Creative Light - Issue 39 by Guild of Photographers

GURUSHOTS TOP 100 - STRIKING STILL LIFE CHALLENGE URBAN LANDSCAPE - NICK BROWN WILDLIFE PHOTOGRAPHY - MARKETA ZVELEBIL FINE ART PHOTOGRAPHY - EVA WHITE WOODEN TOYS - PETER ELLIOTT IS FACEBOOK DEAD - RONAN RYLE Issue 39 -

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Contents 14

Nick Brown Guild Spotlight

Marketa Zvelebil Wildlife Photography

38 44

Ronan Ryle Is Facebook Dead?

Gold Awards July & August Peter Elliott Working for the Wife!

52 58

GuruShots Striking Still Life Challenge

Eva White Fine Art Photographer

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Steve & Lesley Thirsk The Guild of Photographers

Most importantly we hope this finds you well in the dynamically changing era we now find ourselves in! We are continuing to press the Government for help for the Photography Industry, and this will now include us challenging them as to why a music venue can have 50+ attendees at an event, whereas a wedding is restricted to just 15 people in England. It is little wonder that 74,000 weddings have now been deferred until next year, and many more cancelled of course. We are also pressing media outlets to highlight the issue and were on the radio outlining the situation only yesterday (28th September). It goes without saying that this latest restriction means even less work opportunities for those who photograph weddings, which has a knock on for Trade suppliers too of course – as well as many other wedding related service providers. In short, current circumstances are hitting us all. With that in mind we are really pleased with the outcome of a meeting held this week to create a common voice for our industry in this time of uncertainty and crisis for many. It resulted in the launch of the “Coalition of Photographers” a united voice of Photography Associations and Photography trade. ALL professional photography related associations and businesses are invited to come together as a part of this coalition, so that we can collectively represent as many members and customers from all parties, with one voice and one plan of action. Please watch out across the industry (or contact us) to find out more, and be ready to support this initiative! Updates will be released soon. Needless to say, we are also keeping Guild Members regularly updated with changes to Government support opportunities. The latest, detailed on our last Newsletter being – > They have extended the SEISS Grant for self-employed individuals who are currently eligible for it and are actively continuing to trade but are facing reduced demand due to COVID-19. > Those who have deferred their VAT bills now have the option to pay back through 11 smaller interest-free payments during the 2021-22 financial year, rather than a lump sum. > Self-assessment taxpayers are eligible for an additional 12-month extension from HMRC on the “Time to Pay” self-service facility. > Businesses who took out a Bounce Back Loan now have access to a new ‘Pay as You Grow’ flexible repayment system. This includes extending the length of the loan from six years to ten. > A new Job Support Scheme will be introduced from 1 November and run for 6 months. Employers using the Job Support Scheme will also be able to claim the Job Retention Bonus if eligible. For those who are in business and Guild members, please do not forget that you have 24/7 365 direct access to a legal helpline if you ever need advice, or actual legal representation at no cost to yourself. Likewise, please do not forget about all the free webinars we have on offer to help you! We are making time for fun too, as you will see from the Regional Group reports in Creative Light. We have even launched a Photographers Fantasy Football League sponsored by our friends at Shuttertax. Finally, we are both excited and delighted at the number of people who have applied for and succeeded in achieving Qualified Status with the Guild recently. Nearly 100 people have been successful in recent months. Enjoy the Read of this edition of Creative Light, in which you will see that, for the first time, we have embedded the full Panels of those successful in the last two months. We hope you like the new feature…. - Steve & Lesley

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Editor Julie Oswin Welcome to Autumn 2020! Autumn officially started on Tuesday 22nd September. For my Editors Choice, I have chosen the superb shot of a jumping spider captured by Guild Member Neal Martinez. What a great face! Whether you love or hate spiders, the expression captured communicates with you. Congratulations Neal. The image was awarded a Silver in the Guild’s Image of the Month competition for April 2020. We have some exciting ‘Guild Spotlight’ features in this edition covering a wide range of genre’s, including an insight into the journey of one Guild members husband Peter Elliott, who went from creating a few props for his wife to starting up his own business. Creative Light celebrates the success of so many Guild qualified members with a personal showreel of their individual panels. Does a photographer inspire you? Would you like to see an article featured on them? Email me julie@photoguild.co.uk and in the subject write Creative Light Magazine 2020/21.

The best three hours whale watching ever! I was captivated watching the majestic humpback whales circling the boat. Some were surfacing vertically within meters of the boat and looking straight at me as if to say hello! Amazing and so surreal. The image above has to be one of my all time favourite shots I have taken. I love the way sunlight is dancing across the sea and lighting the water as it drains from the fluke. Humpback whales are fasinating. They live in oceans around the world, travelling incredible distances every year and have one of the longest migrations of any mammal on the planet. Some swim 5,000 miles from their tropical breeding grounds to colder, productive feeding grounds. Humpback whales feed on krill (small shrimp-like crustaceans) and small fish by straining vast volumes of ocean water through their baleen plates. The humpback whale takes its common name from the distinctive hump on its back. Its long pectoral fins inspired its scientific name, Megaptera, which means “big-winged.” Photo: Humpback Whale, Alaska (Nikon D100 6mb Camera)

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Editors Choice Neal Martinez Awarded Silver - April 2020

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October/November 2020 :

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Front Cover

paul oldham

This photograph was taken in early November 2019 looking south towards Glenridding, Ullswater in Cumbria. I had never photographed in that area, and I intended to photograph the famous boathouse north of the lakes. I like to plan my photography and observe the weather for the conditions, and I knew that it would be a cold morning with the real chance of mist. After photographing the boathouse, I decided that I would move further down the lake. I was met with the incredible scene of a mist rolling through the valley and across the lake. Taking this shot, I found myself right on the very edge of a small cliff on the edge of the lake itself. I used my 70-200mm lens to pick out the island as the sun began to peer above the hills casting the incredible light. I guess I was fortunate on that morning, and it is something that I will recall for a long time to come.

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Peter Li is an award-winning photographer based in London. His architectural artwork received 1st place in the Architecture Category at the Epson International Pano Awards 2018 and was Commended at the Sony World Photography Awards 2018. His work has been featured in The Times, Time Out London and in various photography and art publications.

How did you get your start in photography? I started shooting with a DSLR camera back in 2013 when my first child was born. Like many dads out there, I wanted to document my growing family. Having a wife who studied art, she has a very artistic eye and I am very lucky to have someone who would give me an honest critique. In the early days, I was independently studying/self-teaching photography every day and practising on a daily basis.

What type of photography are you shooting and what motivated you to focus on that genre? In 2015, I met two aspiring photographers who shared their passion for architecture photography with me. Through their inspiration, I have learnt to be attentive in achieving symmetry and am mindful in my composition and line work. Living in London, we have all sorts of architecture; we often find a classic gem nestled amongst modern skyscrapers. I owe London for fuelling my passion for this genre.

What has been your biggest achievement or obstacle along the way? One of the biggest challenges is to photograph a space completely empty, and often it’s the hardest thing to do, so to prep for the best conditions I try to plan my visits on the days that are least busy, and getting up early to be the first person there. In London, interiors can be tricky because often they would not allow the use of tripods. But on the positive side, photographing around London I had trained myself to have a steady hand for a slow shutter exposure. 12

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‘Megamind’ Royal Albert Hall, London. The auditorium of London’s Royal Albert Hall during lighting preparation for an upcoming show. It is fascinating to see the hall from floor to ceiling in such flying colours. The stage spotlight cast such dramatic shadows across the seating area and transforms the space into something quite otherworldly. It is a difficult scene to photograph, but challenging conditions often make great photos.

Who and/or what inspires you most? I often look for inspiration from paintings, movies and games. I started gaming from a very young age, and I think it has impacted my photography more so than any other art form.

What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use?

‘Chessboard’ St Paul’s Cathedral, London. St Paul’s Cathedral is one of London’s finest Classic architecture gem, a masterpiece from Christopher Wren’s creations. My St Paul’s series has 3 parts, each section of the Cathedral has its very own style but marries seamlessly together. The chandeliers brighten the space evenly across the Nave, while the lack of deep shadows creates a minimalistic elegant scene.

My work sits between realism and fantasy. Historical buildings such as Cathedrals or music theatres are often reminiscent of our history - they are intrinsically timeless and, in many ways, otherworldly.

With vertical panoramic photography (Vertorama), we are able to observe a three-dimensional space in its entirety, giving us a view/perspective beyond what the eye can see. It breaks us from reality, plays with our perception of shape and form and creates a sense of another world. Through my photography, I hope to impart fragments of fantasy to the viewer and encourage them to take a momentary step out of their reality

Why is accurate color important within your workflow? I print my work regularly, colour accuracy is very important, having a screen that could accurately render the colours will make the process much easier to manage. The subtle tonal difference of an image can convey a very different mood and message. Issue 39 -

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GUILD SPOTLIGHT Nick Brown Creating an original Style

The ‘Guild Spotlight’ shines on Guild member Nick Brown and his journey into photography and how he has created a style which is original to him and immediately recognisable as a ‘Nick Brown’ urban landscape.

“

I live in Rugby, Warwickshire with my wife Sarah and our four-month-old daughter Nancy. I am an enthusiast photographer who, on occasions undertakes paid work but in the main, I practice photography as an art form. My first camera was a Kodak APS (Advanced Photo System) film camera. The ‘advanced’ feature was that you could shoot in three different aspect ratios which I found mildly exciting! From there I purchased a Nikon D40 DSLR but didn’t understand what went into producing an image. I lost interest for a few years picking up the hobby again

in 2010. I plodded along taking “snaps” for several years until I finally decided to invest some proper time into it. It was on holiday in 2015 when I decided to find a course to understand photography properly. I signed up for a three-month course with The Open University and the Royal Photography Society. Once I had a solid foundation, I had to build on that. I started with a 365 photo-a-day project, and through the course of that year, I could see that I had a clear preference for street, architecture and natural world photography. Joining The Guild of Photographers in 2018, I started to focus more on architectural photography. I had developed an eye, and at the time, I was working in the City Of London, which was incredibly advantageous”. - Nick www.photographybynick.com

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Be inspired by the wealth of talent but don’t judge yourself against others. Photography is a marvellous art form. Explore and experiment. Don’t be afraid to do your own thing and importantly take photos for yourself.

With architecture, I have “collected” buildings, and there is a list of iconic buildings I have wanted to shoot. I have gone out with an image of a chosen subject in mind, but my favourites are the ones I stumble upon in the process as they are likely to be original. Planned shoots tend to feature urban scenes that have been shot many times before, but the one thing I have learned is to look down every side road continuously, and behind myself, just in case there is an opportunity. Initially, I set out looking for shapes, texture and leading lines if they’re there. However, sometimes I just like to give an iconic building my own twist. The beauty of architecture is that it is everywhere and the geometry of the seemingly most uninspiring part of a building can make a good photo. If I’m looking for an ICM image, I look for changes in colour as it is what you are “painting” with. I also look for contours in the landscape because I like my camera movement to follow the landscape. You can find this anywhere, even in your garden.

What advice would you give to members of The Guild starting on their photographic journey?

How old were you when you picked up a camera?

I’m certainly not one of those who have had a camera in their hand since childhood. I would say the first time I purchased my camera would have been in around 2002, so I’d have been about 24.

What have you found most challenging in your line of fine art photography? Learning to edit and learning to edit in a style original to me. I’m self-taught, so learning how to create the images I do, has taken a lot of time, with a lot of trial and error and a lot of genuinely awful photos. I have found it quite frustrating to know what image I want to create but not knowing how to get there. But this said I have had a great deal of fun and taken much satisfaction in my journey so far. Youtube is an extremely powerful resource if you can identify the good tutorials.

What attracts you and gives you the inspiration for an image?

What motivates you to get up in the morning?

A crying baby. It’s more a ‘necessity’ than a ‘motivator’.

Your favourite go-to lens for your photography, especially for your location shoots? Sigma 35mm Art. It’s a bit of a weight, but it’s an excellent prime lens giving me the width I prefer. I love the focal length now. On the rare occasion that I need something wider, I use the Sony Zeiss 16-35.

Best time of the day when shooting your urban landscapes? Whenever I have the opportunity, the weather is more of a factor. Hazy days, low mist and fog are the worst for clarity, but the benefit of my style of architecture photography is that you don’t need to rely on set times of day, but the subject needs light. Depending on where you shoot, you need the sun to pass to relieve you of intrusive shadows, but on the whole, it is a very accommodating genre.

The preferred choice of backgrounds in the urban environment? For architecture a nice cloudy sky so I can isolate the subject. I can still achieve isolation amongst other buildings, but my preference is an overcast sky. With more and more construction underway I have noticed that I am running out of sky!

Tripods? Love or hate them?

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I hate carrying them. For my last few long exposures, I have used a jumper, on top of rocks, on top of my camera back to steady my camera. Even though there are two tripods in my car, I know that is probably a sin, but it’s fun finding ways to make do when you’re ill-prepared.

Post-processing and Photoshop, how important is it to your finished work? For my architectural work, it’s vital. It simply wouldn’t be possible without post-production techniques. I know some aren’t keen on heavy post work; however, these are simply tools at our disposal and post-production techniques were employed in the darkroom too. In street photography, I try not to use post techniques beyond a crop. ICM is wonderful because in the main it is out of the camera and offers a welcome break from editing. I may consider simply boosting the colours, or run riot and have some fun. Specific images incorporate a 2nd exposure of the same scene at say 1/160 to add a small degree of clarity. I couldn’t always create without photoshop.

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Your preferred combination of equipment when shooting ICM? The 35mm plus a Gobe circular ND64 filter. I find it allows me to use just the right length of exposure for the effect I prefer.

What attracted you to ICM? A complete opposite of your black and white urban landscapes? I wanted to explore photography more than I was. I’m still working on the black and white urban images in the background, but I had started to put a lot of pressure on myself, and I didn’t want to run the risk of falling out of love with photography as a result. There is more to my work than black and white buildings. With ICM, I feel completely free to create images without fear of error. It may just be me, but it isn’t as easy as it seems. Even though you end up with a seemingly blurry image, I’m still looking for storytelling, and for me, the image has to draw the viewer in to explore the detail of the picture. I always judge my work as if it was a pinsharp image entered into IOM (Image of the Month). I bin a lot of frames whilst looking for the right one to work on, but there is undoubtedly more freedom with endless possibilities.

Can you recommend any photography books to the readers? Looking at my collection of books, I don’t have many at all on the theory of photography. And I don’t own many books relative to the genres I photograph. So much information is online today. However, I can become absorbed by most coffee table photography books. My favourite, by far is a book called Football Days by Peter Robinson. It is a lovely document of football over the ages and a must for any football fan or documentary Photographer. Having purchased it twice! I lost my first copy and flick through it regularly - I can’t put it down. I’m also a big fan of the annual Landscape Photographer of the Yearbooks. The content reminds me that I regularly walk past potential award-winning subjects. It’s a lesson in ‘seeing’ for me.

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When creating still life images, have you any tips to share with the readers? I’m no expert at still life photography and am in awe of every still life photographer within the Guild. So much talent and I don’t stand alongside them. For me, it serves as an opportunity to experiment with lighting and postproduction. There are so many that could offer worthy tips, but the one ‘tip’ I would give, which to be honest, I’m not great at myself, is to think well outside of the box when telling your stories. Personally, for me, the images that make me stop and interpret the story are the best.

One piece of equipment that you couldn’t do without? I shoot with a mirrorless camera and use a variety of lenses. Changing these with an exposed sensor inevitably leads to a lot of dust stops. So these days, my most valuable/used piece of equipment is my sensor cleaning kit. For actual shooting equipment, it would be filters. Polarising and ND. Obviously, polarisers take care of reflections be they in glass or water so beneficial for architecture. The NDs are a must for ICM.

Do you use any apps that help with your work?

I do, but only in my planning. Sun Position by Stonekick and Googlemaps. Googlemaps is a very handy app for exploring potential locations and also plotting my routes following the sun position. I use them loads.

Favourite time of the year?

Autumn. You can’t deny the colours are a real treat.

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Interesting facts about you?

That’s hard because when I’m asked that I usually talk about photography. I do hold a black belt in Shotokan Karate. I trained when I was young but did go back to it to get into shape for my wedding. I hope to train again with Nancy when she’s old enough.

Three words that describe you?

Unassuming. On that basis, I struggle to think of two more!

What is your favourite meal?

I have to go with Mexican and anything prepared for me. I’m not lazy I just don’t enjoy food as much if I’ve cooked it and I’m not a fussy eater. Known to eat first and ask what it is after!

Favourite place in the world and why?

Any area of outstanding natural beauty in the UK. The Peaks, The Lakes and so on. It’s all on our doorstep. I need and want to explore more of the UK.

Where next?

In terms of photography? Continued development. I want to overturn as many stones as possible and become the most well rounded, knowledgeable and credible photographer I can be. With the arrival of Nancy and lockdown, the opportunity to shoot has been limited. The time has given me the chance to relax and reflect on where I am and what I want to achieve. I’m looking forward to seeing what comes out of it! - Thank you Nick for sharing with us an insight into your photography world - Julie Oswin, Editor

“ I NEED & WANT TO EXPLORE MORE OF THE UK ”

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Guild of Photographers Successful Qualified Panels - July 2020

“An excellent reason for joining the Guild is to submit your work for assessment and progress through our membership levels. It is a way to measure and evidence your skill level, as well as show your customers that you are committed to providing them with the very best service. Whilst photography-related qualifications have always been a controversial issue, how do you judge an art form? Our ‘Qualified’ status aligned to the standards of competence that reflect a level where the customer should be ‘pleased with the results’ when employing the services of a skilled tradesman (the photographer). In other words, ‘Qualified’ indicates professional ‘competence’ to a level where the Guild is willing to recognise the photographer as an ambassador of the association, so those who achieve that level should be proud of doing so”. - Steve & Lesley Thirsk

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(Please note that when joining the Guild, Qualifications from other respectable organisations are transferable at ‘Q’ or ‘L’ level. They may also be at higher levels, but this is not guaranteed as it is subject to a review of the relevant submission or members work) 24

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GUILD SPOTLIGHT Marketa Zvelebil

Wildlife Photographer

I think my love of photography is genetic. My grandfather (though I never knew him) was a professional photographer and painter. My father took photos as well. So, I got a camera - an old one and a roll of black and white film and started taking pictures of everything. Until that is, I took the camera apart to see how it worked... and could not put it back together again! You can imagine my parents were not impressed. But from that time on, I loved the idea that you can capture a moment in time. Eventually, after having all kinds of â&#x20AC;&#x153;unrealâ&#x20AC;? cameras, such as Kodak Instamatics, etc., I got my real camera again. This time it was a Pentax K1000. I was a teenager by then. My older brother had a darkroom, so I developed my black and white films. I wanted to study photography and journalism but I was dissuaded from this course due to my disability. I became a scientist instead. Throughout my science career, I continued to take photographs, and continued to upgrade my cameras, though, in the end, I settled for Nikons. When I took early retirement, I took my photography seriously, enrolled on several courses and mentorships (including with The Guild of Photographers). Now, it takes up most of my life, my time and thoughts.

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Marketa shares with the readers of Creative Light Magazine, her wildlife and macro photography. She talks about her photographic journey from the moment as a young child she took a camera apart to see how it worked to a change of career and direction. ***

What have you found the most challenging in your photography journey? My disability - in that I see something I would love to photograph, and I can’t grab my camera and run out to do it. By the time I manage to get “out there” the moment/light/whatever is gone—and also looking objectively at my photos. That’s why I think mentoring/ seeking advice or critique is so vital because however good or professional you are there is always some attachment to the photo that makes you look at it differently. Or just by being “there” and seeing the whole action, sometimes we think the image is telling the entire story when it isn’t. But these limitations are often better seen by someone who has not taken the photo.

What motivates you to get up in the morning? My dog and cat (laughs)! They won’t let me sleep in. But apart from that the knowledge that I have photos to edit and that this is a new day where I can go hunting for “THAT” photo that is going to change my life...well we can dream.

As a disabled person who will happily chat with other disabled people interested in photography what advice would you give to someone starting out? First advice to any disabled person is Do NOT listen to non-disabled people telling you what you can and cannot do. You must make these decisions for yourself. On the other hand, ask for help if needed. Second: Do not give up; there are always ways to sort out problems. Third: Use your disability to your advantage. For example, if you can use a scooter do so - and use it as a tripod/ monopod at the same time. If you are in a wheelchair use your low POV (point of vision) to add novelty to your photos. Fourth: There is a disabled photographers association in Britain, and then there is The Guild of Photographers - to ask for advice.

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

Apart from the camera and lens(es)? For me, my scooter... without that I cannot really take photos. Especially my four-wheel drive TerrainHopper, that allows me to go up into the mountains. But if you insist on photographic equipment, then it must be the tripod, as I love taking night photos—long exposure photos in general. Issue 39 -

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Q: What is your favourite go-to lens for your work? My go-to lens in general, the one I take when I travel and do not know what to expect, is the Nikkor 28-300mm. My goto lens when I do my work on Dog (cat, people) portraits for clients is a Nikkor 24-70mm lens.Q: Your preferred choice of camera equipment? I love my Nikon D850 with either my Macro lens (as I am an ardent macro/insect photographer) or my “go-to” lens. As well as my D500 (a DX camera) with the 200-500+1.4 converter lens for photographing birds or very shy flying insects.

Q: What is your turnaround from shooting to proofing? The first round of editing/proofing is often done within 24 hours. The more detailed editing can take a couple of days.

Q: Do you use a tripod or have you a mount to hold the camera designed for your chair? If so, how important is it to your work?

I do have a tripod for long exposure work, as anything mounted to my scooter (I don’t use a wheelchair for outside work though it would apply to a wheelchair as well) would suffer from vibrations from normal movement/breathing. I have tried to use a mount, but it was not still enough, and it was too cumbersome. So, a tripod it is when needed. For other photography I have an advantage, as I can rest the camera or lens on the steering column of the scooter, thereby I can get sharp photos at lower speeds than just hand-held shots.

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

To my creative work (i.e. not work that may end in National Geographic) it is essential. I have learned a lot recently from following the online courses that the Guild have provided—for example, using textures. However, I do not create photos that are more pieces of art rather than a photograph. I do admire people who do that, but it is not my forte.

Q: Lighting equipment, what is your preferred choice? Daylight diffused daylight. Inside for portraiture, I use four lights...but I am still working at getting my studio correctly set up.

Q: Who inspires you? Henri Cartier-Bresson and Margaret Bourke-White. I love Henri Cartier-Bresson’s honesty in photography, photos that you can’t take anymore, of real life. As for Margaret Bourke-White, I admire what her photographs show; they made a difference. They show reality without any softening of the harshness that she saw, like Europe under Nazi occupation. The skeletal survivors of Buchenwald as well as the mountains of corpses. The violence through the partitioning of India and other atrocities. She managed to capture the quiet softer moments and the personalities behind them, like the photo of Gandhiji being helped by his daughters. 34

: October/November 2020 - Issue 39

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October/November 2020 :

Q: Interesting facts about you? Don’t know... I was born in what used to be Czechoslovakia. I became a refugee at eight years old. Lived in the USA, moved to Holland and am now Dutch by passport. I have lived and worked in the UK and consider that my home, but live in France nowadays. I speak a few languages but think and dream in English. Love animals.

Q: Favourite place in the world and why? Scotland. It’s beautiful!! And I love the people, the whisky, and the food! Would love to be there not taking photos—especially the North West of Scotland and Skye.

Q: Three words that describe you? Determined, Fun-loving, Compassionate (those are the three nice words...I won’t write about the three bad words...)

Q: Favourite food? Favourite food? That’s difficult; it depends on my mood. I do love truffles (the mushroom kind), so anything with that. Or some lovely scones, jam, and clotted cream! Now I’m hungry.

Q: Where next on your photography journey? Getting my Master Craftsman with The Guild of Photographers and setting up my “business” in animal portraiture/photography. Marketa’s website: www.marketazvelebil.com

- Thank you Marketa for giving us an insight into your photography and your passion for wildlife. We wish you every success in acheiving your Master Craftsman and setting up your business. Julie Oswin, Editor

: October/November 2020 - Issue 39

Issue 39 -

October/November 2020 :

FACEBOOK IS DEAD! By Ronan Ryle

Facebook is Dead! If I had £5 for every time I heard a so-called ‘Marketing Expert’ in our industry say "Facebook is Dead”, I would be a millionaire by now. Someday they may be right, but it won’t happen for a very long time. If this platform does cease to exist in the future, those who have learned the principals of Panning-For-ClientGold, will be ready to jump to whatever platform is next. Why? Because the principals don’t change even if you change the Traffic Mountain (Online Platform) used. Think about the gold miners during the gold rush. They could move from creek to creek or choose a new mountain range when the gold ran out, but the skills and equipment they used were the same. Once you learn and perfect the skills you can pan for gold anywhere. The same is true when it comes to generating Ideal ClientGold leads online. Brad Bulmer is the 3rd generation in his family studio, Stan Plus Stan 2, in Barnsley. He works in the business with his dad Stan, his mum Shelley and his partner Ruth. When Brad first started working in the family business, it relied heavily on buying data on clients and websites such as Groupon. Brad explains the challenges, “As a business person and marketer I couldn’t understand how we spent so much money buying data and never even got an email address.” Brad further explained that when he bought bookings, it was always a challenge to upsell these clients. The clients would buy the voucher for the experience not expecting to have to spend more money. Brad explains “The studio expectation and the client expectation were not aligned, so from the beginning you were pushing a big boulder up the side of a mountain.” Brad and his parents agreed that there had to be better way. Brad started to research experts online and attended a couple of Facebook marketing talks put on by 3XM. He threw himself into fully understanding how Facebook marketing worked, and how generating leads on Facebook would give him control over his marketing. Brad explains it this way, "Our business was reliant on others to provide us the leads, I quickly discovered that by taking control of my marketing it would allow us to chart our own destiny and not be reliant on others to survive, let alone prosper".

Brad still questioned himself every single day on whether he was right to dedicate the time required to become an online marketing wizard. Brad frequently had that inner voice in his head asking himself “What if I fail, what if this doesn’t work? My mum and dad are relying on me. Every morning I woke up with that phrase in my head '3 generations from cog to ruin'. What if this doesn’t work? What then? I don’t want to be responsible for the possible failure of a 3rd generation photography business. It would devastate my parents. Should I forget about this all together and suggest that we carry on with Groupon and buying leads? I was torn but knew I had to do somethingnew. “

: October/November 2020 - Issue 39

Brad explained that he has a very stubborn streak. So, one day he was attending another Facebook marketing course and decided 'I am going to do this'. He decided to dedicate all his free time to learn from the experts in the field. Brad described how consumed he became, "I spent all my times absorbing videos on YouTube, paying for online courses, discovering the tried and tested ways as to how to use Facebook marketing. So much so my partner Ruth, started to ask me when can we go for a day out.” However, he was determined to make this work he had staked the future of his family business on it. Once Brad learned how to create a Register-To-Win Funnel and deploy it, he was astounded by the results. He was able to generate leads for a fraction of the cost he was paying before, but more importantly, they were in control of the data. Unlike purchasing leads from Groupon, when he had just one opportunity to convert the possible lead to a client, he can now fill his pipeline with ClientGold leads that he nurtures until they are ready to buy. During our conversation we agreed how important this is as all the research shows that 50% of your leads will buy from you at some stage, buy only 15% of them are ready to purchase now! The other 85% won’t be prepared to buy for between 3 months to two years.

Brad settled into learning the secret sauce of online marketing with Facebook and using his collection of Pan-For-ClientGold Funnels. He quickly discovered that Facebook, combined with his sales funnels, was his closest friend. In no time his business eliminated the enemy of seasonality. Brad explained that when he talks to other photographers, and they complain about how seasonal their business is, that they don’t believe him when he explains how he defeated this enemy of many photography businesses. He laughed out loud as he explained: "Ronan, the look they give me is as if I have two heads, they have resigned themselves to the conclusion that it is just the way the photography industry is". Brad explained that often they don’t believe him that he is fully booked eight weeks out all year round. Then he shows them that when he sees a gap in his diary, he deploys a Pan-For-ClientGold Funnel to create the leads and bookings when needed. Naturally I asked Brad about average sales value, wondering if these clients that came from Facebook would spend differently. Brad explained that his average sales increased significantly from the leads he generated himself. We then discussed the research I did for my MSc. in 2010 when I studied the perceived level of customer service when the potential client is at the ‘Consideration’ Stage of the buying process. I explained to him that his marketing is attracting clients when they are ‘blissfully unaware’ they even need a photographer. This directly contrasts the potential lead who finds you on a Google search.

Brad is the first Studio in BSA to generate more than £1 Million worth of business with his Pan-For-ClientGold Funnels They are in a logical buying state, and that is why they often lead with the question “What do you charge for...?” We both laughed out loud. Brad then said “Funny you say that, I haven’t even updated my website for ages, nor do I waste time blogging or any of that 'fluffy marketing'.” We agreed that many photographers hear so-called marketing experts talking about branding, SEO, blogging, having fancy websites, etc, when all they need to do is master Pan-For-ClientGold Funnels. This is how they can fill their business all year round with higher-paying clients.

I decided I had to ask Brad to join BSA as a mentor and moved our conversation on to our mission at 3XM, Photovalue and now BSA. We have made it our mission to help photographers create sustainable, profitable businesses through the products we supply, the software we develop, and the training we give. I explained why we deem this so necessary because I believe in my heart that “Photography creates a healthier society in mind, body and spirit". During our conversation we deep-dived into this philosophy and recognised that we share very similar values. Brad added his thoughts that the way to amplify the success of training photographers was to not only teach and mentor them, but to also provide "accountability through community” so that photographers could truly take control of their marketing. Our goal is to help 1000 photographers from around the world to become Marketing Wizards too. Think about this for a moment, based on an average of 200 clients a year and on the average family size, that means together 600,000+ people will be healthier in mind, body and spirit from our collective efforts. This can be repeated year after year.

There was one last challenge to overcome in bringing Brad onto the BSA Mentor Team. In order to be an effective mentor for photographers around the world, he still needs to work in his family business, but this poses many risks. I could see him contemplating “what if I teach my direct competitors my secret sauce?” I encouraged him to chat with his parents and explore if there was a way he could split his time between the studio and being a BSA Mentor. As a 3rd generation photography business, he knows firsthand the positive effects our industry has on society and he can amplify this by joining us!

Luckily for us Brad and his parents figured out a way he could handle both positions in his schedule. He is now helping photographers, not only in the UK and Ireland, but also from around the world, learn how they too can Pan-For-ClientGold Leads. With these skills they can fill their studios all year round with higher-paying clients while creating a healthier society through photography.

Join Brad, Jeanine, Jonathan any myself in BSA Today for your FREE 14-day trial so you too can pan-For-ClientGold. Visit https:// learn.businesssuccessacademy .io/freetrial14days Issue 39 -

October/November 2020 :

Regional Meet-Up Who: South Central, South West & South Wales Groups Where: Head Shots in the New Forest When: August 8th 2020 Author: Jayne Bond & Mark Davies After so many regional cancelled meet-ups cancelled due to Covid-19 and lockdown, it was fabulous for a small group of us to be able to get together in the New Forest on August 8th. The idea for a headshot meet-up came about when we were planning our Portraits of Togetherness promotion. As we were all in the same local paper catchment area it seemed sensible to put forward a joint write-up for the press, at that point it became apparent that the only thing lacking were portraits of ourselves. So we made a plan to meet up, once lockdown had eased, to get some up to date headshots. It was great to see each other and in such a fabulous location. We all agreed that we were much more comfortable behind the camera than in front of it, but these get-togethers are always fun so with lots of laughter we all felt at ease when it was our turn to model! The aim was to achieve some ‘serious’ headshots, which we did, but there were indeed lots of silly, fun shots too. Ann brought along her PIXA200 flash, which we set up with a softbox at the side of the pathway, this intrigued the local dog walkers. Fortunately, Ann and Jayne were both shooting with Canon so they were able to share the flash trigger and both use the off-camera flash. We shared hints and tips about lighting and posing and in particular how to avoid reflections in spectacles, but we soon realised that specific types of glasses cause more of a problem than others!! Jayne wears blue light blocking lenses, which improves eye health when looking at computer screens, but we soon discovered that it was far more challenging to prevent blue reflections in the image. The solution – swap glasses and have even more of a giggle. Ann demonstrated her expertise taking headshots of Jayne wearing her glasses, while she tried to focus wearing Jayne’s glasses when everything was just a blur!! Meanwhile, Alan and Mark were also exchanging tips and ideas. “My genre is predominantly landscape photography’ explains Mark, “so, to team up with Alan with all his knowledge of portrait photography was a real experience”. Mark adds, “I hope I returned the favour by ensuring the background to the shots were green and out of focus”. Mark and Alan were both shooting without flash, but the forest location ensured there was sufficient light streaming through the tree canopy, offering quality, diffused lighting. Alan was shooting with a Canon, and Mark was shooting with a Nikon, “but that didn’t seem to cause any friction between us!” explained Mark. Jayne Bond & Mark Davies

: October/November 2020 - Issue 39

Issue 39 -

October/November 2020 :

Exclusive offer for Guild Members 20% off any CEWE PHOTOBOOK and any CEWE WALL ART* Offer available on any size or format using the CEWE Creator Software. For information on how to redeem this offer, log in to The Guild website photoguild.co.uk and view the Partners and Discount section.

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: October/November 2020 - Issue 39

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Issue 39 -

October/November 2020 :

JULY & AUGUST 2020

Chris Chambers

Frances Vander Merwe

Natasha Ince

Jodie Painter

: October/November 2020 - Issue 39

Jayne Bond

Ian Knaggs

Sharon Bolt

Nikki Goodeve

Laura Galbraith October/November 2020

Issue 39 -

Debbie Longmore

Molly Hollman

Neal Martinez

Claire Norman

Karen Riches

: October/November 2020 - Issue 39

Lynda Haney

Deanne Ward

Jessica Wealleans

Karen Riches

Laura Galbraith Issue 39 -

October/November 2020 :

FOR THE 2020/21 FANTASY PREMIER LEAGUE WHY DON'T YOU JOIN

THE SHUTTERTAX & GUILD CUP Paul & Debi Simpson of Shuttertax have put forward the idea of running this league, and they have offered some amazing prizes!

1ST PLACE - £125 CASH OR £250 *SHUTTERTAX CREDIT, 12 MONTHS STANDARD GUILD MEMBERSHIP, AND AN ENVIABLE PLASTIC TROPHY!! 2ND PLACE - £75 CASH OR £150 SHUTTERTAX CREDIT 3RD PLACE - £50 CASH OR £100 SHUTTERTAX CREDITUDIO

In addition, Shuttertax are offering 4th place to 10th place teams £50 Shuttertax credits**!

: October/November 2020 - Issue 39

JOINING THE LEAGUE COULDN'T BE EASIER Just for fun - we are throwing in a coveted wooden spoon for last place!

Simply use the link below and you'll be added automatically after you've entered the game. https://fantasy.premierleague.com/leagues/auto-join/870tdr Otherwise, click here and enter the League Code: 870tdr

If you have any questions, please email laura@photoguild.co.uk Looking forward to playing against you this season! Issue 39 -

October/November 2020 :

PROFESSIONAL PHOTO P

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: October/November 2020 - Issue 39

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+44 (0) 1707 27 37 47 Issue 39 -

October/November 2020 :

Peter Elliott

Working for the Wife! As more and more people get involved with photography, one problem for photographers of babies and children is trying to find props that are safe, unique and beautiful. Trends come and go, but one timeless style is handmade wooden toys and props. Recently I asked Peter to create a set of toys for my newly born Grandson and fell in love with them especially the pirate ship, boat, and the train which is my absoslute favourite. I just had to share Peterâ&#x20AC;&#x2122;s gorgeous craftsmanship, designs and his toys with you. Claire Elliott, a newborn baby photographer and panel member who is based in County Durham has always loved the idea of using wooden props in her photos. However, when looking around vintage shops and craft fairs, she noticed that any handmade wooden items, whether they were bowls, toys or any other kind of item ideally suited to photography were excessively expensive and not widely available. Her husband, Peter, realised that if Claire were to gain access to the highquality handmade products that she needed, he would have to have a go at making them himself! Peter has always loved nature and anything made out of natural materials, especially wood. So he set to work drawing, designing and creating wooden props, mainly bowls, boxes and small beds for Claire to use at her studio. Over time Peter started to think about expanding the range and decided to design wooden toys reminiscent of the toys from his childhood which would be a great place to start. This is his story... - Julie Oswin

: October/November 2020 - Issue 39

Imagine the scene: a craft fair in the North East of England, full of handmade and vintage items. You’re a newborn photographer who spends most of their disposable income on things that you can “put a baby in”. You spy a gorgeous wooden bowl on a table ahead of you, a sweet old lady smiles at you behind it, beckoning for you to come closer. You rush over, excited at the prospect of a brand-new prop to use. The dimensions are perfect. Your heart sinks when you look at the price tag, ready to buy it. You die inside, but don’t want to embarrass yourself in front of the old lady, so you smile and tell her that it’s “not quite right for what I’m looking for...”, and then you walk away. Does this sound familiar? For Claire, this is what used to happen regularly. She would return home, utterly disappointed and frustrated at the waste of another trip to a craft fair. She would promise herself that she would save up to buy one of those expensive bowls soon, but then one of her children would ask to go on a school trip, or the boiler would break, and the dream would die again. But then she remembered that her husband, Peter, had some woodwork tools lying around. He hadn’t used them much, but surely, in this time of crisis, it was the perfect time to start experimenting. Peter accepted the challenge, seeing how excited his wife was, so they ordered some rough-hewn bowls from abroad, deciding not to jump right in the deep end of carpentry. The bowls arrived, and Claire ripped the box open, already planning what kind of new setups she wanted to try. Peter got to work sanding, painting and waxing them, making them look as good as possible. The finished product was majestic, looking like it had come from one of the most expensive tables at the craft fair, yet it had cost them a fraction of the price! Claire, almost fainting from excitement at this point, took them into the studio and started shooting immediately. The customers were very impressed, and the bowls started gaining attention online. Other photographers had seen what Peter could do and wanted a taste of it themselves. At first, this seemed daunting; what if they weren’t good enough to sell people? What if people immediately got bored and their venture was over as soon as it started? Claire disregarded these doubts and encouraged Peter to set to work straight away. He finished all of the bowls they had initially ordered and realised that they were selling like hotcakes. Issue 39 -

October/November 2020 :

Finally, photographers could get handmade wooden products at an affordable price! Peter and Claire did consider raising the prices of their bowls, but then that would go against the whole reason they started doing this – to solve the problem of over-priced and hard to find props. After a while, Claire wanted Peter to flex his carpentry muscles and try out some of his heavyduty woodwork tools. They had some wood leftover from their old shed, and they wanted to try a different shape this time.

At the moment, Peter is working on creating toys for the Story Museum in Oxford, who want to use them for an interactive exhibit. The Story Museum was established to enrich lives, especially young lives through stories. Designed for their imaginative, interactive, multi-sensory are intended to encourage parents, children and carers to spend time together enjoying stories in many different ways. “Peter, your pieces will form part of an interactive story map within the Portal, where the adventure begins. Our informative bureau for travellers between story worlds. Our friendly Story Guides will help visitors plan their journey through the fictional universe.” - Emelia Elliott

Everyone had already seen their round bowls, but what if, this time, they went for rectangles. Was the photography world ready for it? After they built the newborn bed and posing boxes, they realised that yes, the photography world was prepared for it, and couldn’t get enough. Peter designed a new range, including a camera, a car and a boat. Claire was delighted at how well they came out on photographs. Again, Claire started using the toys at her studio, clients started aasking to buy them. Then Claire started bringing them to her training events, and photographers began to get interested and wanted to buy them for their studios... ... since then, Peter’s toys have become one of their most popular requests, and he has slowly added to the range, to include an exciting array of vehicles and animals.

: October/November 2020 - Issue 39

For details on Peter’s toys and props, please contact Peter via email > ravenswoodprops24@gmail.com or visit his shop on Etsy. htts://www.etsy.com/uk/listing/759180127/ wooden-toys-car-plane-boat-camera-child

Issue 39 -

October/November 2020 :

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Issue 39 -

October/November 2020 :

Striking Still Life Challenge Rodrigo

Bra

Bryle T. Gaylor

Anne Rydland

Yvonne traveLeben.de

United States

Norway

Germany

Find out more about GuruShots by visiting their website. Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com

Fra

Hajdu Krisztina

Debbie Engelbrecht

Sweden

Hungary

Australia

Allan Copson

Grietien van der Wal

Broncki

Australia

Netherlands

Czechia

Svein Sunridge

Fazlul Hoque Ancer

Ivan Razumovskiy

Bangladesh

Sylvia Hermi

Russian Federation

Aust

Peter Eidenberg

Norway 58

Mike R

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Hermann

Germ

Yana

Lati

Mazzola

azil

Russell

ance

n Klecker

many

Raaga

tiva

ine Guenther

tralia

Žaneta Bringel

Frank Werle

Portugal

Germany

Fati Ma France

Nicolaas Hetterschijt

Matt Specht

Darius Peckus

Spain

United States

Patrick Nealis

Elisardo Minks

United States

Fabio Brocchi

Chile

Italy

Jeff Alexander

Ilona Büchel

Italy

Daniel Adamski

Germany

Poland

photographer.carin

Nishi Rajasahib

United States

Mrazić Darko

Switzerland

Croatia (Hrvatska) Issue 39 -

October/November 2020 :

Liza Carlson

Zsuzsa Balog

United States

Hungary

Tina MĂźller

Siv Jannecke Haugen

Anastasia Podrabinek

Germany

Norway

Israel

Birgitta Lindqvist

Shura Dym

Pacific View

Genn

Sweden

New Zealand

United States

Can

Jessica Kleit

Valery Ostrovsky

Eric Lucas

Svetl

United States

Israel

United States

Mark Vorhees

samlos5962

Vernonh01

Sarah H

United States

Italy

South Africa

United

Victoria Amelina

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Juraj B

Czec

Christin

United

Benčík

chia

ne Jesse

Netty Pic United Kingdom

Tom Dallis

Georg Berger France

United States

Eliška Zlatohlávková

Tim Pybas

Anna Kobernjuk

d States

Czechia

United States

Estonia

na ba

Michael Priddey

Christina Ericsson

Mircea Stefan Paraschiv

nada

United Kingdom

Sweden

Romania

lanah

Katalin Csotai

Carina H.Jacobsson

Amrita Bhattacharyya

d States

Switzerland

Sweden

India

Hitzfelder

Claudio Ermi

Nikol Janoušková

Sana_f

d States

Italy

Czech Republic

Sweden Issue 39 -

October/November 2020 :

Klaudia Bezjak

Teresa Finik

Gill La

Germany

Canada

Serbia

Fabian Meldau

Haroldas Bagdisanka

Tina Dwyer

Germany

Great Britain (UK)

United States

William Crew

Juri Tamborelli

Bruno Almeida

United States

Italy

Portugal

United

Rol. To.

Jari Haiko

Sharon W

Austria

Finland

United

Ulrich Hรถfer

bryonyvet1

Tami J

United Kingdom

United K

Igor Tsukerman United States

Germany 62

Dragan Cerovic

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United K

Arantxa M

Spa

Dan Fain

Ann Cason

Akanjee Photography

Latvia

United States

United Kingdom

Jodi Webber

Kanak Velpuri

Helkoryo Photography

United States

India

United Kingdom

nshtein

Marie France del Rabal

KAMERAKEV

M.Maia

States

France

United States

Georgia

averty

Kingdom

Martinez

ain

Silvija Danelsone

Wooden

Karin Schotte

Pink Sugar P

Arthur tca

States

Netherlands

United States

Jenkins

Eva Sรถderberg

Kris.Ch

Sweden

Great Britain (UK)

Kingdom

Issue 39 -

October/November 2020 :

WALLS THAT WOW! Check out the very best in wall display Loxley Colour has to offer. Add these to photography packages to boost sales and impress clients.

D I S CO V E R M O R E , V I S I T LOX L E YCO LO U R . CO M O R C A L L 0 1 2 3 6 8 6 2 7 2 0 .

: October/November 2020 - Issue 39

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A subtle style for an effortlessly chic look. Issue 39 - October/November 2020

: October/November 2020 - Issue 39

Fine Art Photographer Eva White

â&#x20AC;&#x153; I am an award-winning fine art portrait photographer based in London. Specialising in maternity, family, children, and women photography. A natural light photographer working in both studio and on location. I enjoy all sessions, but maternity photography is my biggest passion. My clients often say that I am different from other maternity photographers because of my dreamy, fairy tale photography style â&#x20AC;&#x153; - Eva White

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

It is essential. Post-processing and Photoshop allow me to create an image as a painting, like a piece of art. But I never forget that my chosen backdrop for the portrait is as important to create a beautiful picture, as well as the light and composition, emotion, and other elements. Photoshop is like a cherry on top of the cake; it helps to reach the final result, to perfect the product.

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

My Nikon d850 and sigma art 85 mm lens.

Creative Light Magazine caught up with Eva White and her stunning photography. Eva shares with us her style of fine art portraiture of women and discusses her photographic journey, her favourite projects and techniques. ***

Q: What inspired you to take up photography? My photography journey started when I was 16 years old. I discovered an old Russian camera Zenit in my grandparent’s shed and decided to figure out how to take pictures. I was inseparable with the camera since then. My fascination and devotion grew, even more, eight years later, when my first daughter was born. My husband bought me a camera as a gift to start taking pictures of our new family, which began my soon career as a photographer. From the very beginning, I felt that maternity and children photography is the one that I want to do.

Q: How did you develop your style of editing to

Q: What’s the favourite place/subject you’ve

I started by watching Youtube videos and teaching myself how to achieve specific effects. I was, and still am inspired by other photographers’ work, but the biggest inspiration was Elena Shumilova’s photography workshop (retouching part). Her simple retouching process inspired me to search for new techniques and move towards my own dreamy, fairy tale photography style.

In 2017, during my holiday in Bali, I decided to capture local children. I wanted to take natural documentary photos and stay away from my fine art photography style. The trip to Bali exploring beautiful nature and taking images of local children, talking to Bali people, was so therapeutical. It healed me in so many ways and opened my eyes to so many new things and inspired me in a way it’s hard to explain.

create these effects for your children and maternity work?

ever photographed and why?

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Q: What is your favourite go-to lens? Sigma Art 85mm 1.4, almost all my location images are done with this lens.

Q: Which do you offer to clients - IPS (in-person sales) or do you prefer to sell online gallery?

I have to admit that I am one of those photographers that hates selling, so I choose to sell via an online gallery. I am planning to go for IPS as I believe that I am limiting my profits now. Would love to find a good IPS training course which would help me to change my opinion about sales.

Q: How do you and your business benefit from being a member of the Guild of Photographers?

It helps me to stay up to date with all the new things in the photography world. I also love to participate in the monthly image competition. Sadly I could not attend photography awards night this year. I am so sad to have missed an opportunity to meet such inspirational people who share my passion for photography. I hope I can attend the next awards night.

Q: Your personal preference - colour or black & white images, and why?

Colour, of course. When creating a picture, I usually have an idea based on colour. It helps me to create a world of hues and colour saturation that reflect subjective reality.

Q: Who inspires you? The biggest inspiration for me was and still is photographer Brooke Shaden. If I lose inspiration, I always watch some of her interviews. She is a very creative and positive person.

Q: One tip you could give your younger self on photography, what would it be?

Find an inspirational photographer who’s style you admire and attend their course if they offer it. It might be expensive, but it’s worth it.

Q: Your Woman Portrait portfolio is inspiring, what was your inspiration for the shoots?

Majority of my portraits are taken on location. Nature is a backdrop for my images as well as being the biggest inspiration. I am also a big fan of Instagram fairy tale/ fantasy photography and always take inspiration from the photographers that create surrealistic, dreamy, poetic women portraits. I try to adapt this style to my maternity portraits as well.

Q: The best bit of kit you have bought for under £50? At the beginning of my photography journey, I bought a studio background support stand kit for about £30, which I still use. 70

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Q: Can you recommend any photography books? The Art of Photography: An Approach to Personal Expression by Bruce Barnbaum. I loved the chapters about self-expression, creativity, and motivation. But more than books I would recommend watching some documentaries about famous photographers. I found it very interesting and inspiring. Sometimes even shocking. I am talking about Sir Don McCullin documentary about his photojournalism career and war photography.

Q: You shoot a lot of your work outdoors. Do you scout out your locations for each shoot or do you have a few ‘go-to’ places that you use? I am always on a lookout for new locations. I try to shoot in different places as much as I can.

Q: What do you look for in a location? I never shoot in direct sunlight, but I have sessions booked during the middle of the day. So for me, it is essential to have a lot of shadows. Beautifully maintained parks are lovely, but the best locations for me are forests and wild nature parks. A wild meadow is always better than a freshly cut lawn.

Q: Your preferred choice of lighting? I always use natural light. I have one studio light at home but have used it only two times last winter when it was a very dark day.

Q: Interesting facts about you? I am Lithuanian. My name is Ieva, not Eva. I had to change my name because English speaking people are not able to pronounce my name correctly, so I changed my name to Eva a few years ago everywhere I could (on my social media, website etc.) I am so used it now that I feel that it is my real name. I am planning to change it officially one day. One more fact about me: I love Sphynx cats. I have two of them at home. I even have a tattoo with sphynx.

Q: Do you use a tripod? And, if so, how important

Q: Instagram? Do you use it in preference to say Facebook or YouTube?

Instagram is the main platform where I am always excited to share my images and receive a lot of good feedback from people as well as attract new clients.

Q: Online marketing. Do you spend a set number of hours per month to keep on top of blogs and social media?

I am very fortunate to say that my work is my passion and hobby, and I never had to spend much energy or money promoting myself, my clients do it for me. My pictures speak for themselves. I spend a few hours per day posting, commenting on my social media. I am always looking for inspiration as well as artists to collaborate with.

Q: What motivates you to get up in the morning? My family is my motivation for waking up every day. Not only am I motivated, but inspired by my daughters and husband as well. Every goal and vision I have is focused primarily on my family.

Q: Apart from sheer hard work and dedication,

what would you say is the main ingredient to your success? Stepping out of my comfort zone is as important as hard work and dedication. Materializing crazy ideas like photographing a pregnant woman in the forest during the winter wearing only a dress accessorized with horns as a headpiece. This crazy and fantastic photoshoot led to other projects and awards.

Q: Your portfolio on the ‘Queens’ maternity shoots and what inspired you to start the collection?

The photoshoot with horns attracted so many women asking to recreate a similar look for their pregnancy photoshoots that it became a whole collection, which is still growing.

Q: Favourite place in the world, and why? It does not matter where as long as I am with people I love.

is it to your work?

Q: Three individual words that describe you?

I never use a tripod. I do have a very cheap one that I have bought in a car boot sale about seven years ago and have used it only for self-portraits.

Creative. Honest. Caring.

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

It is very important to me to be recognized and known by my dreamy fairy tale images. I have worked hard for the past 6-8 years, and now clients come to me because they want to be captured in my unique photography style.

Q: And finally, where next? My dream is to travel the world, capturing pregnant women in different cultures. Eva’s Website: www.evawhitephotography.com - Thank you Eva for sharing with us an insight into your beautiful work. Julie Oswin, Editor

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Regional Meet-Up Who: South Central, South West & South Wales Groups Where: Frogmary Farm, South Petherton When: March 2020 Author: Rebekah O’Brien ‘ This was the last Guild Regional outing where life felt normal for many of us; more than 6 of us in one room, around the same table, peering over another’s shoulder to get ‘that’ shot… we even went to the pub the night before in true Guild style! What a fantastic day had by all; the organisers did a sterling job in setting the day up – thank you guys! A brilliantly crafted day covering multiple genres in a super venue with beautiful catering at lunch – an all-round fabulous location for getting up to all kinds of photography! It was a perfect opportunity to experiment and learn about a genre or topic that you were not familiar with. The day started in the auditorium with coffee and tea (of course) and Ed Burrows kicked the day off announcing the itinerary. First up was Tessa Chapman to present and teach about a charity that we strongly support at The Guild, Remember My Baby. Some tears were shed, most importantly awareness was raised, and encouragement of uptake was enthused from Tessa who has photographed many of these sessions herself. Back to Ed for a ‘Constructive Critique session, covering what, why, where, when and emphasising the usefulness of a buddy group! Next, the groups split into small subgroups; off on the schedule they went to cover their first activity from those described below. After lunch (and a visit to Lee’s stand from Sim Imaging, and Nik’s from Colorworld Imaging), the groups swapped and enjoyed another activity for the rest of the afternoon until we met again later for a coffee break and the print competition!! The range of activities available were… Kim Dixon with Social Media, Linda Johnstone with Dog Photography, Ann Aveyard with Wedding Photography featuring 2 lovely models (one of which being Mr Proctor!) Post Processing with Ed Burrows and finally Clive Hall presented an “environmental shoot” … think motorbike, cool biker dude and pyrotechnics! Yes – very cool! He even had me modelling (I still cannot believe it either!!) To top off a fantastic day – a print competition judged and critiqued by Panel Member & twice Master Craftsman, Clive Hall, with Mel Taylor and myself being the assistants! HUGE ‘THANK YOU’s’ go to the organisers Ed Burrows, Ann Aveyard, Tessa chapman and Clive Hall. To those that helped to run the day too - Kim Dixon and Linda Johnstone. Thanks to Lee Simpson from SIM Imaging and Nik Proctor from Colorworld Imaging for joining us and giving prizes to the lucky winners of the print competition! And lastly – to the attendees!! It wouldn’t have been the huge success it was if it weren’t for you coming along with such positivity and enthusiasm. We very much look forward to running more days like this in the future when we are able to and it is safe to do so ” - Rebekah

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Regional Meet-Up Who: South Central, South West & South Wales Groups Where: Hawk Conservancy, Weyhill, Andover When: July 2020 Author: Sharon Bolt Attendees:

Ann Aveyard, Penny Slacke, Louise Farrell, Ed Burrows, Mark Davies, Sharon Bolt

“During lockdown, our two groups, South Central and South West and South Wales kept in touch with numerous Zoom chats, but we’re a friendly and sociable lot and missed meeting in person. One of our favourite places to meet as a group is The Hawk Conservancy. It’s the first place we met for a Regional outing when the Groups were formed, and it’s where many of our friendships were sealed. And so it was that Ed Burrows, Louise Farrell and I booked to visit on their first opening day after their enforced closure. On that first day, the joy the members of staff felt at having us there was palpable and matched only by our joy at being there. The weather was kind to us, and the birds were glorious. Our first visit was followed quickly, with several more visits as different members of our groups were available. Why is it so popular with us? Quite simply, The Hawk Conservancy is an excellent place for all types of bird photography, and it’s also educational. There are several flying displays throughout the day, which vary according to the season. And for me, what seals it, is the staff are hugely knowledgeable, and they care passionately. The relationships between handlers and their charges are clear for all to see, and these interactions provide lovely images too. In between displays, there is plenty of time to walk around the enclosures and photograph the birds. Many of the birds you’ll see are critically endangered. The Trust does some incredible conservation work around the world and particularly with Vultures in Africa. The location of Hawk Conservancy is rural Hampshire and sits on chalk downland. This download provides a perfect environment for Reg’s Meadow, named after the founder of Hawk Conservancy. The stunning wildflower meadow teems with life and provides more incredible opportunities for photography. There is also a bird hide where at the end of the day you can watch the wild birds come to the meadow. It is a wonderful place to visit at any time of the year and provides photographers with some great natural world images. Great company, glorious days and I’ll look forward to many more Regional Group meetings. Why not join us as soon as we’re able to gather in bigger groups. - Sharon Bolt “ Photos all taken at Hawk Conservancy come to join us as soon as we’re able to gather in bigger groups ……”

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TA A LLKK TTHHEE TTAAL L T HS HSUHTUTTETRET R T KKWW I TIH AT XA X TT A X R REETTUURRNNSS F FOO PH OOT G ORGARPAHPEHRES RASN A D AI G MEA M GE AX R RP H OT D NI M A KME A RK S ERS 86

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Professional Membership costs £129 and Regular Membership costs £99

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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 98

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FREE ACCESS TO A HIGHLY REGARDED COPYRIGHT PROTECTION (& TAKEDOWN) SERVICE WHICH RETAILS FOR £350 A YEAR! AN INTEREST FREE CREDIT SCHEME TO OFFER TO YOUR CUSTOMERS! The Guild is a highly respected photographic association, with a reputation for being personal, friendly and supportive, with the most open community spirit and a modern approach. By becoming a member you will get access to training and support by some of the best tutors in the industry, an acclaimed Craftsman based Qualification process, and great discounts it is no wonder it continues to grow so quickly! PLEASE NOTE THAT ANY DISCOUNT OR REFERRAL CODES ONLY APPLY TO ‘NEW’ MEMBERS. THEY DO NOT APPLY TO RENEWALS AND CANNOT BE USED BY PAST MEMBERS WHO LEFT THE GUILD FOR ANY REASON PAST 12 MONTHS 2020 : Issue 39IN-THEOctober/November

Tackling The Problem Of Image Theft In The Digital Age Professional photographer Paul Reiffer discusses the problem of image theft and offers his solutions.

Leading image protection service Pixsy talked to Paul about the problem of Image theft.

How much of an impact has image theft had on your professional career?

What challenges do you face as a photographer in the digital age?

“

Having an end product which is of a digital nature, can make it scary when you see your image “in the wild”.

Introducing Paul Reiffer Paul Reiffer is a multi-award winning professional photographer. He has traveled to over 60 countries capturing people, landscapes and commercial images. His work has featured in exhibitions all over the world, from Times Square in New York to the Royal Albert Hall and Houses of Parliament in London, with gallery installations in Europe and Asia. Much of Paul’s photography has been commissioned and used by some of the finest brand names and companies worldwide. He is sponsored by and works with, some of the top equipment providers in the industry. 100

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I noticed a few publications had used my images without permission. I started “dipping in” every now and then, using products such as TinEye to reverse search for where my images had popped up across the internet. The problem with that is I have thousands of images, some licensed, some not, and keeping a track of all of those became a task that would have taken a week out of every month to monitor. Beyond that, even though we could inform the image user or send a takedown notice, we were still missing the licensing revenue that should have initially come from its use – and I didn’t have time to work with different legal teams in different countries on hundreds of cases at any one time.

The relative ignorance that still remains out there when it comes to image theft and copyright infringement is quite scary.

Even my own friends would often say to me “but it’s OK if I found it on Google, right?” or “Yeah, but I’m only a little business, they won’t mind, it’s good for them to get their image out there”. We now actually teach people, as part of our workshops, not only about trademark and copyright infringement but also about how to protect their work.

How did you find out about Pixsy? Initially, a friend pointed Pixsy out on social media, and I was initially unconvinced. I mean, here’s a company who will take a big chunk of any “recovery” money that they receive on your behalf when they didn’t even take the image, right? But then, as an experiment, I loaded a small sample of my work into their tool and the results were shocking. We had hundreds of cases, from the very outset, including some very

large companies and brands who had been using my work for years without any permission, license or payment. On the one hand, I thought “I could get my own team to chase this and cut out the middle-man”, but on the other, the task of chasing, negotiating, and if necessary taking the infringer to court just seemed too daunting when I was looking at the volume of cases and countries they spanned across on just that small sample. So, I gave them a try.

anecdotal successes when I check back with them. Indeed, some previous infringers have also now come to me for advice on the correct approach to licensing images in the future, so it’s not a one-way street.

Which forms of active protection would you encourage photographers to take in the fight against image theft?

What result has using Pixsy had on your problem with image theft?

To be honest, in the age we live in there is very little that can actually be done to prevent your image being stolen.

We’ve had three big results.

Watermarks can be removed easily (indeed, Adobe actually make this easier with every release of content-aware fill!)

1. We’re now being recompensed for unauthorised use of our images. We don’t apply any outrageous “damages” claims, just our standard corporate licensing rates to ensure the user pays the same as others would have done for the same usage. 2. We’ve had images removed from sites all across the world with the automated tools and chasing that Pixsy does on our behalf – ensuring our brand is maintained. 3. It’s helped to educate other photographers and image users that I speak with – I’ve recommended Pixsy to many others, who’ve had

Digital watermarks, while better, can still be obliterated (I’ve seen it done). Copyright Metadata can be easily removed by freely available programs. Social media (and screen resolutions) are demanding higher and higher resolution photos – and so are customers – so the old trick of “low res for web” really no longer applies.

Instead, I’d recommend to everyone that they register their work with the US Copyright Office. Even though I’m very much against that way of working (as a British photographer, I shouldn’t need to do that, as we’re lucky that copyright is granted automatically in the UK), for any US infringement it makes life so much easier should it need to go through any legal process.

“

Definitely invest in some form of “Reverse Image Search” technology. There are many out there – some free, some paid.

There are services other than Pixsy that offer similar solutions too, but having tried their major competitor with appalling results, I wouldn’t personally switch to anyone else. Save your files with copyright metadata, and a filename that includes not only keywords but the copyright owner. As above, it won’t stop a thief intent on stealing your work, but it can help a legitimate customer find you from your image. And while I don’t like watermarks on images, sometimes a visual clue as to who to contact should someone want to purchase the photograph can often help!

More about Pixsy Pixsy is one of the leading legal-tech services for online image protection. Founded in 2014 by Daniel Foster, Pixsy is an award-winning startup with over 25,000 visual artists in its community. Pixsy has processed over 40,000 copyright infringement cases and works with over 26 law firms across the globe. www.pixsy.com

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Digitalab deliver high quality printing, frames and presentation products. They offer Guild members 50% OFF any sample products. www.digitalab.co.uk

PROFOTO LIGHTING

EPSON One of the largest manufacturers of printers, projectors and much more. www.epson.co.uk HAHNEMUHLE FINE ART One of the oldest paper companies in Europe that lives and breathes paper. 10% discount for Guild members. www.hahnemuehle.com

HANDEPAY Guaranteed savings for Guild members on card processing fees. Discounted quotes for Guild members. www.handepay.co.uk INFOCUS PHOTOGRAPHY INSURANCE

10% Guild discount for members from Wilkinson Cameras. www.profoto.com

PLUTUS HEALTH

Healthcare Insurance from only £5.36 per month. Contact Guild HQ

SIM IMAGING

Guild members only discount 10%

SHUTTERTAX

The online accounting option for photographers with 20% discount for The Guild. www.shuttertax.co.uk

SYTNER AFFINITY (Auto Dealers)

Guild members get 10% discount on service/parts/ accessories + new/used vehicle offers. www.sytner.co.uk

Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk

VISION MEDIA DESIGN UK

Photoshop/Lightroom Suite with 35% discount for members of The Guild, including sale items. www.lsp-actions.com

WILKINSON CAMERAS

Scottish professional imaging lab with worldwide reputation. www.loxleycolour.com

3XM

LSP ACTIONS

Websites that Work for You. Guild Members discount - SAVE £95 on all websites www.visionmedia.design

LOXLEY COLOUR

Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk Guild Members receive double points on every product order. www.3XMsolutions.com

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BACK PAGE BRONZE - Laura Galbraith -

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: October/November 2020 - Issue 39