk Aircraft, not forgetyear on my doorstep. I am fortunate.

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Q: What are your favourite seasons of the year?

Summer and Autumn are my favourite seasons and the morning light that fills my room is something that never ceases to lift my spirits. On waking up, the first thing I do is open my blinds to let in the morning sunlight. On a summer day, I will open my back door and sit quietly on the doorstep, watching the light dance and play with the colours and textures of the flowers in my garden. The shadows cast by the sunlight enhance the natural highlights and changes the tones of the petals. I can often sit and happily watch this, always in awe of the beauty surrounding me. It is something we don’t always have the time or space to see and appreciate this beauty. Our busy lives or just life, in general, can sometimes get in the way and cloud our ability to see what is right under our noses. For me, this often pure natural beauty is my inspiration. My photography is to try and capture that beauty in an uncomplicated, artistic way, allowing me to reflect the feelings of joy, peace and contentment that still-life photography gives to me. I simply want to share these feelings with the viewers of my work and that the images evoke similar emotions.”

Your favourite lens for your photography?

My favourite and the most used lens is my Canon 50mm F1.4. This lens gives me a consistent depth of field and allows me to adjust my studio lighting to get the effect I am looking to achieve.

Q: What advice can you share for people interested in still life photography?

I would encourage anyone interested in still life photography to give it a go. I have set up a reasonably small studio in my garage, with a limited budget, and simple lighting equipment needed. I spend a lot of time in charity shops hunting for second-hand much-loved vases and other objects to add to my vastly increasing props. I experiment with flower compositions and lighting. Last year, I planned my flower planting to ensure a stock of endless blooms to see me through the flowering seasons. I am never sure that those who view and enjoy my work, really appreciate how much work goes into one of my images, especially in the post-processing stage. Adding textures, delicately enhancing the natural beauty of the flowers bring out the tones and colours. I don’t want my editing to ultimately detract from the original vision of the flowers just to merely to enhance them. I would also encourage anyone interested in this genre to try whenever possible to build a style that reflects what they initially saw in their mind’s eye and to stay true to yourself!

Q: Lighting equipment, what is your preferred choice for your images?

My lighting equipment consists of two daylight bulb softboxes on stands so that these can be adjusted in height and distance — daylight-balanced spotlights and reflectors, which can be adjusted as needed. I have experimented with flash which didn’t work for me. However, I am always looking for new lighting techniques and effects. continued... Issue 35

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why?

Your favourite colour palette to work with and

I tend to keep to a relatively limited colour palette which is guided by the colour, tones and feelings of the flowers themselves. I try always to enhance and ensure that the beauty of the main subject, i.e. the flowers themselves doesn’t get lost or overwhelmed by my post-processing work. I want the main focus to remain on the blooms, and all other work I do should not get to the level where it overpowers the pure beauty that first attracted me to the subject. When I view my images, I can immediately tell what frame of mind I was in a while working on individual images. Some are very gentle, delicate and soft while other’s can be more dramatic with stronger colours and tones, all reflecting my mood and emotions at the time of taking and processing.

Q: What have you found most challenging in your area of photography?

My biggest challenge so far has been to find myself, my style and my take on still life work. I refer to this stage in my photography development as much like baking a cake. You find a recipe; you practise, you refine both the recipe and your skills and when content with these basics, you continue to hone and enhance, while staying true to that original recipe. In my work, I continue to strive to make each image individually and different. However, I also want to stay close to my original concept of natural beauty and capturing the emotions that still life work evokes in me, and hopefully, others. I want each image to be fresh and different but always remain faithful to the personal style I have developed, a question of achieving a balance and not becoming stale.

Q: Do you use a tripod?

Working with a tripod is a must, especially when it comes to still life photography. Still life photography is a slow and very deliberate process of building and continually assessing and adjusting. Once happy with your arrangement, tweak the lighting to make the final adjustments. Sometimes this means just adding some fallen petals, leaves etc. or removing anything that causes a distraction, or tweaking your composition. Working with a tripod frees up your hands to work more carefully and efficiently. It also helps you maintain the same position from shot to shot, which is so crucial if you’re working on a series or need multiple images to ‘focus stack’ in Photoshop. Working with a tripod doesn’t mean you need to have it in the same place all the time. Moving your tripod around helps to try shooting from different angles and positions. One of the great things about hand-holding your camera if possible is that it can bring more freedom to your creativity. So, try and bring some of that same freedom into working with your tripod. Try different heights and angles. You can move around your set (tabletop) if need be. Just be aware of the need to check that you are not casting any shadows onto your scene.

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Q: Post-processing - Lightroom or Photoshop?

When I was new and shot entirely raw for postprocessing, I processed my images using Elements 11. I found the basics of Elements easier to get to grips with than either Lightroom or Photoshop. After a couple of years using Elements I kind of exhausted what the software could do for me and I then ventured into photoshop after attending a couple of Photoshop workshops. I will always remember coming out of these workshops thinking that photography had its language in Photoshop! Layers, layer masks, big fluffy brushes, toggle-on toggle-off. To say I was overwhelmed is probably an understatement. I had so many ideas on what I wanted to do but simply didn’t have the skills even to begin to achieve any of that. What I have learned over the last few years is that Google and YouTube are your friends. I have spent many hours watching countless tutorials learning only some of the tools Photoshop has to offer. I don’t think anyone can reach the stage where they have learned everything that Photoshop has to offer, but I have learned what I needed to know at the time I needed to know and at a pace that has suited me. I have briefly, somewhat very briefly strayed into Lightroom, and appreciate the benefits of cataloguing and batch processing, but for now, for me, Photoshop gives me everything I need.

Q: Where do you find your inspiration from?

I find my inspiration from the natural beauty around me. My garden and those of my neighbours and friends are always inspirational. Trips to botanical gardens across the UK always leaves me spellbound. Throughout the whole of my life, when growing up, we always had fresh cut flowers in vases dotted throughout my home. It was something I took with me when setting up my home and has stayed with me. To walk into a room full of fresh, scented flowers simply lifts my soul and spirits. While straying into the world of still-life, I realised how sometimes life’s struggles can blind us, get bogged down by the harshness of life and it can become so easy to lose the appreciation of the simple beauty that is around us all. Still life photography has given me back the simple ability to see that beauty, and it has taught me that we should always embrace the beauty around us.

Q: A photographer or artist whose work inspires you?

Edgar Dagas and JMW Turner are two artists who have always inspired me. I love their use of a restrained colour palette, and for me, they had a basic recipe which they worked to while honing and refreshing their existing skills. They both developed and stayed true to their style and technique and on viewing their work, they gained instant recognition.

Q: Three words that describe you? Ambitious; Self Driven; Caring/Sensitive;

Q: Interesting facts about you?

I have four grown-up sons and one grandson. Following my divorce, I met my new partner, who has been involved in photography from a young age. Through his interest, I became interested in the periphery of photography by going along to our local camera club. My partner bought me my first camera as a “surprise present”, and since that day, my love of photography has blossomed. I have achieved a few distinctions during my journey and the support, encouragement and pride we share in any achievement never wains. Photography has become “my go-to place”. It is a place where I am me, and I am free to be creative. Photography allows my thoughts and feelings to roam free.

Q: Favourite place in the world, and why?

Venice, Italy. My partner and I took a short break to Venice in 2019 and instantly we both fell in love with Venice. The architecture and ambience were terrific. Although Venice is an extremely popular tourist attraction, it still manages to retain the wonder and feelings of a place caught somehow in a time warp. Life takes place on the Grand Canal as it has and continues to do so for centuries. People are going about their daily business delivering and uplifting goods and services along the main water routes. The less-visited back streets give a real flavour of how life in Venice is. When leaving to come home, we both agreed that we would leave a piece of our hearts in Venice.

Q: Where next?

I have very recently suffered a few health setbacks, but this has not stopped me as I have now reached a stage where I need to investigate a bit further the opportunities for developing a commercial aspect for my photography. I will also continue to develop my skills and my goal as always remains that I will “stay true to myself”.

Thank you Gaille for sharing with the readers an insight into your still life photography. - Julie Oswin, Editor

Gaille Gray Photography Website: gaillegrayphotography.co.uk

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s t s i l iF na The Founders Cup The Guild of Photographers started life in 1988 as The Guild of Wedding Photographers. Its founders were Roy Doorbar, and Ian Gee and their aims for the Guild was to support photographers and raise standards in the photographic industry by encouraging personal development. They achieved a huge amount, including the introduction of something all photography businesses take for granted today – Public Liability and Professional Indemnity Insurance. Both Roy and Ian sadly passed away in late 2016. The Guild of Photographers introduced The ‘Founders Cup’ in 2017 and is a prestigious photography award which acknowledges what Roy and Ian started and celebrates one of their aims which was to encourage members to push themselves. - Steve & Lesley Thirsk, Directors

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Finalist Andrew Ford

Finalist Andy Smith Issue 35

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Finalist Gaille Gray

Finalist Gary Neville

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Finalist Hannah Price

Finalist Martin Clark

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Finalist Nick Brown

Finalist Nikki Goodeve

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Finalist Sarah Smith

Finalist Stacy Joyner

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Finalist Barbara MacFerrin

Finalist Clare Perry

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Stacy Joyner Qualified Guild Photographer

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Tracey Hine

Qualified Guild Photographer

December 2019

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DIARY DATES UPCOMING REGIONAL EVENTS

Events Calendar with Photohubs and The Guild of Photographers: 25th February 2020 Extraordinary Wedding Photographs from an ordinary venue with Chris Chambers. https://photohubs.co.uk/product/wedding-workshop-feb-25th/

31st March 2020 Business Training with Steve Thirsk https://photohubs.co.uk/product/business-training-march-2020/

1st April 2020 Wedding Training Day with Kevin Pengelly at The Upper House, Barlaston. https://photohubs.co.uk/product/wedding-training-day/

2nd April 2020 Qualification Preparation Day https://photohubs.co.uk/product/qualification-preparation-day/

13th May 2020 The Art of Newborn Mini Sessions with Claire Elliott, Guild HQ https://photohubs.co.uk/product/newborn-mini-sessions/

Look out for: Training day with Joanna Bradley coming soon.

REGIONAL EVENTS Things to look out for: • • • •

Guild Street Photography Group: Walk at the end of March The Borders: Headshot day, date tbc. and a Landscape Photo walk, March South West & South Wales with South Central, ‘Tessa’s Meet 2020’ 10th March details on Facebook Ireland overseas will be catching up in Belfast soon - Lynn Stanfield has started the ball rolling!

The Guild will be at the Photography Show 14-17 March 2020 - The NEC, Birmingham

The Guild will be at The Newborn Show 17th, 18th & 19th May 2020 Heart of England Conference & Events Centre, Meriden Road, Fillongley Coventry CV7 8DX

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THE GUILD OF PHOTOGRAPHERS “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 logos”

Professional Membership costs £129 and Regular Membership costs £99

Let the Guild help you with your photographic journey like it has done for many others! The Guild is suitable for those in business, contemplating a career in photography, undertaking photography related courses, or even those who simply love using their camera. EMAIL info@photoguild.co.uk CALL 01782 970323 / 07982 613985 Issue 35

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BACK PAGE BRONZE - Liz Roberts -

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