Creative Light - Issue 44 by Guild of Photographers

Issue 44 - Creative Light Magazine :

OUTPACE. OUTPERFORM. EOS R3. FIND OUT MORE.

: July | August 2021 - Issue 44

Contents 10

Spotlight on Food Photographer Daisy May Defined

For the Love of Dogs Jason Allison

Spotlight on Wedding Photographer Rob Howarth

Spotlight on Commercial Photographer Andrew Ford

PPI v DPI Debate Part II Philip Yale

50 53

Qualification Panels June & July 2021

Gold Awards May & June 2021

56 60 67

Gold Awards May & June 2021 (continued)

Discounts & Offers for Members Guild of Photographers

The Importance of Family Photography Gary Hill Photoshop ‘Cut Outs’ Glyn Dewis

Editor Julie Oswin

August’s ‘Sturgeon Full Moon’ reaches peak illumination in the early hours of Sunday 22nd August. However, if you look skyward on the evening of the Image of the Month Results Day - 21st - you’ll get the best views of the moon as it rises on the horizon. The ‘Spotlight Interviews’ in this edition are with Food Photographer Daisy May, Wedding and Drone Photographer Rob Howarth, and Commercial Photographer Andrew Ford. All are sharing an insight into their gorgeous work. Jason Allison continues his regular articles ‘For the Love of Dogs’ with some top tips for the photographic studio. We have the second part of Philip Yale’s article on ‘dpi versus ppi’ is on page 44. Gary Hill this month talks about his personal journey with family photography and the importance of capturing photos of your family and for your clients. Please send your requests for articles or interviews to Julie Oswin - email: julie@photoguild.co.uk.

Front Cover “ In this fast paced modern world it is difficult to maintain a balanced diet. It’s really important that we recognise how essential fresh vegetables are and this was the inspiration behind the photo. The chosen for the front cover of Creative Light Magazine demonstrates a creative balance using different vegetables, giving a reminder of the many delicious options we have available to us. “ - Daisy May 4

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Northumberland Sky, Sand & Sea Issue 44 - Creative Light Magazine :

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: July | August 2021 - Issue 44

ECNARUSNI

Issue 44 - Creative Light Magazine :

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: July | August 2021 - Issue 44

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Issue 44 - Creative Light Magazine :

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 .

Spotlight On Daisy May

“ Our journeys shape who we become, and as a sufferer of anorexia, the fear of food was overwhelming. This fear took away my strength, my energy and almost my life. But thankfully, against all odds, I started to recover. During my recovery, my husband bought me a Nikon camera and a day’s photography course with a wonderful lady, Caro. I spent a life-changing day in a new land of shutter speeds, apertures and ISO settings. I went home with the camera in manual, absolutely buzzing from what I had learnt. This started a new chapter in my life, and I soon moved on from photographing our dogs and local wildlife to something that would sit still. Food!!! Behind the lens, a humble cabbage became a work of art with colours, textures and shapes. The smallest details hardly noticed in the rush of the day now enthused me. The food that once filled me with dread became my inspiration. The passion continued and soon defined my work, and so “Daisy May Defined” was born. It was the photography that defined me now, not the eating disorder. I am now into the fourth year of my photography journey and have continued to photograph food in ways that create intrigue, mystery and a sense of humour. ” - Daisy May

Radishing Bride 10

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- Humbugs

- Granny Smith

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- Rubber Gloves or Dishwasher?

Q: How did you first get interested in photography? I’ve always been a creative creature enjoying anything from woodworking projects to candle making. But photography is provided something much more fulfilling. It has opened up opportunities to express my creativity in ways never thought imaginable. From the first day of tuition, when my photography journey started, I became hooked; there was no looking back. I loved the photography triangle, loved creating photos and loved the sense of achievement. For me, it is a passion, a commitment and a therapy rolled into one.

Q: What is the most challenging area of your photography? Creative photography is all about problem-solving. How can I set this up? How will this work? So the most challenging area of my photography is setting the scene. The photo you see is how I shot it - if the food is up in the air, then this is where it was when I took the photo. Even with careful planning, it doesn’t mean it will work. Food can become very fragile after handling, and sometimes the scene will collapse before I have the shot I was after. I have learnt many techniques now after losing crockery, fruit and veg with it smashing on the floor. It’s all part of the fun!

Q: What do you specifically look for first when creating your images? I hope to create a foodie photo with a sense of humour that will make the viewer smile. I start with the name of the photo and usually use a play on words. I then draw the scene to determine what will be required to create it and hold it all in place. The thinking, planning, buying, and setup takes hours, far longer than the shooting itself. Sometimes I only spent 10 minutes with the camera after a whole day of setting up. But it is those 10 minutes that make everything worthwhile - getting the result you were hoping for and a photo that can be shared and enjoyed.

Q: What motivates you to get up in the morning? Our dogs are the best and the worst alarm clocks, so motivation doesn’t come into it. But I always want to improve, and each day is a new opportunity to do that. I have a long list of ideas to shoot, and it is a day well spent when I can tick one-off and start preparing the next.

Q: Best buy for under £50? The small Intuos Wacom tablet for editing. I find it so much easier to use than a mouse and gives better control when doing intricate work. It took a couple of days to get used to it, and then it became second nature.

Q: What is your turnaround from your photo shoot to supplying your images to your client for proofing? Approximately 7 - 10 days, depending on the complexity of shots required.

Q: How has your style of photography developed or grown since you first started? I started with a Nikon D3200 with on-camera flash, one lens and no editing software. I now shoot with a Nikon D850, typically use two speedlights, and edit in Lightroom and Photoshop. So the photography has developed from quite basic shots to becoming more familiar with studio work and postprocessing. What I did do was to learn my camera back to front and realise the limits before investing in the next model up. Photography is not about the kit but the knowledge behind the camera that gets the shots, so learning as you go is part of the journey and creates some significant milestones.

Q: One piece of equipment that you cannot do without? Our butcher’s block. It’s 5’ x 2’ in old money, 200 years old and sits in the kitchen as the centre island. With six dogs, it’s the only safe place in the house to use for food set-ups, so the ‘butcher’s block’ becomes my ‘studio’. The backdrop is place behind it and the lighting around it. The surface is worn and uneven but gives character and tone that enthuses me every time.

Q: Favourite lens in your camera bag? That has to be the Sigma Art Lens 24-105mm 1.4. A great go-to lens that is easy to use and gives a good range for whatever is being photographed. I also have a Sigma Art 35mm prime, and this is also a favourite.

Q: How do you proof your work? I enlarge it up to 200% on the screen and then tooth comb it. I also view the shot from a few metres away. After this, my better half takes a look, and his ability to notice things is impressive and annoying in equal measures. I will often get a print done to check that I am fully happy with it before ordering the final for the customer.

Q: Favourite place in the world and why? In our kitchen on a Saturday(my photography day) surrounded by camera gear and vegetables! The second best place would have to be anywhere out walking with my husband, dogs and cameras.

Q: Favourite food? Cheese, cheese and more cheese. Whether with biscuits, macaroni or in a fondue - I’m not fussy. Oh, and a little glass of port to go with it. Perfect! Issue 44 - Creative Light Magazine :

Q: Apart from your camera, what piece of equipment that you cannot do without and why? Apart from a vegetable knife, it would be the Godox speed lights. I shoot in the kitchen, which has small windows and therefore, the lighting is critical. They were second hand and are not anything special but do the job, and I love them.

Q: What advice can you share for people interested in taking up photography? Don’t presume you need lots of expensive kit to get a good photo. Learn how your camera works, learn the photography triangle and then learn where your interest lies. Take inspiration from photographers you admire, then find your unique style and pursue this. Join The Guild of Photographers. It took me over a year to pluck up the courage to join, but I now wished I had done this long before. There is so much support with mentoring and buddy groups to help you progress on your journey. Take the advice, learn from the constructive criticism and embrace the ride.

Q: Do you use a tripod? If so, how important is it for your photography? Yes! I use a Manfrotto nearly every time I shoot! It’s worth its weight in gold. I often shoot using a remote shutter release; I would be scuppered without the tripod.

Q: How important is Photoshop|Lightroom |PostProduction to your photography? Without post-processing, my photos would have wire or other holding equipment in the scene, so there is always some editing to do. I use the clone tool, brushes and the healing brush tool the most and save separate file versions with layers before condensing them. Most of my photos have a texture or two added in Photoshop, giving more character to what would otherwise be a very plain background.

Q: What is your favourite place or subject that you have photographed, and why? Two years ago, I was commissioned to take a portrait photo of some friends, John and Jane, who we had known for several years. Jane had suffered a brain haemorrhage, and after weeks of intensive care, multiple surgeries and a year in hospital, she returned home to continue her recovery. The commission was called ‘Triumph Over Adversity and showed a true reflection of their busy lives. They provided a detailed brief, including the lighting they wanted, the detail of the room and the special mementoes to be included. But specifically, they requested the ‘Daisy May Defined magic’ to be added. It was an absolute privilege to take this portrait and the piece that I am most proud of.

Q: Favourite suppliers? Loxley Printers for photo prints; Digitalab for framed fine art and last, but not least, Marks & Spencers for their high-quality foods that I photograph. 14

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Q: Who inspires you? So many. To pick three, it would be: Kate Middleton - she could select the most famous photographer yet chooses to take her own photographs of her family and has become a renowned photographer in doing so. Caroline Dell. A day with Caro proved so inspirational that it changed my life. Little did I know that she would be hugely influential in emptying my bank balance regularly from that day forward. That day gave me a new focus in life, and that focus became an identity that has brought so much enjoyment and many opportunities. Caro is generous with her time, knowledge and kindness. A true lady, artist and friend. Saving the best till last - My husband! My photographic journey would never have started without his support, and my recovery would not be complete. Without his continual encouragement, I would never have had the courage to reach for higher goals and believe they are achievable.

Q: If you were to be on a desert island and only take one item, what would it be? A photo Book. Each January, I do a ‘Year Book’ of photos from the previous year’s adventures. It’s great to spend time looking through and enjoy the memories.

Q: How do you relax? I don’t - too many ideas, so there isn’t time.

Q: Three individual words that describe you? Honest, kind, grateful.

Q: Where next? That is a good question, and each year has had many unexpected milestones. Two years ago, I wanted to take the skills I had been so blessed to learn and give back in some way to others. So I joined the team at Remember my Baby as a digital retoucher. All photos provide memories and something to treasure, but the work at RMB reaches another level of meaning altogether. It is work that is difficult to do emotionally and technically but means so much when you know it will be treasured forever. It’s a privilege to take part in this work. In April 2020, I reached the shortlist in the 2020 Pink Lady Food Photographer of the year. I joined The Guild of Photographers in September and became qualified in under eight weeks, thanks to some great mentoring from Rob Hill. This year I made it to Finalist in the 2021 Pink Lady Food Photographer of the year and then received ‘Highly Commended’, which was unbelievable!! I am working towards Craftsman, however long that will take. The main thing is to keep going, embrace whatever opportunities arise, and enjoy every minute of it. Jaisy D ayM efined D

[website]

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: July | August 2021 - Issue 44

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Issue 44 - Creative Light Magazine :

For the Love of Dogs Jason Allison The Dog Photographer

Jason is a lifetime photographer, dog lover,

and now a pet photographer. He’s a Guild of Photographers Craftsman and achieved many an award since joining the guild in 2016, including Pet Photographer of the year 2019, Image of the year 2019, and ‘Classic Portraiture’ Image of the year 2019.

“ I’m a dog photographer; I’m not a dog behaviourist, I’m not a crazy dog m love it when I get it right! I also love dogs, not

: July | August 2021 - Issue 44

man, nor am I a strobe lighting wizard, but I do love dog photography, and I t madly, you understand, but I do love them. “

Issue 44 - Creative Light Magazine :

Part 4: Keeping the Dogs Happy! THE DOGS AND THE PARENTS Whether you’re a hobbyist or money earning professional, there are a few golden rules which I feel you must follow to keep everything running smoothly or as smooth as possible when you are conducDngouy rportraitsession:epending D onthetypeofphotographerouy aredIimagineouy r sessions will fall somewhere between 30 minutes and 90 minutes, and you need to maximise this Dmetogetsomeamazingimages: reparaD P on:ake M sureeverythingisreadyinadvancedquiteanobviousonedbutevensomethingas simpqeasadjusDngthestrobesandstandscanupsetthenervesofanaqreadynervouspooch: EXPECTATION Paint as clear a picture of the process for the client as possible in advance. Explain a lot beforehand; evenifouy donftgetachancetohaveaconsuqtaDondusetheDmeimmediateqybeforeouy rshootis asgoodaDmeasany: Explain your process and what is going to happen; tell them to relax and what happens if there are anytoiqetaccidentsdnottomakeafuss:qease P donftgiveaqqtheexciDngstuffawaydthough8itfssDqq niceforthemtobesurprisedatouy runiquemethodsforgeDfingattenDonandthesociaqmedia seqfie:

PATIENCE ThisisawinJwinforme4IgetabuzoutofreceivingcompqimentsfrommycqientsaboutpaDenced asthereisnftanythingeasiertodothanbeingpaDent4

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CALMNESS oN matterwhathappensdstaycaqm:f I ouy rdogmodeqordogparentsseeouy freinaflapdtheywiqq pick up on it and join in. CONFIDENCE Knowwhatouy fredoingdpqanAdpqanBandouy rfaqqbackpqandsonomatterwhathappensdouy expectitandmoveforwardwithconfidence: Common Sense stuff, butaqqthereisqefttodoistakesomefantasDcphotographs4: So what else can we add to ensure the happiness of our clients? Weqqdonethingisrefreshmentsdcoffeedteadpopandcordiaqsfortheparentsdandfreshwaterforthe dog. Finally, make sureouy haveaseqecDonofdogtreats8goforafewdifferentbrandsandtypestokeep the fussy ones happy and the easily bored ones interested. - Jason Website9https9FFjasonaqqison:co:ukF

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https://photographyshow.com

Issue 44 - Creative Light Magazine :

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Spotlight On Rob Howarth

“

Photographer & Drone Pilot | East Anglia

I was born and grew up in the West Country; school was not my thing, and I left with only the one “O level”, which happened to be in photography. My first job was at London Camera Exchange selling new and used cameras, which gave me a good knowledge of cameras selling everything from 110 cameras’ right up to 10 x 8 plate cameras. Whilst working at LCE, I met the chief photographer of the Plymouth Evening Herald newspaper, who offered me a job in the Darkroom. I stayed in the Darkroom for two years and later progressed to the junior photographer. I was then sent off to Sheffield on a Photojournalism Course, where I gained a distinction. Staying with the newspaper for a further two years, winning the UK Press Gazette “Sports Photographer of the Year” award during that time. Wanting to progress, I worked for a freelance press agency called “Albanpix”, working for the UK National newspapers. Fifteen years later, after working at Albanpix, I decided to freelance working in East Anglia for the newspapers, PR and commercial clients. Newspaper work started to fade about five years ago, mainly due to online news being available for free, which lead to the drop in newspaper sales. So I have looked to other genres of photography, such as Drone photography, where I set up a business filming golf courses around the world. At the start 0f 2020, I started up a new venture photographing weddings with my colleague Andy Biglin called “Embrace Photography”. It turns out it wasn’t the best time to start due to Covid-19! However, I am delighted to say that wedding bookings are now on their way back up, and we are looking forward to the future! - Rob Howarth Issue 44 - Creative Light Magazine :

Q: How did you first get interested in photography? My father gave me a Pentax MX camera for Christmas when I was 12, and from that moment on, I have not stopped taking pictures.

Q: What do you specifically look for first when creating your images? I look for a suitable background that will complement the picture that I am about to take.

Q: What is the most challenging area of your photography? As I have just started wedding photography gaining new clients is the most challenging area.

Q: What motivates you to get up in the morning? The thought of creating a “WOW” picture

Q: How has your style of photography developed or grown since you first started? My lighting has evolved and improved throughout the years.

Q: One piece of equipment that you cannot do without? A large Lastolite reflector. 26

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Q: Best buy for under £50? A grey card.

Q: Favourite lens in your camera bag? Nikon 70-200mm f2.8

Q: Apart from your camera, what is a piece of equipment that you cannot do without and why? An off-camera radio-controlled flash because it gives you the ability to create an atmosphere in my photography.

Q: How do you proof your work? I cull my pictures in Photo Mechanic or Lightroom, edit in Photoshop and proof using an online system provided by Fundy Album designer.

Q: What is your turnaround from your photo shoot to supplying your images to your client for proofing? Due to me working as a press photographer in the past, I am very quick supplying photographs for proofing within two weeks.

Q: Do you use a tripod? If so, how important is it for your photography? Yes, I use a tripod a lot as I supply twilight pictures from weddings which is very popular amongst my clients.

Issue 44 - Creative Light Magazine :

Q: What advice can you share for people interested in taking up photography? The more pictures you take, the luckier you get. Great photographers are not made overnight; keep practising.

Q: How important is Photoshop|Lightroom |Post-Production to your photography? Very, It is part of my everyday workflow and a key factor to my success.

Q: Favourite suppliers? One Vision Imaging, Graphistudio, Essential Photo

Q: What is your favourite place or subject that you have photographed, and why? I once did a feature on the Cormorant Fishermen in Guilin, China and the landscape looked like something from another world.

Q: Developing your marketplace, how important was it to create your brand in the area you are based? As I live in quite a deprived area, I have had to target more affluent areas, which has proved difficult to do.

Q: Who inspires you? Photographers who can get great pictures out of virtually nothing.

Q: If you were to be on a desert island and only take one item, what would it be? A helicopter to get me off!

Q: How do you relax? I edit

Q: Three individual words that describe you? Driven, creative and passionate. Q: Favourite place in the world and why? Bora Bora, it is pure paradise.

Q: Favourite food? Sausages.

Q: Where next? Isle of Skye.

website: www.embrace-photography.co.uk - Thank you Rob for sharing your photography journey with Creative Light Magazine and we wish you every success with your new venture photographing weddings with Andy. - Julie Oswin, Editor 28

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Spotlight On Andrew Ford I bought my first camera when I was about 14. It was Zenit B. Fully manual, with a shutter speed range from 1/30th to 1/500th second! I used miles of Ilford FP4 and HP5, developing the film myself and printing in the darkroom I set up in the family bathroom. I recall trying my hand at product photography. The results were so bad that the client refused to pay. By the time I was 17, I’d decided to make a career in photography. I studied for a BSc in Photographic Sciences at the Polytechnic of Central London. That led to a job with the Home Office developing photographic and video equipment for police use. After about ten years, my career took a different turn, and photography became a hobby. I didn’t have much direction in my photography. The advent of digital cameras changed things. I realised the potential of digital imaging when a friend purchased a 3MP Nikon digital point and shoot camera. Over time, I put together a studio, got better cameras, developed editing skills and started doing a bit of product photography and portraiture. When my children went to school, I began taking photographs for the school. Through word of mouth, that developed into a small business that I now use to support my hobby. Since joining the Guild of Photographers in 2016, I’ve become an Image of the Month addict! - Andrew

Issue 44 - Creative Light Magazine :

Q: How did you first get interested in photography? My father was a keen amateur photographer. I remembersiDfingmesmerisedbysqideshowsofthe photographshetookfromaroundurope: E IcansDqq remember the excitement of a new set of slides and the noise of the projector as we sat down in the dark to look at them.

Q: What do you specifically look for first when creating your images? The texture, lines, shape and form of an object.

Q: What is the most challenging area of your photography? LighDngmysubjectstobringouttheircharacterisDcs andhidetheirdefects:Tomakeqifemoredifficuqtd manyofthesubjectsIphotographrequiremuqDpqe images, which have to be consistent from one to the next.

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

Q: How has your style of photography developed or grown since you first started? For many years I photographed what was in front of me. I was recording what I saw. These days my work is much more planned and controlled. I’m building images rather than taking them.

Q: One piece of equipment that you cannot do without? ee L rdiffusionmateriaqformakingscrims:tI is essenDaqforgeDfingtheqighDngant wI onmostof mysDqqqifesubjects:

Q: Best buy for under £50? A hot glue gun. I’m forever glueing things together to hold subjects in place.

Q: Favourite lens in your camera bag? My Fuji XF80mm F2.8 macro lenses. I probably use it fortwoJthirdsofthesDqqqifephotosItake: 36

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Q: Apart from your camera, what is a piece of equipment that you cannot do without and why? acs: My compu A terisessenDaqformebecauseI shoot tethered. It gives me more control and allows metoreviewimagesasork: wI ostJprodu P cDonisan integraqpartofmyorkflow w :

Q: Do you use a tripod? If so, how important is it for your photography? tripod A isessenDaqasIoftenshootmuqDpqeimages toedittogethertogettheqighDngrightorfocus stackingtogetsufficientdepth:ant wI torepqacethe tripodwithaanfrott M ostudiostand:

Q: What advice can you share for people interested in taking up photography? onft D reqyontheautoseDfingsonouy rcamera:earn L the basics and get to grips with the manual control ofouy rcameraandusingshuer tt oraperturepriority: UnDqouy masterthebasicsdouy aregoingtostruggqe tocontroqouy rphotographycreaDeqy v :qsod A geta goodgroundinginqighDng: I’d add one more thing - seek out and listen to construcDev criDcism:

Q: How important is Photoshop|Lightroom |PostProduction to your photography? ostJprodu P cDonisasmuchapartofmyimage makingastheiniDaqphotography:or F severaq reasonsdmostofmyimagesaremuqDJqayered composites. The only way to light some subjects is to shootmuqDpqephotosandcombinethem:I use focus stacking a lot, so the images have tobecombinedinpostJproducDon:yM imagesrequireafairbitofediDngtoremove imperfecDonsinthesubjects: Also, I use Photoshop to create elements of my images. Q: What is your favourite place or subject that you have photographed, and why? I entered a photograph of two simple stainless steeqspoonswithpqasDchandqesintotheIOMin ebru F arys:Igotmyfirstoqd G ard wA withthe photograph. It was a turning point. Issue 44 - Creative Light Magazine :

Q: Who inspires you? eopqe P whohavetakenDmetoperfecttheircraft and are willing to share their knowledge to help others develop.

Q: Favourite suppliers? Wex tends to be my go-to supplier for photographic equipment:Igetmyinkjetpaperfromarru M tt: maz A onforaqotofconsumabqes:

Q: If you were to be on a desert island and only take one item, what would it be? Thatfsdifficuqt4coffee A machineismyfirstthoughtd but I like to know what is going on in the world, so that a wind-up radio would be my one item.

Q: How do you relax? ItakephotographsfortheIOM4IspendaqotofDme studying photography as well.

Q: Three individual words that describe you? ocu F sseddperfecDonistdcreaDe: v

Q: Favourite place in the world and why? The Rocky Mountains. My wife and I spent much of our honeymoon in them. We went for two reasons: toseethegrizzqybearsandbecausemyparentsmet in Canada. I have photographs taken in the same place my father stood and took pictures 45 years earlier.

Q: Favourite food? If I had to choose, I think curry wins out with a good steak a close second.

Q: Where next? I want to keep developing and pushing myself, so I’d qiketosubmitforraftsman C anduqDmateqyhavethe ambiDonofbeingrecognisedasaaster M raftsman: C

- Thank you Andrew for sharing your photography journey with Creative Light Magazine and we wish you every success achieving your Master Craftsman! - Julie Oswin, Editor

: July | August 2021 - Issue 44

Issue 44 - Creative Light Magazine :

: July | August 2021 - Issue 44

Issue 44 - Creative Light©Magazine : 412021 All photos Andrew Ford

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Thereat G PIFebate DPI Jart P I Philip Yale n I art P ofthisarDcqedew qookedatPIanditsreqevancetodigitaqfiqesandprints:Iexpqainedthatas wPI notapropertyofadigitaqfiqedbutonqyhasanymeaningwhenthatfiqeisoutputtoeitherascreenorprinted onpaper:IthendescribedtheconceptsofscreenresoquDonandprintresoquDondandhowtheydifferdand howprintresoquDonPmeasuredinPIQistypicaqqyasecondaryconsideraDontoprintdimensionsdandthat itfstheactuaqnumberofpixeqsinouy rimagefiqewhichdictateswhatouy rfinaqprintresoquDonwiqqbeonce ouy fvechosenthesizeofouy rprint: (We haven’t mentioned DPI yet …) utB whathappensifouy havetoofewpixeqsinouy rfiqetoprintatthesizeouy ant5 w Canouy actuaqqyhave too many pixels? This brings us to the subject of Resampling.

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By default, the Resample boxischeckedPResampqe•ONQ:ersonaqqy P dIthinkthisisabadopDondbut thereew go:WiththisseDfingdanychangesew maketotheimagedimensionswiqqresuqtinhotoshop P adjusDngthenumberofpixeqsinthefiqetomaintaintheresoquDonofPIonprinDng: Resampling can take two forms:

UPSAMPLING: Used when increasing the pixel count of an image, usually to allow for bigger prints to be made.

DOWNSAMPLING: Usedifouy ant w toreducethephysicaqsizeofanimagefiqe:Thisreducesthe pixel count of the image. Asouy mightguessdaqteringthenumberofpixeqsaqmostinevitabqyqeadstosomedegradaDoninquaqityd so why would we want to do this? 44

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UPSAMPLING SomeDmesdouy simpqydonfthaveenoughpixeqs:f I ouy rfiqehaspixeqdimensionsofdsaydpxby rpxdthenifouy printatppithebiggestprintouy canachieveis?xs?:f I ouy ant w toprintat ppithenouy canonqyprintuptor:r?x:?: f I ouy needtoprinttor?x?dthenouy rfinaqprintresoquDonwiqqonqybeppiPFrQdwhich meansouy frestretchingthepixeqstoapointwheretheyfreqikeqytobevisibqeonaprintthatsizePwhich wiqqbeviewedfromafairqycqosedistanceQ:n I otherordsd w pxisnftmanytopqaywith:Sodew can upsample. Whenew reJsampqedinsteadofchangingthefinaqprintresoquDontocompensateforchangesintheprint dimensionsdhotoshop P createsnewpixeqstofiqqinthe>gaps?inordertokeepthePIseDfingconstant:

n I theexampqeabovedefv w echangedtheoriginaqwidthfroms:?tor?: Thishasaqsochangedtheheightfromr:?to:?Pbecausethedimensionsareqinkedtomaintain proporDonsQdbutdcruciaqqydithasincreasedthepixeqdimensionsfromxstoswhiqst x preservingtheResoquDonatPI:urO fiqeisnowphysicaqqybiggerP:Mbinsteadof:MbQdueto the process of upsampling – Photoshop has created new pixels where previously there were none. TheprocessofcreaDngthenewpixeqsusescompqexmathemaDcaqaqgorithmsdandthereareseveraq differentmethodsavaiqabqedqistedinthedropdownmenutotherightoftheResampqeopDon9

eneraqqy G speakingdouy canqeavethisatutomaD A cPPSwiqqqikeqychooseicu B bicoricu B bicSmootherbehind thescenesQ: ThegoodnewsisdthatwhiqstthistheoreDcaqqydegradesimagequaqitydhotoshop P sDqqmanagestodoa blindingly good job of the whole process, and you need to look very hard indeed to detect any changes, even withqargeincreasesinsize:owH everditisaqwaysbettertoensurethatouy havesufficientpixeqsfromouy r originaqfiqeifouy can: conDnued:::

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DOWNSAMPLING ThistendstobeamuchmoresuccessfuqoperaDonthanupsampqingasfarasquaqitygoesdbecausethereis noneedtoinventnewpixeqs:nsteadd I hotoshop P hastodiscardredundantpixeqsdandthemathemaDcsto dothatneatqyissimpqerthanthatrequiredforupsampqingdsoquaqitytendstoremainhigh: Why would you downsample? Don’t you want as many pixels in your file as possible? Weqqdnotnecessariqy:irstqy F dtherefsthefiqesizeondisk:f I ouy ant w tosaveondiskspacedorifouy ant w to sendthefiqestosomeoneeqsedthendownsampqingcanbeery v usefuq:Reducingthepixeqcountortheprint dimensionsinthemage I SizediaqogboxwithResampqing•ONisoneayw ofdoingthis:PYoucanaqsodoit whenexporDngfromLightroombyusingthe>ImageSizing?secDonoftheExportdiaqogboxQ: SecondqydsendingtoomanypixeqstoaprinterisnftaqwaysopDmaq:n A inkjetprinterusesmuqDpqedotsof inkofdifferentcoqourstocreatepixeqonpaper:Thisfinedetaiqwithinasingqepixeqaqqowstheprintto havesmoothdetaiqandtonegradaDon:ost M printersareopDmisedtouseaboutJrinkdotswhenprinDng onepixeqataprintresoquDonofpixeqsperinch:f I ourfiqecontainedpxontheqongsidedandew anted w toprintatr?widedew ouw qdbeaskingtheprintertorepresentrrrpxineveryinchofpaper:Whiqst thedetaiqouw qdbefinedthisouw qdmeanthattheprinterouw qdnftbeabqetousesomanyfineinkdotsto createeachpixeqPbecausethepixeqsouw qdbephysicaqqysmaqqeronthepaperQdandtheprintouw qdqookqess reaqisDcasaresuqt:Sodtheprintersoftwareouw qdfirstattempttodownscaqethefiqeitseqftoitspreferred inputresoquDonPtypicaqqyKrppiddependingontheprintermanufacturerQ:Theprintersoftwareis generaqqyqessgoodatdoingthisthanhotoshopd P soitfsbettertodownsampqetheimageinhotoshop P first before sending it to be printed. ThemathemaDcsrequiredfordownsampqingismuchsimpqerthanupsampqingPPhotoshopisremovingpixeqsd nothavingtoinventthemQdandsotheresuqtsshowery v qittqeimagedegradaDonataqq:

DPI “But you’ve been talking about prints and haven’t mentioned DPI”, I hear you shout. That’s true. DPI does affectprinDngdbutitissomethingthatouy andIgeneraqqyhavenocontroqoverifew usecommerciaqprint qabsdsoreaqqyisnftorth w geDfingtooorked w upabout: DPIstandsfor>Dotser P nch?: I ThisisabuiqtJinpropertyofaprinterdandhasnothingdabsoquteqynothingd todowithanyproperDesofouy rdigitaqG:JPE odern M commerciaqinkjetprintershaveaqu vDPI esofmore thanDPIandwiqqprintusingthatseDfingregardqessoftheaqu vPI eorthesizeofouy rprint: etfs L supposeew haveafiqecontainingrpxbypxdandthatew ant w toprintitr?by?: rpxdividedbyrinches•PI:Theprinterwiqqprintthose pixeqsperinchPPPIQdbutwiqquse dotsofinkperinchPDPIQinordertodosoandproduceaery v highJquaqityprint:ach E pixeqinthe imagefiqeisprintedonpaperusingmuqDpqeinkjetdotsdbecausetheseporDonsofinkareminutedoften measuredinpicoqitresdandcanevenary v insizeandhavespacesbetweenthem:qq A thisfinegradaDonand minutedetaiqaqqowsmoderninkjetprinterstoproducebeauDfuqqyJrenderedimages: f I ew anted w toreJprintthesamefiqeat?x?dthatouw qdrequirepixeqstobesqueezedintoeveryinch ofprintonthepaper:n I thatsituaDondtheprinterfsownsoftwareouw qdery v qikeqydownsampqethefiqe firstandreducethenumberofpixeqssothatitcouqdprintatPIdsDqqusingitsDPIresoquDonand thereby using its preferred number of dots to print each individual pixel.

SUMMARY opefu H qqythesetwoarDcqeshaveexpqainedthefoqqowingaboutfiqeandimagePIdandDPI9 • PPI and DPI do not mean the same thing and are not interchangeable terms. • digitaq A fiqehasnoconceptof>resoquDon?inPIKonqypixeqdimensions: • Changingtheaqu vPI ewhenexporDngafiqedoesnotchangethefiqesizeorpixeqdimensionsinanyayw anddoesnotaqterthesizeoftheimageonscreen: • rint P resoquDonPinPIQdescribeshowmanyofthepixeqsinouy rfiqeareqaiddowninoneqinearinchof paper. • ScreenresoquDonPaqsoinPIQisafixedpropertyofwhichevermonitorouy dispqayouy rimageon: • Youcanchangethenumberofpixeqsinouy rfiqebyResampqing: • DPIisapropertyofaprinterandhasnothingwhatevertodowithadigitaqfiqe: 46

: July | August 2021 - Issue 44

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. 48

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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? 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.

‘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.

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. https://amzn.to/2wDin8e Issue 44 - Creative Light Magazine : 49

Guild of Photographers Successful Qualified Panels - June | July 2021 “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

(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) Ref: The Guild of Photographers - Qualifications 50

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YAMIL F TOPHO GRAPHY Gary Hill

Gary has been a photographer for the last 11 years, following a career change. He is based in the North West where he specialises in bespoke portraiture for individuals and families. He is a Master Craftsman with the Guild as well as a Fellow of the Societies, and he has numerous awards to his name. Gary is a brand ambassador for Digitalab, Click Props and Backgrounds, a Friend of Graphistudio and a Sony Alpha Creator. He is however probably best known as an educator, being an exceptional trainer, especially in the areas of Lighting and Posing.

THEIMPORTAYAMIL FNCEO TOPHO S I am from a large family and had the most incredible parents who loved us all dearly. Growing up, my father was my best friend; he did everything he could to support my siblings and me. I was 17 when I lost my best friend suddenly, leaving a massive void in my life. Precious memories and photographs are all I have left of him and one picture of my Mum and Dad together, a small and blurry print. Because it is so important to me, I have scanned, backed it up in Dropbox, on my phone and on three hard drives. The original is well looked after because it cannot be replaced and kept in a padded envelope as it means the world. While growing up, I didn’t take the time to get involved in family photographs; I wouldn’t say I liked it, I didn’t understand the importance. I avoided the little 110 film camera we had as a family because, being a typical child, I just hated being in the photographs. As a teenager, I was too ‘cool’ to be in them with my Mum, Dad and family. I was far more worried about what my friends would think and not the importance of what these captured memories would mean to me in years to come. As a photographer, I find it strange that there were loads of photographs all over the walls at my family home. My parents valued them and the memories they held. When I lost my dad, I searched for those images. My Mum had several of the old sepia photos that had been taken many, many years ago. They were faded at the edges, torn in places but so important. I saw the comfort that they gave to my Mum and my siblings. Photographs are memory triggers and bring back the memories of the special times we all spent together. These were times that we, as a family, can never repeat and never replace. Issue 44 - Creative Lightcontinued... Magazine :

Over the years, images get lost, misplaced, handed out to other members of the family. Sadly, before I was into photography, with access to scanners and cameras to re-photograph, many images were lost before I had the chance to preserve them. Thirteen years ago, I started my photography journey; I invested and learnt the basic skills and created images. It seemed that I photographed everyone, but not my family. It is only now since my eldest brother and my Mum have passed away that you realise that you’ve never got enough photographs of your family. Three years ago, my house got flooded. After getting us and the pets out, the first thing I did was to rescue the family photograph albums because I knew from experience that my family photographs could never replace them. I now photograph my son as often as I can. Recently I photographed my son and his Mum together in the studio so that they both could have the images printed and the memories captured within. So why am I telling you all of this? On a personal level, I understand the importance this little bit of printed paper means to families and the special memories that are captured within. I believe all families should have photographs of their loved ones, not only for themselves but for future generations too! I say this to people when they show their reluctance to get involved in the photo shoot; they may have brought their children too. I will do my utmost to get them into a couple of shots. It isn’t for me, it isn’t for them, but it is for their children and their grandchildren. Of course, they protest, “... I’ve got the wrong clothes on”; “... my hair looks a mess”; “... I have put too much weight on”; etc. etc., I’ve heard all the excuses. But, what I do say is, “these portraits are here for the future and contain memories to remind us of the stages in our lives”. And, to be honest, no child will look back on a photograph after you’ve passed and say “.... Mum’s make-up isn’t right”. They will cherish the fact that they can hold a printed image in their hand and remember the memories within. Capturing the family is what makes the portraits so important. MY TYPICAL FAMILY PHOTO SHOOT - I shoot two-three setup’s of the whole family, two to three poses, a crop and a full length, so I have five-six images for their viewing. I will then photograph each adult with the children as a group and then with each child individually. This will ensure that I have each parent with all those combinations. No one knows what the future holds and if that family will stay together. Capturing each child will cover all eventualities. Then, I photograph the children together, two to three poses and then individually so that I have five shots each. This quickly makes for a gallery of approx twenty-five images which is plenty for my viewing. A business reason why family portraits are so important is that you may have already photographed the baby’s first year from maternity through to first birthday and cake smash. So why let them go because you don’t do the family images? You have to try to keep your clients, but once they go to another photographer, you will always run the risk that they don’t come back! Remember, it is always easier to look after and keep your clients than to find a new one! _ Gary Hill aster M raftsman C Ganeq P ember M Gudge J 62

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: July | August 2021 - Issue 44

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Prints as good as it looks The Epson SureColor SC-P700 and SC-P900 photo printers are as pleasing to the eye as the prints they produce. These professional-level, compact A3+ and A2+ printers produce sharper detail and smoother gradations using the deepest blacks and superb blue tones. For more information on how Epson has redefined the design and output of professional photo printers, visit www.epson.co.uk/professional-photography

: July | August 2021 - Issue 44

TIP SHEET #10 Quick Cut Outs with Photoshop Brushes

Compositing or rather, the process of selecting and cutting out assets from one picture and realistically adding them into another is an extremely common practice in the world of Digital Photography / Digital Art. Compositing is everywhere in areas such as the Movie Industry to create elaborate and fantastic posters advertising the latest blockbuster to Photographers being asked to simple move a person from one picture to another. No matter how elaborate or not the final picture, there are essential skills that need to be mastered and none more so than making accurate selections and cut outs. Over the years Photoshop has made life considerable easier for those of us creating composites with the introduction of such tools as the Quick Selection Tool and Refine edge and more recently Select and Mask however despite these additions the skill of the retoucher is knowing how other tools can be used when others fail. In this tutorial I want to take you through a selection and cut out, but we’ll make it one that could potentially be quite challenging. I’ll show you how we can use a brush within Photoshop and how to make a few changes to it’s behavior so that we can in fact ‘fake’ the cut out and speed up the process considerably. So, let’s go through the process but first of all show you ‘why’ you would want to do this…

Issue 44 - Creative Light Magazine :

Step 1: Quick Selection Tool Start with the Quick Selection Tool to make as accurate a selection of the mouse as you can, but don’t worry too much about making it perfect. You’ll likely notice that the selection process starts off well but then, when we work around areas such as the tail the selection goes off track somewhat. To bring the selection back close to the mouse and remove unwanted areas from the selection hold down the ALT/Option key whilst dragging. Step 2: Select and Mask / Refine Edge Now that we have a fairly accurate selection of our mouse, click to enter Select and Mask. Using Select and Mask though (despite being the all new singing and dancing selection method) because of the closeness in tone and contrast of the mouse to the background doesn’t produce as good a result as we’d like. Smart Radius and then the use of the Refine Edge Brush to pick up some of the fine hairs produces a cloudy, smudged effect going around the mouse. It’s times like this we can turn to other tools within Photoshop to speed up the process and actually ‘fake’ the cut out. Step 3: Layer Mask Click Cancel to exit the Refine Edge dialog box and return to the original picture of the mouse with the selection we made with the Quick Selection Tool still active. Click to add a Layer Mask and then so that we can see clearly what we are doing as we cut the mouse out, let’s add a blank layer below the mouse by holding down the Command/CTRL Key and clicking on the New Layer icon at the bottom of the layers panel. Then go to EDIT > FILL and choose White from the contents drop down menu and click OK.

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Step 4: Brush to Erase Click on the layer mask attached to the mouse layer and then choose a round, hard edged brush from the tool bar. Click on the brush options to ensure there are no settings applied to affect how the brush behaves. Then with this hard edged brush and a black foreground colour paint around the perimeter of the mouse so as to paint away part of the mouse’s body/fur. (Decrease the size of the brush as you go along areas such as the tail.)

Step 5: Fur Brush At the moment the cut out of the mouse doesn’t look realistic however we can now use a brush that is pre installed in Photoshop to create the look of fur. Go to the Brush Preset Picker and scroll down until you see a brush that looks like a single blade of grass (number 112). Click on this brush preset and then click to open the Brush Panel. Here at the bottom of the brush panel that appears we can see a preview of what the brush will look like if used with the presets it currently has applied. We can now make changes to these settings so that the brush behaves differently.

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Step 6: Brush Settings Brush Tip Shape we can use to change the angle that the brush is applied (this comes in very useful when painting along the contour of the mouse). Adjust Spacing so that the brush gathers tighter together as we are going to apply settings to fake fur. In the Shape Dynamics tab increase the Size Jitter to around 10% to slightly vary the size of each brush stroke that is applied. Leave Scattering at it’s default and turn off Colour Dynamics and Transfer.

Step 7: Paint back the Mouse With the brush settings in place, change the foreground colour to white and then with the fur brush we have just created, paint along the perimeter of the mouse to reveal what was previously hidden. However now that we are using this new brush, the parts of the mouse we painted away are now revealed as fur. As you paint around the mouse dive back into the Brush Panel to alter the Angle and also the size of the brush that is appropriate for the area you are brushing over. Once finished you can then use the Move Tool to drag the mouse off the original picture but bring with it the layer mask should you need to make any adjustments / refinements later.

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Step 8: Save the Brush Having taken the time to create this fake Fur Brush, you’ll most definitely want to save it as a preset so that you can quickly easily use it in the future without going through the previous steps each time. To do this click to open the Brush Panel and then click on the Create New Brush icon in the bottom right hand side. In the dialog box that appears give your brush an appropriate name an then click OK. From now on you’ll then be able to choose this brush from the Brush Preset Picker.

Note: Compositing in Grass Brushes are undoubtedly one of the most powerful tools we have at our disposal in Photoshop; especially when it comes to creating composites. Again using a brush that comes pre-installed (134) we can apply our own settings to create the look of grass. In this composite of a Lioness, having made a selection and cut out using the exact same method in this tutorial, I’ve then used brush 134 to hide parts of the Lioness in shape of grass so that she appears to be within the grass.

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THE GUILD’S PARTNERS + MEMBERS BENEFITS ALAMY The leading online photographic library for stock images. Guild members earn the first £500 commission free. www.alamy.com APPLESTORE Save up to 10% in store or online, as well as on refurbs and offers. www.apple.com/uk CEWE The largest European producer of photobooks is now available in the UK pro market. Guild members get an exclusive 20% off any CEWE photobook and wall art. www.cewe-photoworld.com COLORWORLD IMAGING A full product range and sample deals available, plus a special schools photography service. www.colorworldimaging.co.uk DATACOLOR SPYDER Computer display colour calibration solutions. Guild members receive 20% savings. www.spyder.datacolor.com DIGITALAB Digitalab delivers high-quality printing, frames, and presentation products. Guild members - 50% OFF any sample products. www.digitalab.co.uk EPSON One of the largest manufacturers of printers, projectors, and much more. www.epson.co.uk GURUSHOTS Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com HAHNEMUHLE FINE ART One of the oldest paper companies in Europe that live 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 Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk LOUPEDECK 10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com 74

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LOXLEY COLOUR Scottish professional imaging lab with a worldwide reputation. www.loxleycolour.com nPHOTO Special deal exclusively for Guild members of up to 60% discount. www.nphoto.co.uk ONE VISION IMAGING 30% OFF your first order. Special offers for Guild members. www.onevisionimaging.com PIXSY - ACT AGAINST COPYRIGHT Special Guild member offer worth £350 per year. www.pixsy.com PHANTOM FLIGHT DRONE SCHOOL Brilliant Guild discounts of up to 20% OFF Drone courses, lessons, and holidays. www.phantomflightdroneschool.co.uk PHOTO-SENSORY Pre-School Education Service offers five different class types. Guild members can be official photographers to Photo-Sensory. Contact Guild HQ PROFOTO LIGHTING 10% Guild discount for members from Wilkinson Cameras. www.profoto.com SIM IMAGING Guild members only discount 10% www.simlab.co.uk SHUTTERTAX The online accounting option for photographers with a 20% discount for The Guild. www.shuttertax.co.uk UK PRINTED PENS Special discount for Guild members of 20% www.ukprintedpens.co.uk VISION MEDIA DESIGN UK Websites that Work for You. Guild Members - SAVE £95 off your new website. www.visionmediadesign.co.uk WILKINSON CAMERAS Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk 3XM Guild Members receive double points on every product order. www.3XMsolutions.com ( Trade discounts/offers are subject to change )

THEGUILDOF TOPHO GRAPHERS “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 www.photoguild.co.uk

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 44 - Creative Light Magazine :

GEBROA CKP NZE - Murray Lawson -

: July | August 2021 - Issue 44