Creative Light - Issue 50 by Guild of Photographers

Issue 50 - Creative Light Magazine :

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 2022 - Issue 50

50th Edition CONTENTS 08 19

Top Ten Article - 50th Edition Goodnight Mr Tom

26 30

Gold Awards IOM May and June 2022

36 44

Janet Broughton Lensbaby Photography

Trade Partner Spotlight Nicole Whyte - J’Adore Photography

58 68

Top Ten Article - 50th Edition Richie Crossley - Fashion Photography

80 88 100

Qualified Panels Two Successful Submissions

Peter Morgan Tech Proof your Business

Jeff Brown Focus on Marketing

Top Ten Article - 50th Edition Morag MacDonald - Weddings GuruShots Challenge Springtime Top Ten Article - 50th Edition Chris Taylor Top Ten Article - 50th Edition Dave Thompson - Royal Wedding Issue 50 - Creative Light Magazine :

EDITOR Julie Oswin

Weqcome to the th ediDon of reaD C ev Light agaz M ine J what a journey it has been for me to create the uiqdfs G agaz M ine and aqq the photographers I have featured during the past eight ears: y I pubqished the first ediDon in priq A withacoverphotobyanet J rou B ghton:sheer yB coincidencedinthisth ediDondew arefeaturinganet J stunningensbaby L hotography P eightears y qater: To ceqebrate aqq the fantasDc photographers I have featuredd Steve and esqey L ThirskaskedmetoseqectmyTopTenfavouritearDcqesovertheqastediDons tofeaturefiveinssu I eandfiveinssu I e: WhatadifficuqttaskithasbeendgoingthroughaqqtheediDons4ThefirstoneIchose as w thearDcqeonTonyutqey N daTVandiqm F hotographerd P andhisinterviewFarDcqe appearedintheery v firstediDondpriq A : The second arDcqe I have chosen as w on ortrait P hotographer P Richie rossqey C d whosearDcqeappearedinssu I edpubqishedin: The third arDcqe as w one of my favourites: I qove the whoqe feeqing of this arDcqe and the horses:::: the arDcqe is byChrisTayqorand features the Queenfs ouH sehoqd CavaqryontheirSummerbreakinorfoqk N Kssu I edpubqishedin: tI ouw qdnftberightthatintheear y oftheQueenfsqaD P numubiqeed J thatdidnft I feature thesuperbphotographybyuiqd G memberdavD eThompsonPPressAssociaDonQwho as w oneoftheress P AssociaDonphotographersatWiqqiamandatefs K Weddingten ears y ago:uiqd G memberavD eThompsonPPressAssociaDonQas w seqectedtobeinsideWestminsterbbey A : “I was to be positioned in the Organ Loft inside Westminster Abbey. I can still remember the feeling of overwhelming excitement that I was actually going to be INSIDE Westminster Abbey for such a historical event”. The fifth and finaq arDcqe I have chosen for ssu I e is a gorgeous set of edding w photographs taken by documentary photographerd orag M acD M onaqdd featured in ssu I e d pubqished in : The remaining five arDcqesIhavechosenwiqqbepubqishedagaininssu I e: eff J row B ndocu F s onarkeD M ngd haswritten a second arDcqe forreaD C ev Lightagaz M ine based on >Howto Chargeore M forYourhotography P Services:? eter P organd M Tech forTogs conDnues with his techie arDcqes and for this issue he has written his >Twenty WaystoTECHPROouy OF rhotography P usiness: B The uiqd G eqcomes w Trade artnerd P raphistu G dio: “Graphistudio hardly needs an introduction to many of our members. Graphistudio is a family-run laboratory known internationally as one of the most successful examples of “Made in Italy”. Thousands of professional photographers worldwide trust them to print and bind their tailor-made photography albums. The photo albums and wall art use state-of-the-art printing techniques are combining the best materials and Italian craftsmanship known worldwide”. reaD C ev Lightagaz M inefeaturesanew<Spotqightffeaturewheretheuiqdfs G Tradeartners P wiqqseqectoneof their customers to feature in the magazine:oxL qey oqor C is the first to feature their photographerd and they seqecteduiqd G membericoqe N WhytedJfAdorehotography P :portrait A photographerbasedinScotqand:icoqe N sharesherexciDngnewadventure>qookingfornewpremisesforherphotographystudioandbuyingabuiqding andcreaDngausiness B entre?: C ind F outaqqaboutherjourney:Youwiqqfindicoqefs N arDcqeonpager: Juqie J swO indditor E andreator C ofreaD C ev Lightagaz M ine

: July | August 2022 - Issue 50

“ Well…who would have thought that when we launched Creative Light as a trial edition someyears ago, we would reach Issue 50?

Each edition has been packed with inspiration, information and offers. We still get excited and await the reading every other month. What makes it really special to us is most of the contributions are by or about our members, supported by our Trade partners. Without any one of these things, it would not be the magazine it is! The glue which has bound each edition together has been the wonderful Julie Oswin, it’s Editor for each edition. She has passionately and tirelessly pulled everything together to make every edition as interesting as possible. A big thank you Julie! Being the “50th” Julie has chosen some of her favourite articles over the years which will make this a GREAT read. Don’t forget all the back copies are online to read at your leisure. Thanks to everyone who has contributed Past, Present & Future.” - Lesley & Steve Thirsk, Directors, The Guild of Photographers

ront F ovC erJthdiD E on Whilst walking on a deserted beach in Northumberland on a cold winter’s day. I took this image with the only camera I carry with me now, my iPhone. For me, the image has captured the wonderful feeling of peace and tranquillity you get when walking by the sea and viewing the beauty you can find in the simplest of things, even on the coldest days. The colours are so beautiful, especially with the contrast of the pink and blue horizon, and it is a reminder to take time out of your day to enjoy the quiet moments in life. - Julie Oswin Photo by: Julie Oswin ©2021

“ I had the pleasure of getting asked by Julie to send some of my images from my Portfolio

for a very early edition of Creative Light Magazine and it’s fantastic to see that Julie is still producing articles from todays amazing photographers who are amazing in so many varied skills of photography. Creative Light is an amazingly good magazine and I for one look forward to reading every edition! Best magazine by far, so keep up the great work you do Julie. “ - Gordon McGowan

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

Goodnight Mister Tom

A professional photographer for over fifty years, Tony Nutley shares with us his journey with photography. Starting as a young recruit in the RAF with his childhood dream of becoming a pilot, through to working as the main photographer for some of Britain’s major television dramas, including Sharpe, Inspector Morse, Foyle’s War and the iconic film Goodnight Mister Tom, as well as his involvement with Oscar nominated films.

tony nutley

Tell me about the start of your journey into photography? As a young boy at Grammar School, all I ever wanted to be was a Pilot. I went to a careers meeting at Hornchurch, where they were holding a pre-assessment for over 150 boys. I was lucky enough to be the only one selected. They gave me a Flying Scholarship and taught me to fly. There was never any dispute that I wasn’t going to be a Pilot. When I came of age to join the Air Force, National Service finished. So the Air Force asked me to wait for two years. I came from a humble background, my parents couldn’t afford for me to continue in education so the RAF asked me to join and said I could choose any job that I would like to do whilst I waited the two years to become a Pilot. In 1958 I went along to RAF Cardington which was a recruiting base and they showed me a board with a 150 jobs on it that I could do. As I had spent all my time at school working hard to become a Pilot, I decided when I looked at the board I would look for the easiest job I could do, and I saw photography. I knew nothing about photography but I told them I would take it. The RAF then spent the next two hours trying to persuade me not to do it, telling me “don’t be stupid choose a proper job”. They then got in touch with the RAF’s School of Photography, asked how many O-levels had I got. To which I replied ‘ten’. The average was seven. The reason I had got ten was not because I was a genius but it was because I found out how to take exams. Somehow I managed to get through these exams with very low marks but enough to pass. The School of Photography said that they

8 Creative Light 8 :: July | August 2022- -Issue Issue150

were starting a brand new three part course. They explained that they were going to do a special course putting all of the following three elements together. 1: How to fix cameras. 2: Bolt processing, (cameras on planes). 3: Ground photography, which is the area of photography we all know. They asked me if I would go into this experimental course, I said yes. They let me do it. I was one of just seven on it and the other six all knew about photography, I knew nothing. I remember that I used to scream out loud in the darkroom because to me it was like magic when a print appeared in the tray of developer, I thought that this was an amazing! Since then I have hardly ever stopped printing. In fact I had a really good darkroom in my garage up until about 15 years ago. I now spend the same amount of time in front of my computer as I once did in the darkroom.

How did you get involved with your work for television? My brother-in-law worked in television. At that time he was a graphic designer with Southern TV. Southern TV heard about my photography and kept pestering my wife to ask me to come and join them. I refused because I was still with the RAF. However, by a complete stroke of luck they got me to work for them for a week whilst I was on leave. The money they paid me was fantastic, £50 per day (equivalent to £850 today). That was a huge mount of money. That week they paid me £250.00 which was equivalent to £4,250.00 today. Actually the difference in working for

Issue 1 - Creative Light : Issue 50 - Creative Light Magazine :

television for £50 a day then, was that it was total profit, every mile of mileage and every expense was paid by Southern TV. One day’s work was one day’s pay. By comparison, at the Photography Show in March 2013 a photographer on a stand stated that he quotes £3,000 for a day for his Commercial Photography, which sounds great but then out of this he has to pay for everything else connected to the day’s shoot including the models, his staff, all of the additional equipment and expenses. Suddenly his bottom line of £3,000 isn’t worth very much. After I had photographed for that week Southern TV then came back to me asking if I would go and work for them. I couldn’t as I was still in the Air Force, and aware I had a good existence in the RAF with two sons to support (at the time my eldest was 8 and the youngest was 5 years old). As a parent I needed a secure and steady career and I really didn’t want to come out of the Air Force. Fortunately I was offered a deal by Southern TV, which the RAF agreed to whereby I could work two days a week for Southern TV. I worked shifts, on an aeroplane called the Nimrod, which tracked Russian submarines. After about a year the RAF decided that it was a completely different ball game to what they had agreed. I had gone to work in Guernsey on a kids drama and when returned Southern TV met me at the airport and asked if I would go and photograph the Queen the next day. I telephoned the RAF asking them for one more day off which was refused. However, when they discovered that the subject was the Queen, the Queen being their employer of course, they couldn’t really stop this. When I got back they said that working for the RAF and Southern TV was crazy and it couldn’t go on. I had to make a choice, to stay with the RAF or join Southern TV. To be honest there wasn’t any contest as I was making so much money with Southern that I couldn’t turn it down. I also knew that if I completed my service in the RAF I wouldn’t have the opportunity with Southern again. At that time I had served sixteen years. One of the downsides to leaving the RAF was that I wasn’t going to become a member of staff with Southern TV as the job was freelance. They offered me four contracts which was a rare opportunity and I haven’t looked back since.

Are you willing to share any mistakes you have made over the years? I never worked with an assistant, which was partially intentional because I could work comfortably without one and it worked to my advantage as I got most of the overseas jobs, as the TV company didn’t have to have the added expense of extra hotel rooms, flights etc. because I always did everything myself.

10 : Creative Light - Issue 1

: July | August 2022 - Issue 50

I remember once I was photographing John Thaw, he was quite touchy and could be difficult. A Picture Editor came along, in fact, telling Morse me he used to be a photographer. He sat with me and said “I’ll load your magazines for you”. Using my Hassleblad, I took a whole roll of 220 film of John Thaw. When I finished, the session had gone well, John and I were pleased that we had got the photographs that we wanted. As we were talking I started to wind the film on to take it out when I felt no resistance. John said “what’s the matter”? I said “I don’t think there is any film in it”. I turned to this guy and asked him if there was any film loaded. He replied “I think so”. Yes, he had put film in but he hadn’t loaded it correctly so nothing was captured. John burst out laughing, fortunately he realised it wasn’t my mistake. From my point of view, lesson learnt, from then on I did everything for myself and trusted no one.

Q: Have you any regrets? One thing from my point of view, I know now it was a major mistake. I was offered a photography job on the production called Captain Hornblower. I turned it down and not for a

“

Don’t have all your eggs in one basket!”

Left: From the Television series Morse. “This was my first serious play with digital, it was pre-digital cameras. The image was created from three digitised two and a quarter transparencies. It was a bit like witchcraft at the time. But by today’s standards it is pretty primitive. So many things are wrong with it, even to the point that the figures should have been reversed. But at the time nobody noticed”!

terribly good reason. It was being made in the Crimea, the same location was where Sharpe was filmed and I really didn’t fancy going back there. If I had thought about it, I should have taken the job because when I look back, it actually cost me a lot of other photography jobs that the same company went on to make.

If you hadn’t been a stills photographer for television and film, what area of photography would you have specialised win when you retired from the RAF? I would have stayed in the RAF until I had completed my 22 years service and then left with a pension. I honestly think I would have probably concentrated on Commercial and Industrial photography. To buy my cameras and all my initial photography equipment I started to photograph weddings but I can honestly say that I would not have stayed photographing weddings, they were not an area of photography that I enjoyed.

My first ever day on Inspector Morse with John Thaw and Kevin Whately

Issue 1 - Creative Light : 11 Issue 50 - Creative Light Magazine : 11

him on over 18 episodes of Sharpe and four other programs. I seriously couldn’t work with someone that long if I didn’t like them. He gave me a reference to join the Guild of Photographers and referred to me as a ‘Gentleman’. John Thaw and I had a very bad start and didn’t get on in the beginning but we sort of grew into each other. Prince Edward, The Earl of Wessex is a totally charming man, who does not deserve the reputation he’s got from some sources. I worked on a lot of the Ardent Productions, about 18 programmes. I never had a problem with him, he always listened to advice and accepted what you said. He’s fun to be with.

Mistakes that photographers should avoid? Don’t have all your eggs in one basket. I lost Southern TV as a client in 1981 having worked 3 or 4 days a week for them. That was a major loss. I’ve known several freelancers who were Graphic Designers or Photographers that relied solely on contracts with one client. When these contracts weren’t renewed they unfortunately lost their businesses. Therefore, my advice to you would be to have as many clients as is reasonable. Don’t rely on someone else’s business plans for your own security.

The Earl of Wessex during film for “King and Country’

What piece of advice would you give to a young up and coming photographer? To be successful you have to have the ability to be able to work at all levels, with all different kinds of people. The skill of working with a member of the Royal family or Joe Blog’s is that you have to be yourself, you must not change according to the client you are working for because it will slip and your clients will see straight through the act.

Who was your favourite personality to photograph? Anthony Hopkins, I worked with him for two years on two films and a documentary. He is one of the funniest men I’ve ever worked with, he is a great raconteur and mimic. He took the time to get to know me and was very helpful to me in my career. There are so many others... George Baker, Inspector Wexford, a totally charming and very helpful man, so easy to work with and was always very loyal to his friends. Peter Davison was also one of the nicest people I have met. I worked with him on the series of Doctor Who and All Creatures Great & Small. Sean Bean was also great! I worked with

12 : Creative Light - Issue 1 12

: July | August 2022 - Issue 50

John Thaw in Kavanagh Q.C.

Sean Bean in ‘Sharpe’s Peril’ filmed in India

Q: What was the most daunting mo-

ment in your career?

It’s between the high risk moment leaving the RAF after 16 years and kissing goodbye to a pension or on Boxing Day in 1981 when Southern TV lost it’s franchise and consequently I lost my best client. I still had Southern Gas but losing Southern TV was huge. I remember I was watching the film ‘Towering Inferno” when someone phoned me to tell me about Southern TV’s demise and to this day I have never watched the film since and I never will. I consider it jinxed. The impact on me was devastating. Within three months, the incoming franchisee holder had contacted me and everything went back to normal. If I ever was going to have a nervous breakdown it would have been at this time. In 1992 Television South (TVS) also lost their franchise but the impact on me was virtually nil, I had by then masses of other contacts.

Q: What has been your funniest moment? This question has been a real struggle to answer but in 1979 I was working for Southern Gas, I was about to leave home when a reporter from Southern TV telephoned and insisted

My first ever day on Inspector with Derek Jacobi inMorse ‘Cadfael’ John Thaw and Kevin Whately

1 - Creative Light : : Issue 50 Issue - Creative Light Magazine

13 13

Foyle’s War Michael Kitchen

that I do a job for him. I explained that I couldn’t as I was booked on another job, no matter what I said he wouldn’t listen and just kept insisting that I had to do it with various threats thrown in like “you’ll never work again” etc. which I ignored. Time was getting on and I was going to be late for my job so I just put the phone down and ran out to my car. I drove to Southampton and the Southern Gas HQ where I was booked to photograph of all the hierarchy of their empire from the Chairman down, roughly 30 people. As I drove up and parked I saw them all putting their chairs out ready. I shot round to the back of the car to get my cameras, opened the boot and died. In the rush to get out I hadn’t picked up my cameras! I scuffed around in the car and eventually found a little Canon Ixus that I’d won in a golf tournament sponsored by Canon. I’d given it to my wife but she’d left it in the glove compartment. I ran over the road to a chemist and picked up a roll of black and white film, stuck it in the camera, put this tiny little camera on top of a large Gitzo tripod and proceeded to photograph the group! Nobody said a word, they just smiled like I told them to. I then went home, processed the film and produced 45 10x8” prints. They actually didn’t look too bad. Next day I took the prints into the press office, and said nothing. No one mentioned anything to me, just thanked me. Six months later I mentioned it to the publicity manager saying that had to be my most embarrassing moment ever, he burst out laughing and

Timothy Dalton, photographed with a wild Timber Wolf, it had been tranquillised and was just waking up. Taken in Minnesota on the Canadian border

14 : Creative Light - Issue 1 14 : July | August 2022 - Issue 50

The Cowes Lifeboat for a Documentary on The Coastguard

said that he hadn’t noticed anything. We then checked and not one person had noticed this clown with a little four inch camera on a big tripod. On this day I’d actually become ‘Uncle Bob’ and survived!

What has been your career highlight?

Three years ago Sweden asked me to co-produce two big major feature films with a budget of 30 million pounds. I was commissioned to co-produce the English part of the film. These were the most expensive films they have ever made in Sweden. It was a great experience and definitely the highlight of my career.

WorzelGummidge Jon Pertwee and Una Stubbs Issue 1 - Creative Light : Issue 50 - Creative Light Magazine :

15 15

Tony, over your career I expect you have created many special images, out of all of them, if you had to choose a favourite, which one would it be?

his image was so difficult to take and has to be my favourite picture of all time. I was in Russia and everything was against me, there was a near hurricane blowing, it was -20 and there was no electricity. I had to bribe the electricians to bring the lights up. There was a film crew in the way between Sean and the wall, at the back there was ten huge lorries that needed moving, there was no ‘set’ so we had to build one. Sean wasn’t keen on doing the shoot as he thought he would look like an idiot. The stunt guy and I had to persuade Sean to do the shot, and then he said he wouldn’t due to all the locals watching him. Consequently, we had to get rid of them. We didn’t speak Russian so that too was difficult. The Picture Editor’s had asked me whilst I was there to take a particular photograph, and I couldn’t take it. I then I suggested an alternative. However, they thought my suggestion was pathetic because it involved too much. I had to build a set in the middle of a field. In the image you can see a big wall behind, which in theory is Badajoz, which is on the border of Spain and Portugal the scene of a famous battle. Central TV wanted a picture of Sean and Napoleon standing around with about 100 dead bodies. Unfortunately, there were no bodies, they had all gone home the day before! After making enquires the best they could do was to offer me ten Russian extras. The temperature was still -20, and they only had thin uniforms on and were very cold. I had to pay them all with a packet of 20 Marlborough each . When I got back to the UK, Central TV went berserk because they said it wasn’t what they had sent me for, even though the Darkroom staff said that they were really good pictures. The Picture Editors were having none of it. I went back to Russia two weeks later as I needed to get some additional pictures. I contacted Central TV, and the Picture Editors had another go at me because I hadn’t taken what they wanted. Anyway, to cut a long story short, they came back half an hour later shouting ”Christ its a Rembrandt! We hadn’t actually looked at it, we had only gone on what you had described”. They were thrilled with the photograph I had created and it ended up being the featured image on the main entrance to the TV Studios in Nottingham for several years. The image became the definitive Sharpe picture and is still appearing in papers today. And it is my favourite. This has the meaning.

Tony Nutley, www.tonynutley.co.uk

16 Creative Light 16 : : July | August 2022- -Issue Issue150

1 - Creative Light : : Issue 50 Issue - Creative Light Magazine

17 17

3XM

: July | August 2022 - Issue 50

Successful Qualified Panels 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

https://vimeo.com/735344220

https://vimeo.com/735344932

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

Promaster, Wilkinson Cameras most comprehensive range of photo & video essentials. www.wilkinson.co.uk/promaster 24

: July | August 2022 - Issue 50

EDITORS CHOICE agda M right B arded wA SiqverJayM

“ A new baby marks the beginnings of all things – wonder, a beautiful dream of possibilities and hope ”

Issue 50 - Creative Light Magazine :

MAY | JUNE 2022

KirstyevB an

andy M ewN by

: July | August 2022 - Issue 50

aDK erockman B

Tim Wilde

Cqareerry P

eqen H Simon

Cqareerry P

aDK erockman B

Issue 50 - Creative Light Magazine :

Relive the trip of your dreams... fore

Travelling comes in all shapes and sizes but there’s one thing it has in common - the ability to provide From a staycation in Cornwall, a city break in Paris or a long haul flight to Australia, there is nothing qu rejuvenating than experiencing a new part of the world. We know that you’ll come back with a bank of and a bursting camera roll to match,. So start reliving the trip of your dreams, wherever that may be, a a CEWE PHOTOBOOK. Visit cewe.co.uk

Enter your stunning photos to the CEWE Photo Award!

The CEWE Photo Award is the largest free to enter contest of its kind in the world and is now open f entries from amateurs and professionals alike, showcasing the Earth’s beauty. It has 10 categories t choose from and you can enter up to 100 photos into the contest. There’s a huge €250,000 in prize in prizes to be won, plus, for every photo submitted, CEWE donates €0.10 to global charity SOS Children’s Villages, supporting disadvantaged families across the world. Enter now! 28

: July | August 2022 - Issue 50

ever!

us with joy! uite as f new memories and create

for to es

Get inspired by our range of personalised photo products XL Square Photo Book and Slipcase Crafted from strong matte laminated cardboard, each slipcase is made to individually fit the XL Square CEWEPHOTOBOOK. The perfect finishing touch!

Personalised Ravensburger Puzzle Instead of recreating a famous artwork or landscape, our Ravensburger puzzles feature your own photos, so you can piece together a special holiday memory.

Aluminum Photo Print Is there a stand-out photo you’re particularly proud of? Showcase your talents and remember your holiday at the same time with a premium Aluminum Print.

Lanyard Phone Case With a large range of styles and colours to choose from, our lanyard phone case is a fashionable accessory that you can adapt to your personal style.

To create your unique photo product visit cewe.co.uk Issue 50 - Creative Light Magazine :

Peter loves photography and gadgets. It would be safe to say he is obsessed with technology. He has worked in the computer and telecommunications industry from the age of 16. Peter is an Apple and Windows Engineer, Backup and Disaster Recovery Specialist and has been supporting individuals and businesses for over thirty years. He started a professional photography eter P organ M business in 2014 after selling his IT company to pursue his love of photography. Peter soon found out that his IT skills meant that great photographers trusted him with their businesses technology. Often he would trade his IT repair skills for photography training to learn as much as he could about every different genre and type of photography to create his own unique and quirky style. Like many other photographers, the global pandemic postponed Peter’s primary job as a professional photographer, so he began looking at the real problems photographers and creatives faced daily. This is when his idea for ‘Tech for Togs’ came into fruition as he was constantly being asked for help on Facebook Group with an average of 20 requests daily. He now runs this with his business partner Ross Grieve. Many photographers don’t have a robust, stress-tested backup solution. As a photographer, Peter finds that having the solution, workflow, and knowledge is invaluable for the creative industry. Peter has written this article for you by highlighting his top 20 Ways to TECH PROOF your Photography Business.

For additional help and technical support, please see our webpage or check our Patreon page www.patreon.com/techfortogs for more content. - Peter Morgan; https://www.techfortogs.co.uk/

: July | August 2022 - Issue 50

TwentyWaystoTECHPROouy OF r hotography P usiness B Hardware 1.

ook L atchangingouy rbusinesscomputerseveryfewears: y acfs M areexpensivebecausethey hoqdaqu v eandgeneraqqyhaveaqongersheqfqifethanPCfssoouy cangoabitqongerwithouthavingto repqacethem:f I ouy freinbusinessddonftait w DqqsomethingbreaksorrunssosqowitfsaffecDngouy r producDvity:f I ouy canftaffordtobuouy trightqookatqeasingthroughsomeoneqikeardsoft H UKor ppqe A business:

2: onft D everbetemptedtousecheapmemorycardsinouy r

cameras:ook L atonesthathaveagreatspeedraDngand reqiabiqity:SandiskandexL ararethetopmakesforthisandare abitmoreexpensiveforareason:uch M qowerfaiqurerates andfastertransferrate:

3. the uyB bestcomputerouy canaffordattheDmeouy choosetobu:y

ThisseemsobviousbutsomeDmespeopqewiqqgetpersuadedintobuyinga speciaqdeaqinWorqd PC orurry C fsoronqine:etG someprofessionaqadvice ofwhatouy neednotonqytodoouy rob J nowbutacoupqeofears y down theqine:

Issue 50 - Creative Light Magazine :

4. fI ouy freusingaNASPnetworkattachedstorageQandaccessitfromoutsidethehouse thenouy needaUPS:n A uninterrupDbqepowersuppqywiqqkeepthepoweronfora shortspaceofDmeiftherefsapowercutbutrememberouy rrouterandNASneedtobe pquggedintoitorouy onft w getaccessremoteqy:

5.CaqibratedCaqibratedCaqibrate:fI ouy usetwoscreensdcaqibrate

themboth:f I ouy printathomedremembertocaqibratethepaper PessenDaqqydthismeansthrowingawayafewsheetssoouy cansave theprofiqeandremembertoqeavethecaqibratoropendmeasuringthe ambientqightnearthescreenforconsistentresuqts:Thismeansthat designersdcqientsdotherphotographersandarteditorshaveabetter chanceofseeingouy rimagesastheyere w intended:

6. diD E ngtakesDme:f I ouy fredoingouy rownediDngdqookattheouL pedeckrangeofkitstoheqpouy speed

pu ouy rorkflow w zZZPespeciaqqytheCTdwhichisepic4QivG eitDme:earn L thesystemandspeedupouy r orkflow w :

Software 7.evN erusetheqatestersion v ofac M OSifouy are

inbusinessandreqyingonthatmachinenottofaiq: qwA ayskeeponeersion v behindasitfsgiventhemat qeastaear y totestcompaDbiqitywithsoftwareand hardwareinproducDon:n I factddonftchangeouy r operaDngsystemifitfsaqreadyorking w perfectqyunDq therefsafeatureonanewerersion v ouy justcanftdo without:Patpresentdthebestersion v Icanendorse isig B Sur:Paqthougheventhatmeansouy couqdqose accesstoanybitoqderappqicaDonsQ:onterey M just isnftasgoodatpresentandsDqqhasafewbugs:

8. ake M suretheqatestpatchesareinstaqqedontheoperaDngsystemouy areusing:ppqe A andicrosoft M

especiaqqyreactquickqytoissuesthataffecttheiroperaDngsystemssotherefsusuaqqyaery v goodreason whythepatchhasbeendepqoyed:

9. ake M surereaD C ev Cqoudrunsonthestartupofouy rPCorac: M Thiswiqqtakeup

ery v qittqeresourcesbutqetsouy knowwhentherefsanupdateincqudingcriDcaqupdates fortheprogramsew usefrequentqy:

: July | August 2022 - Issue 50

10. ook L atusingremotesoftwaretoaccessouy rcomputersathomeifouy needa fiqeonouy rdesktopetc:IuseTeamviewerdbutothergoodonesareVNCandChrome Remoteesktop: D

11. fI ouy freusingaPC:Runisk D CqeanupeverysooftenJusethe

cqeansystemfiqesopDonandcheckaqqtheboxes:tI wiqqsavespace andaqqowouy tocqearoutaqqtheoqdtempandunnecessaryfiqes keepingouy rsystemrunningfast:

12. Theisk D UDqityonac M canbe

foundunderppqicaD A ons»UDqiDes »isk D UDqity:Runirst F id A onouy r primaryandsecondarydriveseveryfew months8thiswiqqkeeptheminDpJtop shapeandrepairanypermissionissues thatmaycropup:Cqickonthedriveon theqeftandcqickfirstaidinthetopbar:

13. ook L atusingaCRMprogramtomanageouy rcqientdatabase

andordersandkeepeverythingontrack:IfveusedLightbquefora fewears y nowbecauseofitseaseofuse8itfsagreatayw ofkeeping mybusinessgoingwhiqstaqsoautomaDngcommonqyusedtasks:Use thediscountcode<techfortogsfandgetşoff:

14. ook L atoise N reducDonsoftwareifouy fvemanagedtotakenoisypictures:TopazdeJNoiseispossibqy oneofthebestonthemarketandreasonabqetopurchasetoo4

Issue 50 - Creative Light Magazine :

Backup 15.fI ouy canafforditJqookatamuqDJdriveJbasedraidsystem:deaqqy I dRaidbutraidoneisaqsoanopDon

foracheaperentrypoint:SynoqogydoesagreatrangeofdrivesforphotographersdtheDSs‡andthe DS:Thisisbecauseitspansouy rdataacrossmuqDpqedrivesgivinghigherredundancyandfasteraccess:

16.avH eaorking w drivetoeditouy rphotographson:deaqqy I dqookata

fasterSSDsoouy cancuqqandeditquicker:onft D wipetheimagesfromouy r cardsunDqthephotographsareeditedandtransferredtoouy rNASorother addiDonaqbackupstorage:TheLacieRuggedSSDro P isincredibqyfastand ideaqforthisbutbearnedd w itfsUSBJconqyandnotbackwardscompaDbqe withUSBJ:

17. fI ouy canafforditanddonfthaveDmefordownDme:eep K aspareNASinternaq drivetoonesideincaseoffaiqure:RebuiqdingaNASismuchquickerwhenouy have thedrivetohandratherthanorderingarepqacementandinstaqqingit:

18. avH easeparateWindowsacku B porTimeachine M PMacQbackingupjusttheoperaDngsystemsoin theeventouy rcomputerdies8ouy haveaqqtheork w ouy fvecompqetedsavedupdate:

Location 19. fI ouy freuqDmateqygoingtobeseqqingprintspostshootd eventetc:reate C thegaqqeryfirstonouy rebsite w andcreatea QRcodefortheevent:rint P itandpqaceitnearwherepeopqe aregoingtoseeit:uch M easiertogivethemtheqocaDonofthe gaqqeryaheadofDmethantrytocontactpeopqeafterandsend themaqink:

20. UseaBOSSsystemifouy fregoingawayfordays

oreeks w tobackuponset:SystemsqiketheSeagate BOSSaqqowouy tobackupouy rmemorycardsonJsited meaningshouqdtheorst w happen:Yourpictureswiqqbe backedup: - Peter Morgan; https://www.techfortogs.co.uk/ 34

: July | August 2022 - Issue 50

Promaster, Wilkinson Cameras most comprehensive range of photo & video essentials. www.wilkinson.co.uk/promaster Issue 50 - Creative Light Magazine :

Janet Broughton

Lensbaby Photography

anet J is a creaDev photographer and ensbaby L mbassador A based in oqton: B She is a previous winner of the uiqd G of hotographers P mage I of the Year compeDDon and achieved Quaqified Status with a paneq ofensbaby L images: anet J offers JJ training in person and overZoomandcreatestextureswhichcanbefoundat:tex w tureJ shop:co:uk:ny A texturesusedintheaccompanyingimagesareanetfs J own: You can see more of her ork w by visiDng her ebsite w :w definiteqydreaming:com where ouy can aqso find contact detaiqs to getintouchwithanyquesDons:

An Introduction to Lensbaby A potted history… I took up photographyin myearqyforDesd at a Dmewhen digitaqas w firmqyestabqished and autofocus qenses ere w efficient and reqiabqe: I asd w quite frankqyd baffled by the idea that some peopqe might choose to use manuaqfocusqenseswhenitas w mucheasiertoqetouy requipmentdoitforouy :owH everthatas w anopinion thatouw qdchangeery v quickqy: tI didnfttakemeery v qongtobeqookingformyownuniqueayw toexpressmyseqfthroughmyphotography:I foundmyseqfsearchingfordifferentayw stoshootcommonsubjectsdorevenignoringsomesubjectsbecause I couqdnft find myownayw to approach them: tfs I probabqyfairto saythat myambiDonsere w ayw ahead of my skiqqs at this point4 iscov D ering ensbaby L products transformed my photography aqthough it asnft w an overnighttransformaDon:first yM purchaseinas w thestartofaqongjourney:n I as w I approached byensbaby L whohadreadabqogIfdwrittenabouthowstrivingforsomenoDonofperfecDoncankiqqcreaDvityd Ifdiqqustratedthebqogwithaensbaby L portraitthatas w aqongayw fromperfectbutsDqqseemedtoork w Pfor meanyayw 4Q:

Why Lensbaby? as w I iniDaqqydrawntoensbaby L imagesbecausefou I ndthebqursomehowcomforDng:suI fferfromarecurring eye condiDon and part of treatment invoqves keeping one eye diqated for a eek w or sod I used to find the resuqDngbqurredvisionchaqqenginganditas w reassuringtofindthatpeopqeintenDonaqqycreatedimageswith asimiqarbqur: ycoqqecD M on has grown overtheears y and ifthere isnft aensbaby L attached to mycamera itfs usuaqqybeen repqaced byavintage qens: n O the rare occasion I shootwith an autofocus qens I feeq somehowcheatedd the process ofshooDng seems to be overas soon as itfs started:nd A thatfswhyI qove manuaq qensesd theyforce a sqowing down and a more mindfuq process: I need to take myDme so Ifqq studymysubject carefuqqyd which creates a deeper connecDon Pyes I do beqieve ew can feeq a connecDon to an inanimate objectQ and a more considered image: I aqso feeq more creaDev when I shoot with a ensbaby L d as if my choice of qens somehow givesmepermissiontoignoretheruqes:Shootaqandscapeatf:s5f O coursedwhyevernot4 36

: July | August 2022 - Issue 50

Velvet 85 with a wide aperture for a softer image Issue 50 - Creative Light Magazine :

But what is a Lensbaby? ccording A to ensbaby L fs own descripDon they are a range of >Aard w winning creaDev effect qensesd opDcsandaccessoriesdprovidingamateurandprofessionaqphotographerswiththetooqstocreateunique photographs:? qq A the qenses and opDcs are compqeteqy manuaq and apertures are changed by twisDng a ring:There are no eqectronic connecDons between the qens and camera which means if ouy ever spot a second hand bargainhavingthecorrectmountisnftcriDcaqdouy canprobabqypickupanadapterforqessthanm:The opDc swap system consists ofa hoqderPtheomposer C ro P is the mostwideqyusedQwith interchangeabqe opDcsdeachopDcandqenshasitsownqook:TheqensrangeincqudestheVeqvetsKcanbesharporsoftand dreamy depending on apertured the urnside B K swirqy bokeh with an adjustabqe buiqt in vignetted and theSoqKamoveabqesweetspotoffocuswithbuiqtinbqadestoaddtexturetothebokeh:Therangeof opDcsincqudestheSweetsKthemoretradiDonaqensbaby L qookwithasweetspotoffocusdthedges E Ka moveabqe sqice of focusd the Twist r K onderfu w q swirqy bokehd and the new Softocu F s Id as the name suggestsasoftfocuswithagqowingeffectwideopen: or F anyonenotreadytomovetomanuaqfocusthemni O reaD C ev iqter F systemisauniversaqproductthat canbeusedonanyqensandconsistsofahoqderthatfitsontothefiqterthreadandaariety v ofcrystaqsand reflectorsthatareheqdinpqacebymagneDcarmstocreateuniqueinJcameraeffects:

Which is the best Lensbaby to start with? ThisisaquesDonthatIfmoftenaskedbutaqwaysfinddifficuqttoanswer4Ifmaqsooftenaskedwhichisthe bestensbaby L for a specific genre and my answer to this is aqways the samed anyensbaby L can be used foranygenre:TheVeqvetsareaqwayspopuqarforflowersbutanyotherqensoropDccanbeusedandwiqq ork w eqqd w andequaqqytheVeqvetqensescanbeusedforanygenreditaqqdependsonouy rownvisionasa photographer: IoftensuggeststarDngbythinkingaboutouy rownpreferredfocaqqength:Ifmnaturaqqydrawntoaqonger focaqqengthsoaqthoughqov I etheqookoftheurnside B thewiderfocaqqengthmeansthatitfsnotoften myfirstchoiceofqens:ecau B seqike I aqongfocaqqengththeVeqvetsistheqensknow I wiqqork w formein anysituaDonwithanystyqeofphotographybutIusuaqqymakesureIaqsohavetheomposer C andatqeast oneopDcinmycamerabag: nce O ouy have an idea offocaq qength itfs a good idea to qook at theensbaby L ebsite w Pqensbaby:comQ to seewhatproductsareavaiqabqe:ThenitfsDmetodecidewhateffectappeaqsmosttoouy dthereareqotsof exampqesontheebsite w andtheacebook F groupensbaby L Unpquggedisagoodpqacetoqook:aqso I have afewbqogpostsonmyownebsite w whichmightbeusefuqPw:definiteqy w dreaming:comQ: f I ouy arenftsurewhetheramanuaqfocusqensissomethingouy wiqqenjoyavintageqenscanbeaqowcost ayw tostart:Theeqios H Jisaery v popuqarchoicedmineas w onqymoneBayandisafabuqousqens: Theyhavebecomemorepopuqarsothink I theymaycostaqittqemorenowbuttheyaresDqqery v affordabqe and can easiqybe resoqd:ust J check before buying that the appropriate adapters are avaiqabqed myeqios H isanMmountbutIbeqievetheycanary v :onft D forgetthatthemanuaqfocusmeansouy donftneeda fancyadapterandouy canexpecttopayqessthanm:

Tips For Using a Lensbaby onft D giveup4Therecanbequiteaqearningcurveespeciaqqyifouy arenewtomanuaqfocusdexpectpqenty ofmissedshotsbutdonftbedisheartened: Whiqeouy aregeDfingtogripswithouy rnewensbaby L donftshootanywiderthanfdsmaqqeraperturesare easiertofocussopracDcewiththeseandork w ouy rayw towardswiderapertures: Trytakingaseriesofphotosdonewhereouy thinkouy havenaiqedthefocusandthenacoupqewithsqight adjustmentstofocusinfrontandbehind: f I ouy haveaomposer C donftDqtitunDqouy fvegotthehangoffocusingdtheDqtmakesitharder: ake M themostofanyfocusaidsouy rcameraoffersdfocuspeakingisonderfu w qdifouy haveitturniton: onft D obsessoversharpness: Rememberthataensbaby L onft w transformaboringphotodouy sDqqneedaninteresDngsubjectdtheright qightandagoodcomposiDon: utB mostofaqqremembertoembraceouy rownuniquecreaDvityandhavefun:Janet J rou B ghton 38

: July | August 2022 - Issue 50

Velvet 56, wide open for added softness Issue 50 - Creative Light Magazine :

VEVEL TrWITHTEA XTURE

VEVEL Tr

USITHNG ESOORFL STREETTOPHO GRAPHY

GEREDIMA FERRETOD TEIN XT

: July | August 2022 - Issue 50

LANDSCAPESTA WIAPERTURE D SWITHSOFTOCUS F IhTEXTURESREFERRETOD TEIN XT

SOWIL THTEA XTURE

VEVEL TrWITHANOMICRYSTACREL TIA UE NGBL HAZEANDRECTEFLE WEO DFL RS

ahotography P byanet J rou B ghton

Issue 50 - Creative Light Magazine :

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. 42 : July | August 2022 - Issue 50

‘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.

Issue 50 - Creative Light Magazine : 43 https://amzn.to/2wDin8e

owH toChargeaot L ore M forouy r hotography P Services Jeff mentors photographers in over twenty countries around the world from all different photography niches, he has yet to find a photography business that can’t benefit from a Joint Venture. This powerful, risk free form of marketing can be a goldmine for your business, all you have to do is start by reaching out. Connect with Jeff on LinkedIn at @thephotographersmentor or Facebook @jeffbrownthephotographersmentor or via his website at www.thephotographersmentor.com. “Drop me a message anytime I’m always here to offer help and advice” - Jeff

robabqyoneofthemostcommonquesDonsphotographersaskmeisd>HowdoIchargeaqotmoreformy services5?oqqow F edby>HowcanIdothiswhenIhavephotographersinmyareachargingmforapersonaq brandingshootorundermforaedding5? w WeqqdfirstqydtheanswertothisquesDondoesnftqiewithinouy rphotography:tfs I notaboutseqqingouy r imageseitherdbecausecqientsdonftbuimages8 y theybuay soquDonoranemoDon:Wefqqcometothisina bit: SecondqydthecutJpricedphotographersaredoingouy afavour:TheyareservicingthepriceJhungrytyre kickerswhonobodyreaqqyants w toork w with:Thecustomerswhobupuy reqyonpriceaqoneanddonftput anyaqu v einouy rservicesdtheyjustant w acheapdeaq:Youmustignorethesepeopqeandavoidthemataqq costs:

The Answer Starts with PERCEIVED VALUE Tounderstanderceiv P edVaque8ouy needtounderstandprice:rice P isonqywhatew asaconsumerdeemto beafairmonetaryexchangefortheaqu v eofaserviceoraproductew budy simpqeasthat:f I ouy thinkabout itdcheapcansDqqbeexpensivedandexpensivecanoftenrepresentgreataqu v eformoney: Youmaybusome y cheapemuqsiontodecorateouy rqivingroomdbutafteranhourofusingitdouy reaqise thatmoreofitisgoingonouy thantheaqqsd w andouy fregoingtoneedcoatsofpaintjusttocovertheoqd coqour:Thisiswherecheapjustdoesnftcutitorcoveritdshouqdew say44 Withregardstoexpensivedthatfseasy:ompare C BMWtoordd F RaqphLaurentoHhMdMhSood F toLidqd neitheroftheexpensivebrandsineachexampqedcarsdcqothingdandfoodofferanythingmorethanthe cheaperbrandsdo:Theonqydifferenceistheirperceivedaqu v eofquaqitydservicedandaqu v einreqaDonto price:eopqe P paymorebecausetheybeqievethebrandsthemseqvesareorth w moredanduqDmateqytheir productsareofhigherquaqity:owH everdRaqphLaurenshirtsaremadeinChinadandmanyofthepremiumcar brandsusepartsfrommanufacturersthataqsosuppqythecheaperendofthemarket:

Your Brand Speaks Volumes Iknowouy frenotBMWorMhSdsohowdoouy createahigherceiv P edVaque5Weqqdthisisaqqinouy rbrand andouy rbrandmessage:Yourcqientsarenftphotographers8theydonftqookatouy rimagestheayw ew dod butouy rcqientsarebrandexpertsdandsoareouy devenifouy didnftreaqiseit: er vE sinceew ere w kidsdefv w egrownupwithbrandsandbeensoqdtothroughcqeverbrandingbycompanies whospendmiqqionsandmiqqionsofpoundstomakesuretheirqogosdfontsdcoqoursdbrandidenDtyandbrand messagereaqqyappeaqtousasconsumers:Somuchsothatefqq w oftenpayapremiumfortheirproducts evenwhenew havemuchcheaperaqternaDes v onoffer:Thisisbecausedasconsumersdew canrecognisea premiumbrandandthefeeqingitcreates:

: July | August 2022 - Issue 50

TheseeqqJknow w ncompaniesdinfactdaqqofthepremiumandbespokebrandsineverysectordfrom eddings w tohospitaqitydfamiqybrandstobusinesssoquDonbrandsdhaveaqqspentaqotofDmeandmoneyon researchingwhatbrandmessagedcoqoursdandfontsappeaqtotheirideaqcqients:or F thisreasondthesemake greatbrandstostudyforinspiraDonwhenqookingatouy rownphotographyniche: or F exampqedifouy freaedding w photographerddonftbotherouy rseqfaboutthecutJpricephotographersd anddonftqookatouy rdirectcompeDtorsfbrandingeither:nsteadd I qookatthehighJendedding w enu v esdthe premiumbouDquebridaqshopsandtheonJtrendedding w magazines:Theircqientsarethepeopqeouy ant w toork w with8ouy fqqnoDcethataqotofthecoqoursdfontsandmessagesusedintheirmarkeDngmateriaqare ery v simiqardanditfsaqqaboutthecqientdTNO aboutthem: magine I ouy areinatownouy fveneverbeentoonaqittqestayJcaDonbreakintheUK:Youdecidetogo outforameaqandstartaqking w aqongthemainstreet8ouy seeaqoveqyJqookingrestaurantandsaytoouy r otherhaqfd>thisqooksreaqqynicedshaqqew checkoutthemenu5?:Therestaurantsignagedoutsidepaintworkd hangingbasketsetc:dhaveaqqcreatedavisuaqappeaq8itqooksquaqitydsoouy aqreadyhaveahigherperceived aqu v eandareexpecDngahigherpricepoint:ust J fromwhatouy seeoutsidedtheqookdfeeqandattenDon todetaiqitfsaqreadystarDngtoconvinceouy thattheextramoneywiqqbeorth w itforgreatfoodinqoveqy surroundings: Thenouy checkoutthemenuinthewindow8atthetopofthemenuditstatesthattheir AL ingredientsare qocaqqysourceddandtheir AL dishesarefreshqypreparedeveryday:YoustarttoreadthedescripDonoftheir fishhchips:tI readsd>Sustainabqycaughtorth N Seaodd C cookedinaqightandcrispybeerbatterdserved withthickcutdtripqecookedchipsdmintedmushypeasandourcheffshomemadetartarsauceJm?:You turntoouy rpartnerandsayd>wowdthatsoundsdeqicious?:tI soundsdeqiciousdouy havenftevenseenitetd y butfromtheoutsideoftherestaurantandthemenudescripDondouy frereadytoaqk w inandpaymfor fishandchipsbecauseoftheerceiv P edVaque:Wouqdouy dothisifthepaintworkas w flakingdthehanging basketsere w fuqqofeedsd w andthemenureadssimpqydishd F Chipsandushy M eas P m55f O coursedouy ouw qdnft: Sodusingthisanaqogyddoesouy rebsited w whichisouy requivaqentofarestaurantfrontagedorouy r brochuresdtheequivaqentofarestaurantmenudcreateaigh H erceiv P edaqu v e5oD ouy usedescripDev ords w toheqppotenDaqcustomersvisuaqiseorking w withouy orowningouy rproducts5oD ouy say>wedding aqbum?or>handmadetaqian I qeatherfineartedding w aqbum5?f I ouy everant w toqistentoagoodexampqeof thedesirecreaDngdescripDev ordingd w qistentoanMhSood F advert:tfs I notanormaqcheesecake8itfsan MhSrichqyinduqgentdtripqeeqgian B chocoqatecheesecake:tfs I justordsd w butitsoundsAMZING44

Sell the Emotion or Sell the Solution Thefinaqpiecetothepuzqeistoseqqthebenefitstothecqient:eopqe P donftbuimages8 y theybuthe y emoDoninthoseimagesorthesoquDonthoseimagesprovidetoaprobqem: or F exampqedarestaurantdoesnftant w nicephotos8itants w morebumsonseatsdmoredinersthroughthe doordandmoremoneyintheDqq8itants w asoquDon:onft D seqqtheimages8teqqthemouy createdrooqJworthy imagestheirfoqqowerscanvirtuaqqysmeqqandtastethroughtheirnewsfeed8theyqookthatgood:Youcreate imagesthatgettheirfanbaseqikingandsharingandfiqqtheirrestauranteverynightoftheeek w onft D seqqabrideimages8seqqherhowshefqqfeeqonherbigday:SeqqherfundnaturaqandhassqeJfreeedding w photographythatcaptureseveryqaughdeveryteardandeveryinDmatemomentofherspeciaqday: Canouy seehowpowerfuqbrandinganddesireJcreaDngords w aretoouy rbusiness5 A brand is not your logo; it’s everything your potential clients think, feel and believe about you and your photography. etG thisrightdcreateahighperceivedaqu v eandouy candoubqedtrebqedorevenquadrupqeouy rprices:any M ofmymentoringcqientshavedonethiswitheasedbutonqyonceefv w enaiqedtheirbrandingdtheirbrand messageandcreatedahigherperceivedaqu v eforwhattheyhavetooffer:

Jeff J row B n :thephotographersmentor:com w

Issue 50 - Creative Light Magazine :

Bellissimo Fine Art With its signature round corners and a range of opulent details, the Bellissimo Fine Art is a premium album, popular amongst high-end clients. The Cotton Smooth offer a beautiful blank canvas with exceptional definition, while its lay-flat design allows you to feature edge-to-edge images across the entire spread. Pick from over 90 material types and a range of personalisations and finishing touches to make a luxury album as unique as your client.

: July | August 2022 - Issue 50

Trusted by photographers, Treasured by clients. For over 30 years, Loxley Colour has provided professional photographers with highquality, handcrafted prints and photo products. Discover the most popular products from our award-winning collection and learn why professional photographers trust Loxley Colour.

NEW

Canvas Tray Frame

Alumini

Sanctuary

We’ve combined the traditional framed print with the popularity of canvas for this new wall display.

Wow your clients with your image printed directly onto aluminium. Customise with four print finishes and custom sizing!

Add timeless elegance to any image with this wooden frame available in eight popular colours.

NEW

Gallery Block

Folio Box

Bellissimo Perfetto

Perfect for galleries and exhibitions, The Gallery Block features two options of print finishes and optional sparkle.

This stylish box can fit up to 15 Matted Prints and can feature an optional USB stick for even more image storage!

Our most versatile album and a client favourite, the Bellissimo Perfetto is a layflat storybook album.

Issue 50 - Creative Light Magazine :

SPOTLIGHT

Nicole Whyte

Loxley Colour are the first of the Guild’s Trade Partners to be invited by Creative Light Magazine to showcase one of their customers and introduce the Guild’s new ‘Spotlight’ feature. Loxley Colour has been in the business for over 25 years and has a wealth of professional photography experience; passionate about photography and constantly strives to provide the best possible service to its customers. They offer a wide range of services, including photo printing, framing, mounting and hand-made albums. Committed to supporting professional photographers and providing them with the best possible service, Loxley are always looking for new ways to improve their service and offer their customers the latest photographic technology. Loxley Colour is proud to showcase one of their customers in Creative Light Magazine. Nicole Whyte of J’Adore Photography is a talented photographer based in Scotland. Nicole’s work is stunning, and we are sure you will enjoy reading about her journey in this magazine edition. 48

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

About Nicole Nicole graduated with an honours degree in Marketing & Media Studies, where she studied traditional filmbased photography. It was here that Nicole’s love of photography was born. Since starting her business, Nicole has gained Qualified status with two of the largest photography associations, won numerous awards for her photography, and gained a loyal following of new and returning customers. Nicole always strives to improve her craft and provide her clients with the best possible experience. She is friendly and professional, and her goal is to ensure that every client leaves their session with beautiful memories that will last a lifetime. I started in my living room, took over the children’s playroom, took the big step, signed my first three-year lease, and took on a studio space after two years in business. I kept working part-time at the beginning to build up my business, working in the Studio on my days off. I said that as soon as I was turning down clients to go to work at British Gas, I would resign and go full-time at the Studio. Then one day, I said, “yeah, it’s time.” My business has been amazing over the last 12 years, and I have managed to grow year upon year and build up a really large following. I’ve got some really great clients, who keep coming back time and time again, and who recommended me to others. I loved my old Studio and was there for ten years, but it was on an industrial estate and didn’t have the right feel for a photography studio. It had a lovely atmosphere inside, but it just didn’t look all that great outside because it was a commercial building in an industrial setting.

: July | August 2022 - Issue 50

Covid struck, and we had to close like all other studios; being a limited company, I wasn’t entitled to much support, but this motivated me to drive even harder when I reopened, working seven days weeks after opening. I still managed to grow and reach my yearly target. When we reopened after the pandemic, a music factory had moved into the upstairs area of the building, and it got a bit noisy; I started to have issues with parking, and the whole atmosphere just changed. At this point, I decided that I didn’t like not having control over my business, and it was time to leave and find somewhere new. I started looking for properties to buy and went to view quite a few. I wanted to have a smaller premises, but I also wanted to create a little hub of businesses to add value and support each other. When I first visited this property, it was a bit over budget (well, a lot over budget), but I knew I could make it work, allowing me to grow my business even more. It is just fifteen minutes from home and six minutes from my last Studio, which meant I could keep my local clients. So last year, we bit the bullet and made the big decision to move. The new Studio is in the perfect location, and a beautiful old manor house set within 1.4 acres of land. I am going to create this building into a female-based business centre, which will be filled with like-minded female business owners who all serve the same ideal client, meaning my ideal client will be flowing through my building and walking past my door. It’s got such a lovely atmosphere and is an excellent setting for me and my business. I have the ground floor for J’Adore Photography, where I have 2x studios, 2x design consultation rooms and an office. I will be renting out my second studio space for training days and events at the moment because I don’t believe there is enough proper training going on in the photographic industry. I will be hosting coffee mornings and setting up accountability groups to help and support other photographers in the industry and the tenants of the building to grow. continued...

Issue 50 - Creative Light Magazine :

nce O icoqe N gotthekeysthehardork w beganconverDngthebuiqdingintoa usiness B entre C andhotographic P Studio4

https9FFvimeo: comFr ShortvideoshowingthetransformaDonofthebuiqding:::

: July | August 2022 - Issue 50

I have shown a few photographers and suppliers around, including Debbie and Shaun from Loxley Colour. I was blown away by all the lovely comments and how much everyone loved the building and my vision. The middle floor has seven rooms, which will be leased out to other female-run businesses; I have a permanent make-up artist, aesthetics and beautician all signed up for some of the rooms already. I will create a baby hub in one of the other rooms, which will be rented out hourly to provide all things pregnancy and baby. Antenatal, antenatal yoga, hypnobirthing, baby massage, baby yoga, baby first aid. Having a baby centre within my Studio will help more people be aware of my business, view me as an expert and build connections and alliances with these businesses. The top floor has a massive suite with a gorgeous skylight, which has already been leased to a tranquil yoga studio.

J’Adore Photography Q: How does the Studio operate in relation to ISP (In Person Sales) and Products? I operate via In-Person Sales, which I have always done. I aim to get people back into view their images as quickly as possible so that the emotion is still high. My studio manager and editor (Morgan, my daughter) works with me on a Wednesday and Saturday, so as long as I have one of these days in between, I know everything will be ready for the design consultation. I operate a lot differently from other photographers, and my main focus has always been wall art and products with the option of digital files as an add-on. I feel lots of photographers focus on digitals first, which then makes it harder to sell professional wall art (which is how your images should be displayed)

Q: How many images do you show your clients? I show my clients 42 photos. I find that this number is perfect for filling an album, which is something I always recommend to clients. Morgan designs the albums in Fundy and then send them to Loxley Colour to create and build for us. I offer my clients five packages, and the majority of people go for the middle one, often upgrading it to bigger wall art and digital files. I’ve got a great ‘Baby’s First Year’ package that gives my clients a newborn session, a photo shoot when the baby is around 7/8 months (when baby can sit unaided), and then a cake smash on their first birthday. If someone hasn’t signed up to our My 1st Year Package, we get in touch with them just before their first birthday to encourage them to come back for the cake smash. Issue 50 - Creative Light Magazine :

We use a local bakery we work with for our cake smash sessions. I’ve used Sweet Bakery for years because I want the session to be stress-free for the parents; I want them to just turn up for the photo shoot and have a stress-free, relaxed experience. Once my clients have viewed the images and placed their order, we have a three-week timescale, but our aim is to have the order ready and waiting for them within two weeks. We love to beat their expectations and give them the best possible service. This is why I love using Loxley Colour because their timescales are super-fast and amazing.

Q: Do you photograph Children and Families? I do! In fact, photographing families and children is one of my very favourite photoshoots I do. I also offer a Fairy Photoshoot twice a year, which books out quickly. I have my own studio set-up and clothes available for the children to dress up in. We photograph 16 sessions a day, and we have a great team which works amazing together. Many of our customers come back now as their children get older as the little girls the experience, and it’s just a really fun experience for everyone involved!

Q: Your favourite supplier for your prints and products? I’ve always used Loxley Colour for my photography needs, and I highly recommend them. They’re extremely helpful and always willing to go the extra mile to make sure I’m happy with my order. There’s no doubt in my mind that Loxley Colour is the best choice for anyone looking for top-quality prints, frames, albums, and wall art. I’ve been using them for 12 years now, and I’ve always been impressed with their service. They know me and my work, and they’re always quick to help out if I forget to order something or if they spot an issue with a page in an album design. They’re a valuable part of my team, and I highly recommend them to anyone. I am in the process of adding more Loxley Colour wall art to the wall space throughout the building, and I can’t wait to have my new samples and displays. Samples are so important in helping clients decide what they want to buy, and I have learned over the years you definitely sell what you show. I have limited wall products on the wall now, but 70% of clients have been buying the Alumini circle, which I have displayed in the reception area.

Q: Favourite food? Haribo, Steak and I love a glass of Red wine with diet coke!

“ I’m so grateful for everything that’s happened over the last ten years. It’s been an amazing journey, and I can’t wait to see what the next 10 years bring.” - Nicole

www.jadorephotography.co.uk www.facebook.com/Jadorephotos “What a bright future you have ahead of you Nicole and for your studio, J’Adore Photography. The building you bought with a vision to transform into a Business Centre is perfect, and the location is stunning! I am sure the Business Centre and your photography studio will be a huge success.

Q: Favourite place in the world?

Thank you for sharing with Creative Light Magazine and the members of the Guild of Photographers.”

Glen Affric, Scottish Highlands.

- Julie Oswin, Editor

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Fashion Photography

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

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

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

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

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

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

Q: Favourite lens?

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

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

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

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

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

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

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

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

I’m a control freak and tend to try finish my product when I’m shooting!! A bit of old school really! But some clients want their work “modern” or pale, the waxy look! That’s when l create few samples for the clients to choose from. Although I would love my interpretation on certain editing, the work is not mine if it’s paid! Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

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

Q: Who inspires you?

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

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

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

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

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

Q: Favourite food?

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

Q: And finally, where next?

Continuing my venture in training and helping people suffering with depression and anxiety. After my past experience few years back, l am so proud to help others. Thank you for contributing to Creative Light and we wish you every success in the future. - Editor Julie Oswin

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

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

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

Richie Crossley http://www.chicproduction.com

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

scan me

hello@handpaintedbackdrops.co.uk https://handpaintedbackdrops.co.uk 07883341365

: July | August 2022 - Issue 50

HOW IT WORKS

Tell us your ideas about the perfect backdrop for your work. We’re here to create a one-of-a-kind backdrop that’s unique to you and your work.

GET ADVICE If you’re unsure about which direction to take, we can help! You can count on us to help you with texture, style, colour and size, giving you peace of mind and an assurance that you’ll get the best backdrop for your needs.

WE’LL MAKE IT! Every custom backdrop is a joint venture between you and me! I’ll ask questions during production, sending you iPhone images to make sure we’re

Exclusive discounts for The Guild of Photographers members

headed in the right direction. You can give feedback and you’ll receive a DSLR image of your backdrop to approve before it ships.

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

documentary image MORAG MACDONALD

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

documentary image MORAG MACDONALD M

orag McDonald has run a thriving business in Bristol for the last 20 years. After working for some years as a freelancer, she set up a successful Documentary Wedding business perfecting her trademark with a pure natural style. In 2007 Morag had her book ‘Wedding Photography a professional Guide’ published by Argentum. Morag’s photography is continually evolving, and now she directs a little more and has introduced touches of light at Winter Weddings to add a little extra sparkle to her images. Over the years she has been lucky to transform her work into a thriving and diverse practice by careful marketing, diversifying and staying sharp and focused on a high-quality end product: Q: What motivated you to become a photographer? More importantly, a Wedding Photographer? I think photography is in my blood. I have always been passionate about images, reading books by the pictures as a child and studying art and photography in museums and galleries. This passion led to my father buying me my first 35mm camera at the age of 12. The camera never left my side. For a short while I lived in Portugal in my late teens and early 20s, I photographed the local population; it has always been people that fascinate me, their interactions and the invisible thing that bonds them together.

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

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

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

: July | August 2022 - Issue 50

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

Q: The camera equipment you prefer to use for your photography?

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

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

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

Very! Digital technology has allowed us to take back the control that we had when working in a darkroom. The raw file is like the negative, we then need to decide how it will look and be printed – just like in the darkroom, choosing the paper you print on carefully, toning, burning and dodging to get the look that you want. I print onto fine art surfaces and edit each image to look just as I think they should. This said I don’t like to over edit. If it is obvious, then I feel I have gone too far. Getting your image right in camera is crucial, then editing it to print at it’s best. Issue 50 - Creative Light Magazine :

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

Q: Have you any formal photography training from either Colleges or University?

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

Q: Who inspires you as a Photographer?

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

Q: Apart from sheer hard-work and dedication, what would you say is the main ingredient to your successful photography?

Being able to see the light and learn where it will be next. When I arrive at a new venue I first scout for light, I love to work in soft washes of reflected window light, giving a Vermeer like wash to my images. I establish where the sun is and where it will travel so I can pre-empt the way that the interior will work at different times of the day. Although most of my images are taken with available light, I am not afraid to add light to create a little drama or get that wow shot on an overcast winters afternoon.

Q: Clients, how do you attract your customers?

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

Q: Your go-to favourite lens, and why?

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

Q: One piece of advice you would be willing to share with members of The Guild of Photographers? Strive to be the best you can, and once you are, strive to be a little better. Don’t stand still and expect to carry on as you are, the world around us is continually changing, and we as photographers must change too. Oh, and lastly: Love what you do. It is so important to be fulfilled. Keep trying and keep learning, keep loving what you do.

Q: Your ‘style and approach’ to weddings?

A mixture of good old-fashioned observed documentary photography and a little creative direction and lighting to get something a bit different at each wedding I shoot.

Q: Interesting facts about you?

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

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

Q: Favourite Food?

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

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

1ST SAMPLE 70%

OFF 2ND SAMPLE 80% OFF + 3RD SAMPLE FOR ONLY 1 USD/GBP/E (CHOOSE TRIPLEX OR ACCORDION MINI BOOK)

: July | August 2022 - Issue 50

CRYLIC & EXCLUSIVE COVER COLLECTIONS

THE BREAD & BUTTER OF BESTSELLERS

EUR

Issue 50 - Creative Light Magazine :

SpringDme

Challenge

enise D Wiq \UnitedS

YesoN ayM beLqama \Unitedrab A mirates E \ TOP PHOTO WINNER

sme E strada E \exM ico\

SomeWhereWest \UnitedStates\ TOP PHOTOGRAPHER WINNER

qan I orn H \sraeq I \

nneJM A arieDv \etherqands N \ TOP GURU’S PICK WINNER

annes H \Southfri A

eav MCB er \Canada\

ane J R \UnitedKin

nre A Uys \Southfrica A \

en K Webb \UnitedStates\

Tomisqavrajkov B ic \roaD C a\

abiano F os D S \UnitedS

or F thefreedomofUkraine \Canada\

atricia P eqqey K \UnitedStates\

Tamarqaz A raki \sraeq I \

an vI etse P \UnitedKin

: July | August 2022 - Issue 50

qqiams States\

red F owK aqo \UnitedStates\

INHLEM \Vietnam\

s ica\

rances F urqey H \UnitedStates\

rian B ray G \UnitedKingdom\

LaurenceM: \rance F \

qqa E ernandes F \UnitedStates\

Ras ngdom\

Tarsismmerick E \raz B iq\

RyszardTutko \oqand P \

Santos States\

Syqverdaqiiqqies G \ustraqia A \

ataqy N aarimov K a \UnitedStates\

ev ngdom\

uJ ayH zqett qie \UnitedStates\

qoria G Tunn \Canada\

Rusqanady B kov \Sweden\

aim H erman B \sraeq I \

arb B ates B \UnitedStates\ Issue 50 - Creative Light Magazine :

ChristopherStyer \UnitedStates\

retchen G uber H \UnitedStates\

avP eqeran B \echia Cz \

dE SDnes \UnitedSta

nna A Langeqaar \etherqands N \

ennifer J Smart \ewN Zeaqand\

L iqith onn C \UnitedStates\

an J aN \ermany G \

erry J Weinberg \UnitedStates\

athew M akes J \UnitedKingdom\

ori L Quinzon \UnitedStates\

auP qaessu J p \UnitedSta

auP qewN man \UnitedKingdom\

ames J Cqevenger \UnitedSta

RoxanauduB qan \UnitedKingdom\

RavenoxF \UnitedSt

Charterssborne O \UnitedStates\

andi M otha B \Southfrica A \ 82

: July | August 2022 - Issue 50

KimontenotJWaddqe F \UnitedStates\

uergen J Stueber \ermany G \

s ates\

ieter P iqqaert P \eqgiu B m\

Viktoriaarkas F \UnitedStates\

Ramonaarabant D \ustria A \

riana O aq D osco B \taqy I \

AgnesruB nner \ungary H \

aggi D eyM er \ermany G \

uI qiana uca L \Romania\

adi M aqin P \UnitedStates\

arbara B Singer \UnitedStates\

ates\

octrine D \rance F \

r ates\

enna K qoof P \UnitedStates\

Susieennett B \UnitedKingdom\

tates\

athry K navD ies \ustraqia A \

}C iqDsinn F \UnitedStates\

DX G ranSoqqfors \Sweden\ Issue 50 - Creative Light Magazine :

ees C an v Vqiet \etherqands N \

arry H ggens E \etherqands N \

raig C Suqqivan \UnitedStates\

auP qaSarmentoanacas M \UnitedKingdom\

iqeen E Roach \UnitedStates\ 84

: July | August 2022 - Issue 50

C hrisD naiqt M \UnitedStates\

RobertVark \ungary H \

eith K Sendaqq \UnitedStates\

ernard B erbo B \rance F \

TomasRuskonis \reqand I \

cKM enzieoster F \UnitedStates\

frat E ZivJBenaro \sraeq I \

dqcassidy \UnitedStates\

A eimster shqey F \UnitedStates\

Rebeckaiqss N \Sweden\

arq K Westvig \Southfrica A \

Sarahurray M \UnitedStates\

avD evittO \UnitedSta

nn A Skrobot \ustraqia A \

Youngqood B \UnitedStates\

kuD

A:RD`ştD`aDH poDqu \Turkey\

ouqet \

avD idSamueqdosSantosSousa

oya

Rodneyuck B \UnitedStates\

son

ates\

\Switzerqand\

TeriJKayeqqy K \ustraqia A \

TinaruP itt \UnitedStates\

icki N :F \UnitedKingdom\

ukasz L Szubartowicz \oqand P \

K Youngcheoq im \Repubqicoforea K \

athry K neqqerJC K asper \UnitedStates\

arin D Case \UnitedStates\

tony B irta M \ungary H \

abio F qessandro A CarminaD \taqy I \

evK inThomas \reqand I \

Find out more about GuruShots by visiting their website. Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com Issue 50 - Creative Light Magazine :

HIGH-CLASS INSURANCE PROTECTION FOR PHOTOGRAPHERS & VIDEOGRAPHERS Our Photography Insurance policies have been designed for Professonal & Semi Professional Photographers, Video Makers and Photo Journalists. If you are an amateur photographer then we can still help you! For expert advice of all kinds of photography insurance, speak to one of our friendly staff on 0161 925 5051

Professional Indemnity Public Liability Photographic & Technical Equipment Commercial Legal Expenses Personal Accident Insurance Employers' Liability

www.infocusinsurance.co.uk @InfocusPhotographyInsurance

: July | August 2022 - Issue 50

ECNARUSNI

Issue 50 - Creative Light Magazine :

88 22

: :July |Creative August 2022 - Issue 50 Light Magazine

Issue 32

Chris Taylor Norfolk Photographer & Filmaker

Chris Taylor has been a professional photographer for 15 years and a CAA Licensed Commercial Drone operator since 2015. Born & bred in North Norfolk, Chris covers many local events as well as photographing a handful of weddings annually and producing architectural images for local estate agents & holiday let companies. As a result of making short videos with the use of drones Chris has branched into commerciat video producDon and has contracts this year to produce a series of short fitms promoDng orth N orfotk N for Visit orth N orfotkd N fitms for the eep D istory H oast C and documenDng a mM sandscaping project on the coast to attempt to limit coastal erosion. WhennotbehindacameraChrisisaetmsman H atRNSheringham LI Lifeboatdamemberofthefor 19 years, a Police Support Volunteer with the Norfolk Constabulary, a father of two and owner of four cats!

“A massive thank you to the Household Cavalry for granting us this incredible access and particularly to Major Chambers and Captain Perera who even drove us to the beach to save our legs. It was a huge privilege to meet them all. A real credit to the British Army. Our special thanks to Jason and Graham from Norfolk Constabulary who came down on the Thursday to police the beach for any rogue drone users and to keep an eye on things. And, finally, a big thank you to our friends Leigh and Steve who helped us - Steve was my drone-spotter for the day and didn’t take his eye off the drone one! And, finally to Leigh, for assisting Leanne as she filmed some incredible footage - especially the filming from the army truck as they sped alongside the horses at full gallop. These two days on Holkham Beach have been such an incredible experience, opportunity and memories that will be with us forever.”https://www.christaylorphoto.co.uk/ - Chris Taylor [website] Issue 32

Issue 50 - Creative Light Magazine :

Creative Light Magazine

24 90

Light Magazine : :July |Creative August 2022 - Issue 50

Issue 32

Chris and his partner Leanne (Samphire Films) captured this fantastic record of the Blues & Royals

and the Life Guards on Holkham Beach on the Norfolk Coast, July 2019.

Opportunities of this scale don’t come along very often in our area of work, and although Chris has photographed the Household Cavalry three times before, and granted permission in 2017 to fly his drone, this is definitely one that tops all of the ride-outs he has captured previously. Chris organised access to the two regiments of the Household Cavalry, the Life Guards and the Blues and Royals and the necessary permissions to be allowed to fly his drone at Holkham Beach again. Over the two days at the beginning of July 2019, blessed with incredible weather, they took some stunning photographs and amazing video footage. Leanne filmed the ground-based footage to add to the aerial footage. As there is a rare nesting colony of Little Terns at the west end of the bay of on Holkham Beach, Chris had to make sure he didn’t fly his drone too close. To minimise the disturbance to the wildlife, clearance to Chris to fly his drone was given only for the first day. The second day Chris photographed the ride-out with his DSLR and a long lens. - Julie Oswin, Editor

Issue 32

50 - Creative Magazine: : -Issue Creative Light Light Magazine

91 25

92 26

: :July |Creative August 2022 - Issue 50 Light Magazine

Issue 32

Issue 50 - Creative Magazine: : Creative Light Light Magazine

93 27

UK PRINTED PENS FREE DESIGN | FREE POSTAGE

www.ukprintedpens.co.uk

RAISE YOUR BUSINESS PROFILE! WESUPYPL SMTOAL MEDIUMQUANTITIES ORF BUSINESSES7SPEVECIAL NTSONFEREADC NCES

82 94

: May June 2022 4950 July || August 2022- -Issue Issue

GUILDMEBRSGETAN EXTRADISCOUNTSEE WEBSITEMEBRSAREA

Eye-catching pens are more fruitful than using a business card! At UK Printed Pens we provide a complimentary design consultation, speedy free delivery of your pens and we ensure you will receive pens of the highest quality supplied by our team of friendly experienced staff.

Issue 49 50 - Creative Light Magazine :

83 95

Cameracraft is received exclusively by subscribers and members of The Guild of Photographers. It’s easy to get single copies or subscriptions and in addition to the printed magazine digital delivery is an eco-friendly low cost alternative which fully supports our unique magazine. - David Kilpatrick

: July | August 2022 - Issue 50

Issue 50 - Creative Light Magazine :

ABOUT US

We specialise in beautiful handmade photo products specifically designed for professional photographers. From wedding photo albums and bespoke photo frames, to personalised USB’s with handcrafted presentation boxes, our range of products offers something for every photographer. Our team at SIM is dedicated to providing an unrivalled service, both in the quality of the products we produce and the support we provide our customers.

ALBUMS & BOOKS

From our stunning panoramic layflat photo albums to traditionally printed coffee table books, our beautifully bespoke photo books are created by hand, just for you. Our ranges include leather, linen & photo cover options with a broard selection of papers to suit your client photography packages.

Call us

Book a Zoom

Email us

Visit our showroom

01707 273 747

info@simimaging.co.uk 98

: July | August 2022 - Issue 50

simimaging.co.uk/zoom

simimaging.co.uk/showroom

USB’s & PRESENTATION

Available with bulk branding or individual client personalisation, we offer an excellent selection of USB’s and personalised boxes to fulfil all of your digital needs. From our sustainably sourced wooden boxes to our bespoke linen print & USB boxes, we’ve got something for everyone.

FRAMES & WALL ART

Individually handcrafted, our select range of wall art and traditional frames are completely made to order at our Hertfordshire workshop. Choose from our selection of fine art papers combined with nearly 40 frame mouldings & colours to suit every image perfectly. Our products and services are only available to professional photographers so you will need to register on our website to get started.

Visit our website simimaging.co.uk 5 Star Rated on

Issue 50 - Creative Light Magazine :

“

100 July | August - Issue 50 31 14 : : Creative Light 2022 Magazine - Issue

The Royal Wedding ‘My Office for the Day’ Dave Thompson, PA Photographer

In 2007 I got the job I had wanted for several years - a staff position as a press photographer with the Press Association, covering the North West. I worked for them for seven years before leaving in February 2014 to begin working freelance, as I had done before 2007. I photographed events across the world that I otherwise would have only seen on television. I covered International football in Spain, Switzerland and Austria; The Olympics in London 2012, Athletics in Daegu South Korea, Moscow and Finland; Premier League football, Champions League and Europa League finals; two of Ricky Hatton fights in Las Vegas as well as countless boxing events in the UK; England international cricket matches; The Grand National at Aintree and the Rugby Six Nations. I have also photographed many live news events; The Dale Cregan shootings in Manchester, Royal Visits with the Queen and Prince Charles, the Raoul Moat hunt in the North East, Margaret Thatcher’s funeral at St Paul’s in London, the visit of Pope Benedict to Edinburgh, Party Political Conferences, the funeral service of Bury soldier Lee Rigby and the G20 Summit in London. I was also at The Queen’s Golden Jubilee, working backstage to cover the moment she met the performers who had taken part and, of course, the Royal Wedding of Prince William and Kate Middleton in 2011. The Press Association have very close links with Buckingham Palace and regularly work closely with them during large scale Royal events. I remember standing in my kitchen when I got a call from the Picture Editor to say that he would like me to come to London to photograph the Royal Wedding. There were no plans yet for what role I would play, but none the less, I had to keep the date free. I had already shown an interest in being part of the event as I knew I’d rather be somewhere around London than photographing people watching it on a big screen in the middle of Manchester or another city centre. A week before the wedding, I received my instructions. I was to head down to London the day before the Royal Wedding, stay overnight, then travel home in the mid-afternoon. I was to be positioned in the Organ Loft inside Westminster Abbey. I can still remember the feeling of overwhelming excitement that I was actually going to be INSIDE Westminster Abbey for such a historical event. I phoned my parents straight after coming off the phone, and they reacted as if I had won the lottery! I didn’t even know where it was in relation to the altar but guessed it wouldn’t be too far when I got told I wouldn’t need anything longer than a 400mm lens. When I took up my position I was surrounded by every musical instrument you could think of and the organ. I was perched on the top step of the stairway that brings you into the organ loft, with very little room to manoeuvre. continued: page 18 Issue Issue5031- - Creative CreativeLight LightMagazine Magazine : : 101 15

102 July | August - Issue 50 31 16 : : Creative Light 2022 Magazine - Issue

Issue Issue5031- - Creative CreativeLight LightMagazine Magazine : : 103 17

Guests began to arrive from David Cameron and many other members of Parliament to Mr & Mrs Beckham. Not long after, Prince William and his brother, Prince Harry arrived and began greeting guests. The rest of the Royal Family had gathered and began to take their seats. From my position, I was unable to see back down to the West Door, due to the tree-lined Nave. There was a small TV screen nearby, which allowed me to see when Kate Middleton was making her way into the Abbey. The musicians around me had begun playing, and I was taking pictures of Prince William standing next to Prince Harry, waiting. Suddenly, I felt a tap on my shoulder. ‘Your camera is TOO loud’. I had put it on the quietest shutter setting, but still, it was loud. There was nothing I could do. I did though control what I was shooting. It was like working on film again and not hammering the motor drive. When my Mum bought the CD a few weeks after, as the Bride reaches her groom, all you can hear is motor drives of photographers up by the altar. At least I wasn’t the only one! The one moment that shall stay with me forever was the moment as Kate walked beneath the Organ Loft. As you may know, the Bride walked into I Was Glad. I remember a build up of sound. A crescendo of the choir, strings and brass reaching a point where all three sounds came together. Imagine the most amazing music being played and the sound of it rising to the roof and then the feeling of it crashing down on top of you, that’s what it felt like. It was a phenomenal experience, one that still makes the hairs on the back of my neck stand up and my eyes well up. I have taken a lot of stick from my colleagues over the years for this and still do, but there’s no getting away from the fact that the Royal Wedding of the future King of England is one of the most memorable experiences of my working life and one I shall remember until my last breath. Throughout the Royal Wedding, I was photographing the moments and sending them live from the camera to the picture desk. Many of the images from the ceremony appeared online and in National and International newspapers and magazines over the next few days. The whole experience was and still is, one of the best events I covered in my time as a press photographer. It was an enormous privilege to be given the opportunity to photograph such a massive moment in English history. Of all the things listed in the jobs I have done above, this is the one event that I feel contains images that will still be looked at in 100 years! If you have made it this far, thank you for reading”. - Dave Thompson, Photographer

104 July | August - Issue 50 31 18 : : Creative Light 2022 Magazine - Issue

Issue5031- - Creative CreativeLight LightMagazine Magazine : : 105 19 Issue

106 July | August - Issue 50 31 20 : : Creative Light 2022 Magazine - Issue

Issue Issue5031- - Creative CreativeLight LightMagazine Magazine : : 107 21

DEMYSTIFYING COPYRIGHT The value of registering with the US Copyright Office - regardless of where you live When a photographer clicks the shutter button on their camera, they instantly become the copyright owner of the image created. Plainly put, owning the copyright means that the photographer has the exclusive right to reproduce, publish, or sell his or her original work (the image). An image used on or offline is, therefore, a copy of the original and requires the explicit approval of the photographer prior to use, typically through a licensing agreement or contract. To non-photographers, this concept is typically quite foreign. 108

: July | August 2022 - Issue 50

Many, including businesses, wrongly assume they are able to simply reuse an image they find on Google or Instagram, or the internet. As a result, image theft today is rampant across the internet, threatening the sustainability of the professional photography industry. Pixsy believes that every photographer should decide when and how their images are used, empowering photographers to protect their intellectual property rights through an AIpowered image monitoring and copyright infringement resolution service.

Pixsy currently monitors over 100 million images and has partnered with a network of over 25 law firms worldwide to handle over 100,000 copyright infringement cases for their photographer clients. As part of the protection and resolution process, Pixsy assists its photographers to register copyright ownership with the US Copyright Office (USCO) including bulk registrations of up to 750 images per registration. It is often believed that USCO registrations are limited to US-based photographers, however, registration is open to anyone and serves to protect photographers internationally against US-based infringements. With over 70% of the matches and infringements handled by Pixsy taking place in the United States, USCO Registrations are an integral part of any photographer’s toolkit. Not only does registration protect your work, it also increases the legal recourse available and increases the eventual settlement value in the event of an infringement. In order to file a lawsuit in the US for example, a USCO Registration is a requirement.

In order to file a lawsuit in the US for example, a USCO Registration is a requirement. If the registration was completed in a timely fashion, that is within the first three months of an image’s publication or before the date of infringement, then a photographer may be entitled to statutory damages of up to $150,000.

During the month of March, Pixsy will be offering a free consultation to Guild members with a Copyright Specialist. All GOP members have access to a special free partner plan, and access to all the protection tools and services Pixsy has to offer.

WIN A FREE COPYRIGHT REGISTRATION Issue 50 - Creative Light Magazine :

109

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 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 GRAPHISTUDIO Hand made wedding albums, books and prints. www.graphistudio.com GURUSHOTS Join the daily photo challenges, improve your photography and get rewarded.www.gurushots.com HANDPAINTED BACKDROPS Suppliers of stunning bespoke made backdrops, discounted for members. https://handpaintedbackdrops.co.uk/ 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 ( Trade discounts/offers are subject to change )

110

: July | August 2022 - Issue 50

INSTITUTE OF PHOTOGRAPHY® No.1 provider of online courses in the UK, offering a real course experience with tutor feedback. www.institute-of-photography.com LOUPEDECK 10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com 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 SIM IMAGING Guild members only discount 10% www.simlab.co.uk UK PRINTED PENS Special discount for Guild members of 20% www.ukprintedpens.co.uk VISION MEDIA DESIGN UK Guild Members - SAVE £95 off your new website or revamped design. www.creativedesignagency.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

The Guild of Photographers “No other photographic body offers what the Guild does... get an incredible package of business support, training and mentoring by some of the most respected names in the industry, insurance, legal protection and the rights to use our respected membership logos” 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.

rofessionaq P embership M costsmandReguqarembership M costsm

111

BACK PAGE BRONZE J Mandy Newby J

112

: July | August 2022 - Issue 50

Creative Light - Issue 50

Articles inside

Peter Morgan 20 Top Tips to Tech your Business

Dave Thompson Royal Wedding | William & Kathryn

Jeff Brown Focus on Marketing

Gold Awards IOM May and June 2022

Janet Broughton Lensbaby Photography