Creative Light - Issue 51

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Julie Oswin EDITOR

Welcome to the 51st Edition of Creative Light Magazine - what a journey it has been for me to create the Guild’s Magazine and all the photographers I have featured during the past eight years, publishing the first edition in April 2014!

To celebrate all the fantastic photographers I have featured in the previous 50 editions, the Directors of the Guild of Photographers, Steve and Lesley Thirsk, asked me to select my Top Ten favourite articles over the last eight years to feature in both the 50th and 51st editions.

It has been challenging to select the remaining five articles from my ‘Top Ten’ articles, only ten from all editions! The five articles I have chosen are, in no particular order; Martine Hamilton-Knight, Architectural Photography - Issue 21; Peter Rooney and his wonderful “Toy Story” and his Portrait Photography - Issue 40; Dog Portraits by Nigel Ord-Smith - Issue 26; Scottish Photographer, Liz Roberts and her beautiful photography of Newborns - Issue 26; Landscape Photography by Brian John McLernon “I’m just the guy with the stick;”- Issue 7; And, finally but not least, the gorgeous Wedding Photography captured by Lynn Stanfield - Issue 28.

Jeff Brown, Focus on Marketing, has written his third article for Creative Light Magazine - “How to Charge a Lot more for your Photography Services.”

Peter Morgan, Tech for Togs, continues with his techie articles, and for this issue, he has written his article explaining why you should “Optimise your Computer Now!“

“Autumn, it’s always sad that summer is over, as the leaves change to a display of vibrant colours, just as your cheeks get a little red from the colder weather. For me, there is something wonderful about the crisp October air and the falling leaves that makes everything feel just a bit magical.”

Front Cover - 51st Edition

Mandy Newby is an expert horse photographer who has been working with the animals for over 20 years. She has a great eye for capturing their beauty and spirit in her photos. Many of her shots are of horses in action, whether it’s racing, jumping or simply running free. But she also enjoys taking more portrait-style photos, which show the horse’s personality in a more intimate way.

Mandy has captued this gorgeous photograph of ‘Admiral’ which is perfect for this edition of Creative Light Magazine. ‘Admiral’ recently received a Silver Award in the Guild’s IOM Competition.

Photo by: © Mandy Newby FMPA

Katie BrockmanChris Chambers

Chris Chambers Jessica McGovern

Joanne Eastope Stuart Waugh

Chris ChambersKatie Brockman

Magdalena Bartnicka

Mark Harris

Sian Shipley

Camilla Gore

Jessica McGovern

Dawn Westwood

Gavin Duncan

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Is Your Photography Website Ready for

’s Big Changes?

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

IS YOUR PHOTOGRAPHY WEBSITE READY FOR GOOGLE’S BIG CHANGES?

Today Google is the most visited website in the world. To put a number on it, 89.3 billion visited Google in August 2022 alone (ref: Similarweb.com). So, as you may have guessed, with Google being the most visited website in the world, it’s no surprise that they have the dominant market share as a search engine. Google accounts for an incredible 91.2% of all online searches (stats from January 2022); those are pretty impressive figures.

As a photographer, your website must rank well in Google’s results because this is where your ideal clients are searching. Even if you have the most beautiful website in the world showcasing your amazing work, if you can’t be found online, you’re not going to get any enquiries or bookings. The sole purpose of your website should be to convert visitors into customers by driving them to take action; your website needs to generate income regularly.

IS YOURS A “SCROLL TO A SALE WEBSITE?”

To do this, your website first needs to be found among thousands of other websites. Once the searcher finds your website, it needs to connect with them on a personal level. Your website should feel like the perfect fit and the solution to your visitor’s needs; you must be talking their language. Photographs alone aren’t going to be enough to convince them to get in touch or book you there and then. Once you’ve captured your visitor’s attention, got them excited to find out more, and created a desire for your services, you need to get them to take action and either book you or schedule a consultation call with you. If they don’t take action on your homepage, then the chances are they’ll just leave and visit your competitor’s website instead.

If you want to rank highly on Google, you need to understand its search trends and basic SEO (Search Engine Optimisation). However, following recent changes to Google’s algorithm and with the advancement of AI technology, your website content becomes less about keyword stuffing and much more about the quality of your content and overall user experience.

In addition to this, Google is looking for fast-loading, mobile-friendly websites. We are all impatient with internet searches, so you must ensure your website is uploading in two seconds or less, as your visitor isn’t going to hang about for long. Make sure your website is easy to navigate too. Ideally, your website homepage should give your reader enough information to make an informed decision about working with you without having to navigate multiple pages.

Having what I refer to as a “Scroll to a Sale” website takes a visitor on a journey of information the minute they land on your site. They can easily identify the benefits of your service and feel secure in your offering by seeing glowing testimonials and a solid satisfaction guarantee right there on your homepage. Including a rough estimate of what working with you will cost them is essential. I call this a “Qualifier Price”, which means when someone does get in touch, they are at least qualified to a minimum price, for example, Wedding Packages from just £1999. This saves both your time and the visitor’s time and removes any bargain hunters and people looking for a cheap deal who are not your ideal clients. This way, you aren’t getting tied up communicating with people who don’t have the budget for your services. Let them go elsewhere.

There is a lot of talk about not including prices on a website; this isn’t very consumer friendly. Think about how annoying you find it when you arrive at a website and can’t even find a rough estimate of cost. Would you book a hotel or buy a new car if you went to their website’s and couldn’t find a price?

Once you’ve confirmed this on your homepage, you need to tell them what they need to do next to get the ball rolling; this is your Call to Action, which might be “Book Your Headshot Session Now” or “Schedule your Wedding Consultation Call”.

GOOGLE’S AUGUST 2022 ALGORITHM UPDATE CHANGES EVERYTHING

So for many years, I’ve been trying to convince photographers that a website with more text is better at converting visitors into clients, and now Google agrees too!!

Google wants it’s users to have a great experience by producing search results that meet their needs and offers the perfect solution to their search enquiries. Google has named it’s 2022 algorithm update it’s “Helpful Content Update”, which is part of their broader effort to ensure people see more original and helpful content written by people for people, and not content which is keyword stuffed and written for search engines or created by bots.

Along with their latest update, Google released a brief guide on how website owners can better ensure that their content has a greater chance of showing up and ranking well in the search results.

SO WHAT’S IT ALL ABOUT?

With the launch of their latest update, Google released a document giving some guidelines and questions that website owners can ask themselves when looking at their website from a visitor’s perspective. These questions all focus on user experience, indicating that your content must be “Relevant, Detailed and Helpful” regarding your visitor’s journey to a sale.

Remember that when writing this content, not only will you be helping your website rank better in the searches, but you’ll also build a great relationship with your website visitors. Think about what a visitor wants to know when they arrive on your homepage; your visitors are consumers; most consumers want to establish the following factors when making any purchase. Would you yourself purchase from a company or business online if you didn’t first have a rough understanding of the key areas listed below? This is why photography portfolio-style websites produce very poor results because pictures alone don’t connect with a consumer or help them make a purchase.

1. What is it you do?

2. What can you do for your visitors, what solution do you offer?

3. What are the main benefits of your products and services?

4. How does your service work? What is the rough cost if they are going to work with you?

5. Have others benefited from your services? Think testimonials.

6. Your company’s authority and reputation. This includes details like your years in business, your 5-star reviews, the clients you’ve worked for, the awards you’ve won, and the guarantees you offer.

Thinking about the above, if you are already answering the following questions, it shows that you are heading along the right track with your content. If your homepage doesn’t answer most of these questions, you need to start updating your content now.

IN GOOGLE’S OWN WORDS

Below I’ve taken an extract from what Google said it is looking for in terms of the website content with regards to its Helpful Content Update. If you answer the questions I listed above, this will ultimately put your website in a great position for the search engines and leave your visitors feeling happy, informed, and ready to purchase. Google wants website owners to ask themselves the following questions.

• Does your website have a primary purpose or focus?

• After leaving your site, will the visitor feel they have learned enough about their search topic to help them achieve their goal?

• Will the reader feel like they have had a satisfying experience on your website?

• Does your content clearly demonstrate your expertise and depth of knowledge in the service you provide?

• Is your content written extensively for the users and not for SEO purposes?

• Are you writing for quality instead of trying to hit a particular word count?

Take action and see better conversions. By focusing on user experience, answering your visitor’s buying questions and helping them make an informed decision, you’ll start ranking better in the searches and converting more visitors into enquiries and bookings.

Jeff Brown, The Photographers’ Mentor www.thephotographersmentor.com

Architectural Photographer

Martine Hamilton-Knight D Litt (hon)

Since graduating from the Surrey Institute of Art (WSCAD) with a BA (Hons) degree first class, Martine has specialised in architectural photography. Over the last 27 years she has run a successful business based in Nottingham working for architects, construction companies, interior designers and advertising agencies.

Her work has been published in many international books & journals and exhibited in several galleries including a large solo show in China in 2009. She has three books of her work, NOTTINGHAM TRANSFORMED about the regeneration of the city, plus CAMPUS VIEWS and ASPECTS OF A GLOBAL UNIVERSITY about The University of Nottingham’s campuses in China, Malaysia & the UK.

In 2007, the BBC featured Martine in their series ‘A Digital Picture of Britain’ and in 2009, she was an assessor for the RIBA Awards (Royal Institute of British Architects). In summer 2013 was a judge for a national architectural photography award entitled ‘the Architect’s Eye’.

She is an Associate member of the Royal Photographic Society and is also a partner in a successful photography school called Line+Light which runs one day courses at a variety of venues including English Heritage properties and the University of Nottingham.

In addition to traditional ‘stills’, Builtvision Films produces short architectural films for practices and is run together with experienced cameraman Paul Mottram and his team.

She was awarded an honorary doctorate in 2012 by the University of Nottingham in recognition of her contribution to the industry. She lectures about her work nationally and is a Global Ambassador for the photographic company Manfrotto.

In 2015 she celebrated 25 years in the industry with a retrospective show in Nottingham which featured her favourite images from her student days, commercial work and projects featured in books, magazines and previous exhibitions.

Q: Tell me a little bit about yourself and your photography and how did you start out on your journey into Architectural Photography?

I’ve been a professional architectural photographer for 27 years, having completed my BA(Hons) Photography in 1990. One of the main tutors at college was Martin Parr, he was very influential on the ‘house style’ at Farnham35mm colour, fill in flash, social documentary…. I was a bit maverick shooting 5x4” transparency and liking buildings. My family ran a construction company, so I’d grown up surrounded by design and architecture. I had a natural passion for the built environment, but oddly, no desire to be an architect. I didn’t want to design per-se, but wanted the experience of being surrounded by good design.

Q: How did your photography evolve?

There was little in the way of employment for architectural photographers when I graduated, nor readily available assistant positions, especially not in this specialised field, so it was a case of ‘do or die’. I started my business the week after graduating, aged 21.

I knew that the way to get ahead and carve a niche for myself was to get to work for the architectural press and so I went and shot a brand new, high profile building by top architects at my own expense to take down to London to show editors. It worked. My trannies went on the lightbox at Architects’ Journal the very same day that one of their regulars had sent in his pics of the same project I’d submitted. The AJ commissioned me that afternoon to do another Building Study feature for them, and that was it. Until the day the journals stopped commissioning directly (about 2004), I worked pretty solidly for all of the main titles which brought me into contact with architects across the UK, many of whom I still work for today.

Q: Your favourite camera + lens combination and why?

Work wise, if I have to pick just one, the lens is easy - Canon’s 24mm TSE (tilt shift lens for perspective control). Which body? The Canon 1DX mkII although I’m playing around with the 5D mkIV currently as I can shoot wirelessly to the iPad which may come in useful in certain situations, and definitely for when I’m teaching as I can show a group what’s happening rather than trying to get them all behind the camera. For pleasure? The Sony RX10 mkIII as it has a very high quality 24-600mm lens which is wonderful for travel and holidays.

Q: Post-processing techniques, do you use your own actions in Photoshop/Lightroom presets?

I still process Raw through Adobe Bridge, if I was beginning my work life as a photographer I would probably go straight to Lightroom, but having used Photoshop and Bridge for many years, I’m happy with CC’s regular updates. I worked on a job in China recently with an old friend who was using Capture One, and I could see that it too had an enviable raw processor. If I was starting out now, perhaps I’d have gone down that route instead. I have proven and time-tested workflow, but I’m not a fan of HDR, the most I’ll ever put together will be 2 exposures, and do this manually rather than with plug-ins.

Q: How did you develop and build your brand and what you do feel has helped your photography business to succeed?

Part of this answer has already been covered, although I’d add that being a girl has been an asset, and not a hindrance, particularly in the days of 5x4”, I was a young woman turning up on location with a camera that ‘stopped traffic’. Other than being at a risk on occasion for being a girl with a camera that was too big to pick up and run with (thankfully only a couple of sticky situations over the years), instead I’ve experienced assistance on many sites by people willing to carry gear for me. Moreover I’ve been able to easily access private residential spaces, building roofs or upper floor windows with little prior notice. My reasons for wanting to get access to places has invariably been taken at face value, whereas I’ve watched men with cameras be challenged and greeted with suspicion, particularly where children and schools are involved. How sad.

Q: Locations. Do you choose them or are they part of your brief from your clients?

I am commissioned to photograph specific buildings which are either brand new or have been restored, so therefore the locations are prescribed.

Q: Your favourite location in the world and why?

For both business and pleasure, I’ll take anywhere with a blue sky and good architecture, it can be of any age too, some of the most wonderful structures are Roman, and equally, Santiago Calatrava’s cultural buildings are beautifully engineered, cutting edge and equally impressive. I’m really looking forward to seeing Calatrava’s new station at Ground Zero in New York, whilst on holiday later this year, and moreover hope to experience it in good light.

Q: What have you found the most challenging about running your own business?

Without doubt, the last five years, the value of good commercial photography has plummeted, we are being asked to work for practically nothing these days, right across the board. Whilst the digital revolution has broadened photography’s appeal and allowed many, many more to experience what we love about seeing and recording our world, sadly it’s also brought the perception that photography is also ‘free’ now. You can’t fight ‘free’. You just can’t.

I manage to keep my business together by being a skilled, experienced pair of hands who can deliver pictures which work hard for my clients and their business activities for years at a time. I have also diversified, the 2007/8 recession hit the construction industry hard and my only way of keeping things together was to increase my teaching. I run regular courses through my photography school - www.lineandlight.co.uk and also do workshops for the RPS, WEX and The Royal Institute of British Architects. I have to say, I love this aspect of my working life, it is utterly different to shooting architecture, but equally rewarding as I meet (and often stay in touch with) wonderful people.

Q: Apart from sheer hard work what would you say is the main ingredient to your success?

Being excited about my subject. I love architecture and never tire of seeing and shooting well designed buildings.

Q: What would you say has been your career highlight to date?

Being on the judging panel for the RIBA Awards in 2009. To be able to visit multiple stunning buildings, not to worry about how to control the lighting, work with models, trying to keep to time and budget, but instead give them a prize if I liked them….. heaven! I was also given an honorary doctorate in 2012 for my contribution to the photography industry, which was a very proud moment for me and my family.

Q: Advice would you give to photographers just starting out interested in Architectural Photography?

Know the subject of architecture, moreover LOVE architecture, because it has to be your passion, more than just the photography that needs to drive it as a subject specialism. There are easier ways to make a living in photography than this one, its a tough technical and physical job and in the UK, where weather is unpredictable, you’ve got huge challenges with every project you’re undertaking. Perhaps move to somewhere sunny to do it and you’re half way there, chuckle…..

Q: Favourite food?

Seafood, rice, salad, washed down with a nice glass of Sauvignon Blanc please.

Q: Three individual words that describe you? Enthusiastic, optimistic, busy!

Q: Your preferred light source?

Easy. The sun!!!

Q: Where next?

Ten years from now, I’d love to be in the position to be able to travel widely and see more of our planet’s built environment with my camera with no deadlines or budgetary constraints. Better start playing the lottery I guess…..!

- Julie Oswin

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Craftsman

Mary McClymont Great Gatsby

I took my first photograph at the age of 6, suffering from a poisoned ear in the Summer of 1972, and the Doctor told my Mum I wasn’t allowed out. Being bored, my elder brother’s room was a treasure trove; I found his camera and worked out how to load it, and the rest is history.

When I left school, I wanted to be an industrial photographer and was stopped by my brothers and father, who felt this was not a job for a girl and was told I had to get a proper job!

I worked for a local photographer back home in Greenock (West of Scotland), he had installed a minilab, and since I had been writing to him since the age of 14, asking to be taken on, I got the job when I was 18. He had no idea I had a darkroom at home, and he soon discovered that my photographic and darkroom knowledge was greater than he had thought. During this period, I also did weddings and portraits with a group of local photographers and taught beginners’ photography through the adult education department. I did weekly competitions, giving the students a word at random, and they had to interpret it creatively. I also took them to visit a local photographic studio and a large processing lab just to let the students see what went on in a studio and a processing lab.

I then moved into retail photography, working for some of the largest photographic companies in the UK (Tom Dickson Cameras Glasgow and KJP in London).

Photography has also been a haven for me, family life as a child was not a happy place for me, and my camera became my way of getting out and about and getting away from everyone.

I joined the Guild of Photographers in 2014 and was finishing a Degree in Law. I had no real idea what the Guild did, but I wanted to get back into photography in a big way. I have gained bronze, high bronze, and my first silver in the monthly IOM competition. I was the 2021 Founders Cup runner-up. This unexpected accolade has given me confidence; the boost is richly deserved and needed.

I gained my Qualified status with the Guild in September 2020 and decided not to enter the IOM this year, concentrating on my Founders Cup 2022 submission and my Craftsman Panel.

I have undertaken mentoring with Gavin Prest, and his support and guidance got me through the Qualified panel. I have also completed Photoshop training with Panikos via the Guild block training and on a one-to-one basis with Pani over the last 18 months. Pani is currently mentoring me through the Craftsman Panel.

The theme for my Craftsman panel is the Great Gatsby; I wanted to experiment with indoor and outdoor light. I chose the ‘Gatsby’ for several reasons; having read the Great Gatsby and watched the movie back in 2013, I wanted to explore the theme. My grandmother had a fabulous 1920s flapper outfit that I was always curious about and admired. Sadly, when she passed away, the outfit was thrown out. I never did get the chance to try it on!

I wanted to explore the fun and seriousness of the era through costume and lighting both in a studio environment and in natural light. The outdoor locations have been chosen to enhance the understanding of the era, demonstrating that research has gone into the panel, which reflects the art deco period. The selected buildings were built around the 1920s or had an art deco look.

I chose the images as they demonstrated my use of natural, reflected, and studio lighting to enhance the images. They show the seriousness and fun side of the art deco period. This has been my first full panel of work of twenty images showcasing my skillset both in an indoor and outdoor environment and demonstrates my photography improvement.

The Art Deco period has always inspired me, and I have thoroughly enjoyed creating this body of work.”

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

SPOTLIGHT

Treasured Moments Photography

Darren & Rhian Whiteley

Creative Light Magazine has invited the Guild’s Trade Partner, 3XM Solutions, to showcase one of their customers. They have selected Darren & Rhian Whiteley of Treasured Moments Photography to tell their story in Creative Light’s ‘Spotlight’ feature.

3XM’s Mission is to help photographers create successful businesses. That’s why they offer free training and support to help you take your business to the next level. 3XM have been around the photogrpahic industry for many many years and have seen photographers succeed and fail. 3XM share their knowledge and experience with you to ensure you succeed.

Darren and Rhian are a husband and wife team with three beautiful children and two wonderful granddaughters. In 2006, they lived in South Africa for 18 months. Upon returning to Wales in 2008, they quickly realised there were no jobs to be had due to the country’s recession. Darren knew he had to act quickly as he had a family to support. Darren had always loved photography, and with the help of his wife Rhian, in January 2009, they opened their photography studio. Since opening their studio, Darren and Rhian have gained qualifications with several associations and won many awards, including Welsh Newborn Photographer of the year. Darren and Rhian are very sought after throughout South & West Wales for their Newborn photography; they believe in offering every client an incredible experience and highend products.

“We started our photography journey thirteen years ago. Over this time, we have had many ups and downs, but we can gladly say our business is now going from strength to strength with the help of 3XM Solutions and BSA (Business Success Academy)

We started our journey with the help of “Princes Trust” and were a general photographic studio covering most areas of studio photography, including school photography. At this time, due to not being business minded, we were unaware of how to work out pricing and our marketing, like many other photographers starting their journey. We lived day-to-day then, in 2013, we nearly lost the studio due to me (Rhian) falling ill. The studio also suffered when Darren continuously went back and forth to the hospital. We had six months of stress and worry, he nearly lost me twice, and the business almost went under. Once I was on the road to recovery, we had to rethink our photography journey as we had no money due to using what resources we had over the last six months.

In 2014 we attended the Click Conference and booked a One-Day Newborn training course with Elli Cassidy. Immediately this rekindled our spark for photography. Within the following months, we completely rebranded and started our journey as Newborn specialists. This came with many criticisms from family and friends who didn’t understand Newborn photography and was worried we were risking our business.

We knew it was time for a change, not only for the type of photography but for the type of products we were offering our clients. Due to using Photovalue for many years, we were introduced to the 3XM Folio Boxes. At the time, we started using their signature range, which proved very popular with our clients. A few years later, during a Trade Show, we were introduced to the Champagne Metallic Box; we instantly upgraded our boxes from the Signature Range to the Metallic Range.

Over the next few years, our reputation grew, and our diary went from half-full to full. We were under the impression that our dreams were coming true; we even bragged about photographing 244 Newborns in one year, but in reality, we were working for very little in return. I went unpaid for many years due to our inexperience in business and pricing; we undervalued ourselves and our products.

With the help of Zena and Ronan from 3XM and their weekly webinars, which introduced marketing and pricing etc., we started to realise where we were going wrong in our business.

Darren signed up to do a twelve-week accelerator course with Ronan introducing profit first and, in return, helped put our finances on the right track. During the course, he realised our average sale of £400 was not enough to cover everything. Due to profit first and repricing our products, I was finally getting paid!

Just before COVID kicked in, we were introduced to the BSA and the team and realised even though our diary was full, we were filling our diary with the wrong clients resulting in lower average sales. Due to Darren’s success with the accelerator course, we joined BSA. Then our worst nightmare happened, and COVID closed the world down; if it weren’t for profit first, we would not have survived the coming months. During the months of COVID, we continued our journey with BSA and learned how to attract our correct clientele. When COVID finally ended, and we could reopen, our diary was already full of new clients. Not only did we have a full diary, but we also increased our average sales from £400 to over £1,000. At first, we thought the higher sales were due to our clients having excess money from not spending during covid; however, we soon realised this was not the case as our sales are still increasing.

Our product range now includes 3XM Diamond folio boxes and Wooden window folio Boxes; we love these boxes, and so do our clients. They are one of our most popular sellers. The window box holds up to 30 of their favourite mounted portraits, meaning they are far more valuable to our clients than having them as just digitals. However, as the box includes a USB, our clients have the best of both worlds. In March 2022, 3XM launched their Quantum cards, which have revolutionised our business! Our clients love that we are ahead of the game with technology, and 80% of our clients opting for the card over the USB shows how popular they are. Our clients love that their portraits are available on the cloud 24/7; they can share their images with their family and friends with a tap of a card.

The card has also helped us collect data from new clients; with a tap of the card, they are transported to our lead magnet.

We are so grateful to be part of the 3XM and BSA family and cannot wait to see what the future holds.”

- Darren & Rhian Whiteley

www.treasuredmomentsphotography.co

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GUILD SPOTLIGHT

Peter Rooney

“

I was born in Fulham, London, in the 1960s. Although my father was an amateur black and white photographer and had a darkroom at home, my own photography journey –regrettably - wasn’t to happen until many years later. I used to help him in the darkroom; the whole process of developing the film was fun and exciting, but I wasn’t convinced of the actual image-taking at that point. I do remember buying a Minolta camera and Macro lens in the early 1980s. I fired off an entire roll of 36 frames of 400 ISO colour film in the garden in about 5 mins. Then I took it to be developed at Boots with their 1-hour processing. Convinced I had made the next cover of National Geographic magazine. As I walked home looking through the prints, I soon realised that there was a lot more to taking a photograph, so when I got home, I donated my camera to my father and didn’t pick up another camera until over 30 years later.

Having lived in Asia for 3.5 years by 2014 and realising I wasn’t going to be returning to the UK for a long time, I had to change careers, so that’s when I decided to pursue photography. But this time, I decided to take the proper route and educate myself first.

- Peter Rooney

Q: What is a typical working day for you?

If I have a client shoot, it’s about the preparation for the arrival. The concepts, outfits, and looks have all been pre-planned and discussed. The shoot may take anywhere between 1-3 hours, depending on what we are doing. Afterwards, I go through the images with the client and chose the finals. I leave the photos a good 24 hours before I start to edit so that I’m looking at the pictures with fresh eyes and not when I’m tired from the shoot itself.

Other days are education and ‘personal projects’ days. These usually start with a long walk and thoughts on how I can push myself further out the box than the last time.

Q: Your Characortraits are inspirational. Could you give an insight into how you set about the design element to bring it all together?

The Characortraits was a concept born from when I was going for my Licentiate with the MPA. I wanted to bring my whole panel into a single story. The idea was each image would represent a character from a Disney or Fairytale movie. Each character is going for an interview for the role in their respective story, hence why the table (which is supposed to symbolise the boss’s desk where they’re being interviewed) is key to each shot. The challenge was composing an image that would suggest something of the story and the fairytale character’s personality, but without being too ‘busy’ as an image. I look at them now and realise I would have approached it differently today, but it got me the Licentiate I was after at the time.

Q: What part of your photography do you personally find most satisfying? And the most challenging?

The most satisfaction comes when a finished work looks as I imagined. I’m terrible at drawing, so most of my ideas are in my head, so if I can relay them to all involved and end up with the result I was after, then that’s a great feeling. To then go on and win a competition with an image is the icing on the cake.

The most challenging thing is my next project because I always seem to make it much harder than the last! My wife would say the most challenging part about what I do is dealing with my’ imposter syndrome’ and accepting that I’m quite good at this game.

Q: Lighting equipment, what is your preferred choice?

I currently have 3 Elinchrom BRX500’s, which have been incredibly reliable and an excellent light source. I have several modifiers like Elinchrom, Litemotiv 120cm, and the 175cm Rotalux, which are my main workhorses. But I also have several Phottix modifiers, which I’m a big fan of.

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

Motivation has been hard to come by over the last year with the COVID situation. But I am planning ahead to my next project, and further projects after that have kept me going. I tend to pick projects that involve learning new techniques and changing direction to keep things fresh and my education going.

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

I think most photographers could relate when I say,” Every time I buy something, I’m convinced at the time it is something I can’t do without.” But apart from the obvious kit like cameras, lenses, etc., it would be my dry box. Living in a very humid country like Malaysia means that lens fungus is a major problem, so that I couldn’t live without my dry box here.

Q: What is your favourite go-to lens for your photography?

I have several lenses, but two workhorses are constantly in my bag. For portraiture, I use the Canon 70-200 2.8, and for wider composite work, I use the Sigma 50mm Art, which is an amazing lens.

Q: Your preferred choice of camera equipment?

I love my Canon 5D MKIII Full Frame for most of my work, along with the two lenses mentioned above. I also have a Canon 7D, a crop sensor, and I used that for closer macro work and the Canon 100mm Macro lens.

Q: What is your turnaround from shooting to proofing your client’s images?

My process is a little different, I think, from how most photographers may work. I like to shoot tethered to a MacBook as I’m particular about getting my lighting spot on during the shoot and to catch anything my old eyes might miss on the small screen on the back of the camera. Once the shoot is complete, I go through the images with the client, and they choose which they want to be edited. I’m aware it can be risky to share out of camera images with the client, but I prime them that what they are seeing is just a RAW file; plus, they have seen enough of my finished work to know what they will get as a finished result. By the time they leave the day of the shoot, I know which images the client is keen on, and I make my own final selections from those. Editing can take a couple of days or a couple of weeks, depending on how many I’m doing, and printing usually takes around a week.

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

It depends on what I am shooting, but I mostly use a tripod. If I am shooting a composite, then a tripod is an absolute must; I need to keep the distance, height, and angle exactly the same between each shot. If I am shooting a portrait, I will switch between the tripod and handheld, especially if using the 70-200 2,8 as it’s a very heavy lens.

Q: Post-processing your images, do you use Lightroom or Photoshop, or both? And, how important is it to your creative work?

I’m not very organised if I think about it. I tether to Capture One, Import into Lightroom, then export and edit in Photoshop via Camera Raw. So all my editing is done in Photoshop with a Camera Raw tweak. The nature of much of my work involves more than Lightroom can offer. Still, I must start to put more effort into learning Capture One as I know it has some incredible benefits, especially in colour grading. That’s to be my 2021 resolution.

Q: What job do you dislike the most in your photography business?

Trying to source the props, costumes, and elements I need for my more complex shoots. I never use stock images in my work - everything I use I photograph myself, so sometimes getting the right elements here in Malaysia can be very difficult. Finding creative makeup artists and stylists is also difficult as there isn’t a big industry for that here. So definitely having to compromise is the hardest and most frustrating thing for me.

Q: Who inspires you?

I have had several photographers that have inspired me over the last few years. But at the start of my journey, I have to say it was Sue Bryce, who got me to take photography seriously. As I changed direction, so I was inspired by others in whichever genre I was in. Currently, it would be Richard Wood.

Q: Interesting facts about you?

I’m a collector of stray animals. I have lost count of the number of kittens I have stopped to pick up from the side of the road and take home. We were even adopted by an abandoned baby Macaque monkey while living in Brunei, who lived with us for six months sleeping with the dog until some male Macaques adopted her from a troop. When we arrived in Asia in 2010, I made it clear that we were not having any pets. Now we have a zoo. Guess I’m not as in charge as I thought.

Q: Favourite place in the world and why?

My favourite place in the world is a small island off the East Coast of Malaysia called Lang Tengah. The water is crystal clear, and you can swim with baby sharks in the shallows. It’s only about 5 hours’ drive from our home in KL, and we try to head over there at least twice a year. But we are very lucky to have access to many beautiful places in this region– well, when we can travel, that is.

Q: Could you give an insight into your personal projects?

My personal projects are usually born from ideas to enter into competitions. This is where my creative thoughts can be unleashed. It will usually always be story-based, and the inspiration may come from a TV show, a movie, a piece of art, or a random thought. Some have even come from finding random items that people throw out, like my mannequin shot. Once

I have an idea, I then set about thinking about how I can tell the story with a single image. I also like to give makeup artists I work with the opportunity to create things they have wanted to develop but don’t get the opportunity to do so in everyday work.

Q: What do you look for in creating a new image?

“The Story.” The one thing I have learnt over the years was that your images need to tell a story to draw the viewer in and get them wondering and wanting to know more about what they’re looking at. At the same time, it’s got to make sense but not be too complicated. So the first thing I think about before anything else is the story, what am I trying to tell the viewer, and how can I do that in a single image with just enough elements to not distract?

Q: Three words that describe you?

1: Adaptable

2: Dedicated

3: Resilient

Q: Favourite food?

Living in Malaysia, food is practically a religion, life is about food here, and the choices are endless. As a westerner, I still love my traditional style foods from back home like bangers & mash or fish and chips, but I’m equally keen on a Katsu Curry or a Nasi Lemak.

Q: Where next on your photography journey?

I have a number of personal projects lined up for the next few months, and I have had a great interest in my recent satirical style of a family portrait, for which I have a number of commissions in the pipeline. I’m also looking into a new portrait concept idea to do with supercars (of which Malaysia has a large number).

I do need to invest more time into further education as well. I have joined the Guild of Photographers, gained my Fellowship with the MPA in 2019 and the BIPP earlier this year, and these goals are important incentives to push yourself, so I will be aiming to achieve more. And lastly, competitions: these are the real motivator to push on.

- Thank you Peter for giving an insight into your life and photography journey - Julie Oswin, Editor

Behind the Scenes Video

Peter Rooney - The Toymaker

Peter Morgan

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 since 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 business in 2014 after selling his IT company to pursue his love of photography. Peter soon discovered that his IT skills meant that great photographers trusted him with their business technology. Often he would trade his IT repair skills for photography training to learn as much as possible 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.

For this issue of Creative Light Magazine, Peter has written an article on optimising your computer. Enjoy!

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/

Optimise your Computer Right NOW!

Why Optimise?

Think of your computer’s hard drive as a big library with all of your files being books stored within. Isn’t it quicker to find what you want with fewer books in the library?

Let’s start by looking at your software.

Software

Uninstalling old software, you don’t need or use anymore serves two purposes.

1. You create more space on your computer (which is always a good thing – see the library analogy).

2. Having different versions of the same software on your pc or mac can sometimes conflict with each other causing system crashes and bugs, stopping things from working as they should.

Mac Computers

For mac, this can be as simple as using the drag and drop method and dragging the software from the applications folder to the Bin on the dock. Mac OS will handle taking all the files and getting rid of them once the Bin is emptied (right-click on the Bin and empty it by clicking empty Bin).

PC’s

This tends to be a little more complicated as there is more than one place you can go to uninstall applications on a PC. Either go to Settings on Windows 10 and click Apps -

Then click Apps and Features highlighted here on the left >

Find the application you want to uninstall, click on it, and then click uninstall. You can also use the Control Panel item Programs and Features (what used to be Add/Remove Programs). Open Control Panel (for this, you can start typing Control Panel in the search magnifying glass on the taskbar. Alternatively, press the windows key on the keyboard and type control panel and then open the desired item. If Category is set in the View field at the top right, click it, then click large icons on the drop-down arrow, then programs and features.

You can also choose Uninstall a program. This screen (below) shows everything including patches and old software to uninstall.

Click the application to remove then click uninstall. This is going to give you a basic idea of how to remove software but can also leave behind remnants of the programs which can be difficult to remove sometimes.

Hardware

Those who read last month’s blog will have heard me mention that buying the best computer you can afford at the time of buying is the best option. Please don’t go for deals that high street stores offer on specific models as they usually try to get rid of entry-level specification models at a cheaper price. You might even be better off buying a higher spec refurbished machine with a few years old warran ty than a brand new under-spec machine. Remember, unless you want to start taking your PC apart and getting it upgraded by a professional computer store, you are generally stuck with what you’ve got, which can sometimes get costly. Macs, you wouldn’t generally be able to upgrade the processor as they are soldered to the logic board and almost impossible to change. Ram upgrades

Potentially much easier on a mac as most newer models use a similar type of ram, but if you go somewhere like https://uk.crucial.com they offer a free computer scanner that can tell you what type of ram you have in your computer and how much it costs to upgrade. Ram is a good, quick win for creatives as we need lots of ram to run photoshop, lightroom and video editing apps.

Look for at minimum 16GB ram with the new mac M1 and at least double that if you’re buying the previous intel version. PCs follow the same architecture as the intel Macs, so stick with 32GB if you can afford it. Some of the cheaper entry-level older Macs (iMac 21 inch, MacBook) have the ram soldered to the logic boards and are more difficult to upgrade without the help of a professional. To find out how much you have on your mac, go to apple – about this mac, and the overview will show you how much you have. If you don’t see a memory tab, you can’t upgrade your mac’s memory.

For a PC using Windows 10 you can just Right Click on “Start Menu” and click on “System” in popup Menu to open “System” window.

Hard Disk Space

If you read my previous articles, you’d know I always say to never store your images on the internal hard drives within your computer. I would consider keeping all photographic or video files on a decent fast external hard drive (minimum 1TB and ideally an SSD). But buying a computer these days, you could get away with a 512GB internal SSD if you only store your applications there. Don’t be tempted to try and run the newer operating systems on the older SATA hard drives; even Apple’s own Fusion Drive (hybrid SSD/SATA) drive is no longer really an option as using Mac OS Monterey and Windows 11 are optimised for SSD drives.

QUICK TIPS

Windows

Go to the start menu and type in %temp%, and delete everything in there (clears out all the tempo rary files used by windows left behind).

Run disk clean-up and tick all the boxes to remove unneeded files.

Run disk optimiser every so often. It speeds up your hard drive access and puts files back where they should be.

Mac

Disk Utility is a great place to start when you want to optimise your drives – click on the HD in the top left and HD-Data one by one and run first aid on both. It’ll fix permission issues and speed up your hard drives.

Make sure you plug in an external drive and use Time Machine, as there’s no better way to ensure your work is safely backed up. Clean My Mac by MacPaw, as long as it’s used with care, can keep your system optimised and work ing better for longer.

SUMMARY: This article should have given you an idea of what is needed to optimise your computer. 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/

Ryan

Sharon

Fred

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.

‘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.

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.

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.

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.

‘Chessboard’ St Paul’s Cathedral, London.

Benson

Master Craftsman

Peter Benson

I began my photographic journey in 2013 when I bought my first DSLR. I wanted to learn how to use it properly, so I attended a course at the local college and joined a camera club. At that club I won the novice section of an annual competition with a night time image, which sparked my passion for urban nightscapes. From those early days I have enjoyed the learning curve to improve my skills, which continues too today. That learning curve has taken me along the distinction’s routes of the RPS, and WPF, for which I have been awarded Associateships for my urban nightscapes. I am currently a Craftsman of the Guild for which I submitted my ARPS panel. I am now on the next stage of my journey to gain the Master Craftsman qualification. Along this stage of my journey, I have learnt to be a lot more critical of my work and looking much closer at it and if I find something I am not happy with I carry out the necessary remedial work. In some cases, a solution has to be found, which I can find at times frustrating, but when I find a solution it’s very rewarding. My passion has grown and I now share my knowledge by running Urban Nightscapes workshops during the autumn and winter months, as well as presenting a nightscape talk to camera clubs.

When I look at an urban scene during daylight hours it looks mundane. However, later at night the same scene changes to something totally different that’s exciting and colourful. For me that’s the magic of the night, making the ordinary extraordinary. I often go back to the same location and always come back with different images even though the subject matter is the same. Many factors play a part in this, for example when by the waterways, the amount of available ambient light, the sky with city lights reflecting off the clouds or not, the height of the tides and the lights for the city reflecting in the water. The flow of the water also has an effect, the time around the change of the tides can be a good opportunity for mirror like reflections whereas when the water is flowing fast the reflections are blurry. Working at night can be quite challenging with the artificial light coming from all directions even straight into the lens, which affects the number of bracketed exposures I take to get details in the shadow and highlights. It’s only when editing the image sets with luminosity masks, the real magic happens and I find out what I have captured and it’s this that spurs me on.

In producing the panel, I wanted to show some of my favourite locations around central London that I like to photograph. I also wanted to add an extra visual element to the layout. I selected images that decreased in height, placing the tallest on the outside edge of a row and gradually reducing in height towards the two-centre cropped square images. My reason for this is that not only the composition takes the eye through the panel, the tapering of the images also does.

Now on to the panel, with an introduction taken from the song by ABC “Tower London” **

“Every street’s a fashion catwalk Everyone’s debonair

Let me take you to Piccadilly Guess it leads somewhere”

The panel starts with an image of Piccadilly Circus and then goes on to take the viewer to different locations around Central London, some are iconic, others not so well known, but each have a story or a memory for me, some of which have go back fifty years. The final image returns to Piccadilly Circus, but this image is of Regent Street taken from the Circus.

“I’ll be there, Tower of London New York! Don’t make me laugh I’ve seen photographs, Tower of London**

TOWER

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

© Emily Endean

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nigel ord-smith

Dog Portraits

“My background was IT and Finance. I ended up as a Senior Manager at a building society turned bank on the IT compliance side. It bored me rigid. I was fast approaching a significant birthday and realised that I had to do what I was passionate about or else I would always be thinking ‘what if’. So, as I’d built up a part-time wedding business and I undertook the year-long bespoke course at Contemporary Photographic Training, as was, this gave me the confidence to give my notice in at my ‘day job’ and 1 August 2007 I woke up as a full-time photographer. I’m still here 11 years later, with a change of direction or two, thriving and loving what I do!”

© Nigel Ord-Smith

Creative Light talks to Nigel Ord -Smith

Q: What have you found most challenging about being a Dog Portrait Photographer?

Probably the weather. I like to work with natural light outside. Dull wet days don’t always yield the best images, but they can be excellent for character portraits. And in complete contrast, the heat of this summer has been a challenge, often too hot for dogs to try anything too strenuous for action images and tongues are out all the time. Beyond the weather there aren’t usually significant challenges with the dogs themselves, providing that you have done your homework, had a pre-consultation with the owner and found out about their dog. With a particular lively dog, or with multiple dogs, we’ll ask that at least two people come along with them.

Q: How long have you been a photographer?

Full time for 11 years, and part-time for a few years before that. It’s always been something that I have been interested in, and when I left school, I almost went to art college to do photography. Q: When did your business concentrate purely on Dog Portraiture? I started photographing dogs seriously five years ago and got so busy with dogs that I stopped weddings in 2015 and, effectively, portraits in 2016.

Q: Did you have formal training to be a photographer, i.e. college/ university? Or are you relatively self-taught with attendance to workshops, training days etc.?

I moved to Leicestershire from Sussex in the mid-1990s and rekindled my photographic interest at a local evening class on black and white photography. That led me to set up my darkroom at home (the excitement of seeing my first print come through!!) and get involved in the local photographic society. Both of those taught me a lot, not least how subjective a critique of an image can be! Beyond those days I’ve probably attended too many workshops/training days in the past but am a bit more selective now. There’s always a nugget or two to pick up from a workshop or seminar, and you then have to think how that little nugget can be applied to your business. The most important aspect of training these days is on the business side, and I have immense respect for and gratitude for people who have helped me over the years.

Q: You were awarded Midlands Portrait Photographer of the Year with the BIPP in March 2018 with some fabulous photographs of dogs, especially the one of ‘Ocean’ a black standard poodle. Did you photograph Ocean in your studio? If so, tell us a little about this gorgeous dog and how you settle dogs in your studio?

The shoot with Ocean came about from my fascination with the preparation of Standard Poodles for Crufts. Watching the preening, coiffuring and topiary was terrific. At that time, I hadn’t photographed a Standard Poodle and decided that I wanted to get a Standard Poodle booked into the studio. I put a shout out on social media, and as a result, Ocean came to my studio and then I had a furthe two portrait sessions with white Standard Poodles. The groomers who own all of these show dogs were fabulous to work with and travelled some distance to come to me. Concerning the settling of dogs when they come to visit us at The Coach House, I always invite the owners into the studio before the dog is brought in and talk about potential hazards. I’ll then greet the dog outside with the aim of getting it comfortable with me but not too excited and, once inside, we’ll let the dog sniff around to get its bearings and get settled. While the dog settles, I’ll fire a couple of test flashes to check that there is no adverse reaction. All dogs are different, and some settle sooner, and some take a little longer. The dogs don’t know me, and they don’t know the different smells in the studio so we will always ask their owners to bring some of the dogs favourite treats and toys. We’ll also ask the owners to ensure that they have a collar and lead for their dog, especially if the dog wears a harness typically.

Q: Lighting equipment on location?

Do you use additional lighting on location or use the available light? I prefer to work with natural light as dogs move and won’t necessarily sit or stay where you want them to. Occasionally I’ll supplement that with a reflector, a Speedlight or a set of Quadras, but natural light is the ‘go to’.

Q: If your client books “A walk with ….” and the weather isn’t great what do you, postpone or continue?

I want to get the best results for my clients so if the weather is looking particularly bad, yes, we’ll reschedule. If the weather changes during the session that’s fine as there’ll be a mix of images for the clients to choose from.

Q: What advice would you give to members of The Guild of Photographers looking to sell or make a living from Dog Portraiture?

Build relationships with good, local dog-related businesses. Their clients, the people that regularly spend money on their dogs, are your ideal clients, so develop your thirdparty marketing with those businesses. And if you have a dog of your own, make sure you have business cards in your pocket when you’re out walking.

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

In the old days of that thing called film, I used Olympus cameras, and when the time to switch to digital came my lenses weren’t compatible with their digital bodies, so I went down the Fuji route. They were Nikon fit lenses and latterly I switched entirely to Nikon. I now shoot on Nikon D800 and D750 bodies with a range of lenses, favourites being 24 – 70 mm f2.8, 70 – 200 mm f2.8, and 85 mm f2.8. Lighting in the studio is all Bowens. The essential items in my kit back are a variety of dog whistles, squeakers and treats!!

Q: Favourite go to lens?

For outside work the 70 – 200 mm.

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

Do your homework. Consult the owner first about the dog; it’s temperament and how well behaved and responsive to the owner it is. I always show the owner the inside of the studio before bringing the dog in and then, after having greeted the dog and, hopefully, got it used to me rather

than too excited, when it does come in give it time to settle and sniff around. Once the dog has settled you can then start your shoot but you must give the dog plenty of breaks, so it doesn’t get bored and disinterested. Work quickly as certain dogs will get bored if kept in the same area for too long. Outside, be aware of the risks and distractions and, if necessary, photograph the dog on a lead but show the owner how to hold it so that you can remove it quickly afterwards. Enjoy it, and have fun!

Q: Can you tell readers a little bit about your work with animal charities?

As the dog photography side of my business grew I‘ve wanted to give a bit back, and I’ve done that over recent years by working with local dog charities. Each year, in certain months, I’ve set myself a challenge to photograph a number of dogs each day over a fixed number of days. By breed, i.e. once a breed of dog is booked that breed place is taken. Rather than a regular session fee, a donation is made to the charity, the amount depending on how many dogs are booked for the session. The session includes a photograph in a desk frame. Running something like this in quieter months fills the studio with a variety of interesting breeds to photograph and a good fundraiser for the charity.

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

Nowadays everybody has a camera with them all the time on their phone and finishing images is vital to stand out from what people can take themselves. Clients come back to view their pictures a week or two after their session. For clients who are not local, the viewing takes place on the same day. All photographs are fully edited and finished for the viewing, even on the same day.

Q: Working with animals and children has always been a problematic area for photography. So how did your portrait photography of dogs evolve?

I moved into my studio seven years ago as a wedding photographer. I wanted to get away from working at home, and I wanted an office for consultations and viewings. The studio space I have meant that I was able to introduce studio portraits and expand my photography business other than weddings. What I didn’t realise at first was the tremendous potential my studio had for dog photography. The studio was fully fitted inside and had an excellent rural location outside. It was during the first 18 months I was at the studio that I became aware of the seasons and how the outside location changed and realised the potential for dog portraiture. In early 2013 I ran a competition and had a great response. I enjoyed it and quickly started to build a portfolio of dog portraits. I haven’t looked back since.

Q: Developing your market-place, how important was it to create your brand and build your reputation apart from having a love of dogs?

If I’m honest, my brand has been through a few changes, so I’m not sure how important it is on the broader scale of things. What is important is working closely with other dog-related businesses and getting your name known with them. Working with such businesses, and doing an excellent job for them, will build your reputation and mean that they

can confidently recommend you to their clients. A love of dogs certainly helps but I don’t think is necessary. More important is to not have a fear of dogs!

Q: Studio or Location? Which do you prefer from a photographers point of view?

I’m lucky that my studio is in a fabulous location. I have a full photographic studio inside and my the location literally on my doorstep. And the right location! I have a private drive and fields outside with a lovely rustic looking tin shed to the side of the studio. I love the control that my portrait studio provides inside, but I am disappointed if the weather is wet and we are unable to work outside for the more natural images.

Q: Your most popular breeds of dog?

I love working with all breeds and part of the joy of photographing dogs is that, while there are breed specific traits, you never know the temperament or character of a particular dog that’s coming into the studio. Therefore, each day is different. The most popular breeds to come into the studio last year were Cocker and Springer Spaniels. They are popular visitors again this year, but not as much as the Border Collies, so far, they have been the most popular this year.

Q: Have you a dog?

We’ve recently re-homed a dog called Molly; she is a sixyear-old Pointer with a lovely character and the perfect temperament. Molly comes to work with me and is entirely laid back and chilled when other dogs come in.

Q: Who inspires you?

From a dog photography point of view, Paul Walker of PAWS Pet Photography was my initial inspiration. I helped Paul run a couple of workshops back in 2010 and 2011 in the Midlands and vowed at the time that pet photography wasn’t for me. Who’d have thought that!

Q: Interesting facts about you?

I’m a Helixophilist - I’ll leave you to work that one out!!

Q: Favourite place in the world and why?

I love cities, especially Havana and Venice, but the current favourite is Porto, with fabulous places to eat, the city is compact and walkable, and the Portuguese people are so friendly. We’ve just come back from a visit which included an urban portrait session with a French Bulldog.

Q: Favourite food?

Juniper. Infused with some other botanicals in a bottle...

Q: And finally, where next?

After the portrait shoot in the City of Porto, possibly some more location sessions in various European cities and a weekend away for location portraits on the beach. Beyond that, several projects on the go or in mind, so watch this space ...

Thank you Nigel for sharing with the readers of Creative Light magazine an insight into your Dog Portraits! - Julie Oswin

Professional Photo Prints

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Photo Prints

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Newborn & Baby

Liz Roberts

www.lizrobertsphotography.co.uk

Liz Roberts is a newborn photographer, an Associate with the SWPP and has been photographing babies for almost ten years. She is married to Ken Roberts who has been a professional wedding and portrait photographer of over 30 years. Liz is a mother of four daughters and nearly seven grandchildren!

She has won several awards, including:-

The Guild of Photographers Newborn Image of the Year, runner-up 2015;

The Guild of Photographers Newborn Image of the Year 2016;

The Guild of Photographers Overall Image of the Year runner-up (Judges choice) 2016;

SWPP Newborn Photographer of the Year 2010; SWPP Pregnancy Photographer of the Year 2010; Photo Training Overseas Photographer of the year 2010; Photo Training Overseas photographer of the year 2011; Photo Training Overseas Photographer of the Year 2017.

Liz has a home studio based in Inverness, in the Highlands of Scotland.

Guild Member, Liz Roberts talks to Creative Light about her Baby Photography

Q: What have you found most challenging about being a Newborn Baby Photographer?

There is so much to learn; from all things baby, such as baby psychology, physiology, posing and safety, to all things photography; such camera craft, lighting and editing, not to mention the giant field of business.

Q: Props. What do you feel about the use of props?

Props can be used straightforwardly to echo baby’s shape and form or to bring attention to their squishy faces. Props can also be used to create beautiful FineArt pieces or to tell an evocative story. The effective use of props is all relative to the skill, vision and style of the photographer.

Q: What is your preferred 'window' to photograph a newborn, i.e. day 4 or day 10? And why?

I usually aim to photograph babies, between 4-14 days Babies are “new” for such a short period of time. Within the 4-14 day window, they are still very womb-like and in the foetal position. All the sweet newborn poses are created to work with babies that are still very curly and flexible. They are also more sleepy at this stage, well most of the time!

Q: With your husband an established photographer, what prompted you to pick up the camera and start your own photography business?

Having lived with a photographer for 20 years, I had no intention of becoming one. I knew how much hard work is involved. Photography just happened to me. The first studio shots I took were of my daughter Sarah, for her pregnancy. She wanted something “arty” and my husband Ken thought that was my department. I shared some of the images with Ken’s customers (I was taking his viewing appoinments at the time). They then passed the word on. The same thing happened once I took the baby images of my grandson and my business just grew from there.

Q: Did you have formal training to be a photographer, i.e. college/university? Or are you relatively self-taught with attendance to workshops, training days?

The latter for me as I initially trained as a teacher, leaving my job as a special needs teacher to follow my photography career.

Q: Website? Do you market and work on your SEO?

I am a one woman, band. So yes that’s me. I am quite technical, so I don’t mind learning. It’s also fascinating to follow the trends in photographic marketing. However, word of mouth is of the highest value.

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

Nikon D700, 50mm and 35mm lenses

Q: What advice would you give to members of The Guild of Photographers starting out as a Baby Photographer?

Make it all about the baby and consider the baby in all things; No one can create a beautiful photograph of a baby if the baby is unhappy. Learn about babies and how they tick. Look after baby’s needs comfort and safety, and you are halfway there. Master your craft: get to know your camera, lighting and equipment and how best to use it to create the imagery you want.

Posing: start with some basic wrapped poses and gradually add in more complex ones, one at a time. Make sure you understand how to pose babies safely.

Props: Keep them to a minimum. The best investments are wraps, hats, headbands and a couple of basic baskets. Make sure props are safe and comfortable, keeping in mind that many shots where babies appear to be balanced or hanging in a prop are composite images. Include parents and siblings, their relationship to the baby is so significant. They make good props too!

Business: Work out your cost of doing business, and charge accordingly. Supply your clients good quality products; it shows respect for them and your work. Take it slowly, be safe, be kind to yourself.

Q: What do you think makes an excellent newborn image?

Newborn images are no different to any other genre. Images need to be technically perfect, well composed and sensitively lit. I like the baby to be the primary focus of the image, this can be achieved through the emotional connection of a parent or family, or by drawing attention to the baby with excellent lighting or an unusual prop that helps to tell a story.

Q: One 'top tip' of business advice you would like to share? Go for quality over quantity.

Q: Apart from sheer hard-work and dedication, what would you say is the main ingredient to your imagery? Probably connection to the family. My family, my children and my grandchildren are my greatest joy, and my motivation is to celebrate the joy of parenthood, with others, through my imagery.

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

My newborn images are about 90% ready SOOC; however, Photoshop is vital to add those essential finishing touches, such as tidying up newborn flaky skin or colour correcting redness or jaundice. My specialised “painted” images are all created with Corel Painter, which is a whole other learning curve!

Q: Developing your market-place, how important was it to create a brand and build your photographic reputation apart from having a love of photographing children?

I think my customers did this for me. By showing the images that I loved, it seemed to attract people who liked my style. I guess the message would be; show what you love.

Q: Do you use just your studio to photograph babies or do you also shoot on location?

All my work is in the studio. I am such a control freak; I don’t think I could cope with the ever-changing conditions associated with outdoor photography, especially in the Highlands of Scotland. I do however occasionally take elements of the outdoors into my studio, much to my husband’s dismay, as they are usually his carefully nurtured plants!

Q: Why do you love babies? Why do you love photographing babies?

I’m not entirely sure. I think it’s because babies seem to like me, for some reason. I’m not entirely sure, to be honest, but I think it’s because they seem to like me, for some reason. When I am with them, I feel connected. At home. At peace. They are the essence of innocence, beauty and hope. Trying to capture that essence with photography, is my challenge and my privilege.

Q: Who inspires you?

I love and adore art. If I were lucky enough to win the lottery, I would fill my home with paintings. The first painting I fell in love with was Salvador Dali’s, Christ of St John of the Cross. I was seven years old, and I saw it at Glasgow’s Kelvingrove Museum. I don’t remember why I loved it so much, but my parents couldn’t drag me away. My favourite photographer is Joyce Tenneson. Her images fill my soul.

Q: Interesting facts about you?

I’m not very interesting. My life is filled with caring for my home, my lovely, large family and my pets. Primarily, I am a nurturer. I love decor, crafts, occasionally trying to draw and pain. Love Laura Ashley and above all, being a daughter, a wife and a mother.

Q: Favourite place in the world and why?

It would have to be Paris. I am a true romantic and fervent art lover.

Q: Favourite food?

All things sweet and nothing beats my mum’s sherry trifle.

Q: Where next?

I’d like to gain some further qualifications and once I master a few more things, maybe a bit of teaching.

- Thank you Liz for sharing thoughts and your approach to Newborn Baby Photography with Creative Light.

- Julie Oswin

u r P h o t o g r a p h y I n s u r a n c e p o l i c i e s h a v e b e e n d e s i g n e d f o r P r o f e s s o n a l & S e m i P r o f e s s i o n a l

h o t o g r a p h e r s , V i d e o M a k e r s a n d P h o t o J o u r n a l i s t s .

f y o u a r e a n a m a t e u r p h o t o g r a p h e r t h e n w e c a n s t i l l h e l p y o u !

x

e r t a d v i c e o f a l l

S U R A N C E

Equine Photography Experience Day

Philip Yale

It is gratifying to see just how popular equine photography has become. Considering that comparatively few people own horses compared with, say, dogs, equine photography more than holds its own in the popularity stakes.

A lot of people are drawn to the genre but say they’ve never had an opportunity to try it or don’t know how to get started and are a little intimidated about how to begin. Last year, this prompted me to organise an “experience day” for people to come along and get some practice photographing a variety of different horses and people. That went well, so this year I decided to repeat the event and set a date for 3rd September. The session was held at a lovely private livery yard, EKW Equestrian, owned by my good friend Emma Woolliscroft in beautiful countryside near Eccleshall in Staffordshire. Five people signed up for the day: Katie Dickinson, Joanne Eastope, Dave Knight and Aidan Hughes.

The Equine Photography Experience morning started at 10 am with a brew and a safety briefing, followed by a chat about how I planned the day to go and a “get to know you” exchange to see what different experiences everyone had. The weather forecast had started badly that week but by Saturday had improved so much as to be just perfect – bright but overcast and the very lightest breeze. Once the regular yard duties were complete, Emma and the rest of the EKW staff had the first of the horses prepped and ready for us to begin.

Next, Hannah brought a pair of her horses for some “in-hand” photos, and then some beautiful moments seated on a fallen tree. One of her horses was very old and had limited time left, so these shots were particularly poignant and emotional for her, and it was a real privilege to be able to capture those moments.

Finally, Ed posed with her horse, and we experimented with the use of a long lens and wide aperture to isolate the background whilst still keeping all of the subject in focus (never easy with horses with such long faces!)

The first session was of Emma mounted on her horse, Elvis, in a variety of locations. I went through the various classic poses with the group – the sort of poses that you’d need to get under your belt for any shoot. After that, it was a bit more ad-hoc as Emma rode and cantered Elvis around the fields and posed for static mounted portraits.

Overall, the horses were all impeccably behaved. After a while one or two got a little bored and a little less cooperative, but that’s normal when photographing horses and definitely goes with the territory!

At 4pm, we were all finished and started tidying up so that Emma and her team could begin the evening duties at the yard. With 12 resident horses there’s a lot of work for them to do, and I’m so grateful that we were allowed to take over the yard for the day. Feedback from everyone was that it was a really successful and enjoyable day, and I personally felt that everything had gone better than I’d hoped it might, which is very rewarding. Here’s to another such event next year!

- Philip Yale QGPP

Master Craftsman Hayley Scott

“

My love for photography goes back as far as I can remember. I was always out with a camera looking for that ‘perfect photo’ and loved capturing all those special memories of family and friends. I have hundreds of albums full of photographs at home, and I love looking back at them and reminiscing.

Photography has always been something I had a passion for. I was lucky to have a darkroom at school, where I enjoyed learning to develop prints, and I went on to study A-level photography at college. I gained work experience with various photographers throughout my late teens/early 20s, mainly assisting at weddings. I then managed to get a job with a photography studio to build up my experience.

In April 2017, I was recommended the lovely Claire Elliott for one of her newborn training workshops and fell in love with newborn photography. Then, I wanted to make newborn photography my main focus and capture those allimportant memories for new parents. After Claire Elliott’s recommendation, I joined the Guild of Photographers shortly after and started submitting images for the Image of the Month competition and receiving feedback on my pictures to see what standard I was at and how to improve.

Over the last five years, I have had the pleasure of training with the most amazing photographers, including Claire Elliott, Emma Jane and Gary Hill and the fantastic support of the Guild Family that has helped me become the photographer I am today. My confidence wouldn’t have grown without the support from the Guild of the Photographers, and I am very proud to be a part of such an amazing organisation.”

Hayley Scott MCrGNBP

I’m really just a guy with a stick!

“

A long time ago, I can still remember how the music played... NO, no, sorry where was I? Ah yes, as I was saying. A long time ago someone, somewhere, lifted a stick, then they marked a line in the sand and art was born. I don’t know what was different that day; maybe the sun was in the right place at the right time to bring out the texture. Or maybe this was our first child prodigy, but that will have to remain in the mists. Just imagine it though, they get all excited and start showing off to their friends and everyone they meet. And many go off telling their friends about the weirdo they have just met. On that day, the first critic was also born. Then 178 years later, I wake up one morning, and for a reason unknown to myself I want a camera. So I get a camera, a small one, and I begin to explore, to study the language, the mechanics and the metaphysics that is photography and now with hindsight an urge from my teenage years. To express the beauty, the colours and the textures of this magnificent life and this I now lay before you”. - Brian John McLernon

john mclernon

brian

“

Brian’s pledges to quality and after care are second to none, and we feel we received a fantastic personalised service”.

Q: Favourite camera and why?

None, each one used with different intentions.

Q: Landscapes how long do you research a location for?

I don’t, I devour them when I get there.

Q: Once you have chosen a specific location what are the next elements you add to the mix?

I turn up.

Q: What additional lightening, if any, do you add to your photography?

As regards landscape, none. Flash if necessary when I’m accosting people.

Q: What have you found the most challenging about being self-employed?

Working.

Q: What have you found the most challenging about photographing the landscape in Futurventura?

It’s Futurventura.

Q: What tips and advice would you give to someone interested in landscape photography?

Just go and do it. Ultimately it is the only way to learn the tips and tricks anyway.

Q: What would you do differently in your business if you could start again?

I wouldn’t

Q: How important is Photoshop in your finished images?

For the photograph: zero. For the print engine: Pretty

Q: What is your favourite editing software?

Lightroom

Q: : What gadget or piece of photography equipment have you on your wish list?

Don’t have a wish list but if you’re buying, a 45mm TSE.

Q: How important is networking or social media to your business?

Apparently it’s vital. I don’t do any.

Q: Who are your main customers?

Visitors to Fuerteventura

Q: Have your any formal photography training or are you self taught? If self taught where did you obtain your information from?

Self taught. Curiosity is the key. Books and the Internet.

Oh yeah - I just went and did it.

Q: Who inspires you?

No one. Happy enough being me.

Q: Apart from sheer hard work, what would you say is the main ingredient to your success?

My Honesty.

Q: How do you sell your Landscape Photography?

At local markets.

Over the years I’ve attended many seminars and talks by photographers of all genres but by far the most passionate landscape photographer I’ve ever had the chance to listen to was Brian Mclernon. He is a purist by heart and soul. Not only does his work captivate everyone but his teachings and insights do the same. I will never try to photograph a landscape again without applying some of Brian’s philosophy’s.

- Ozzie Malik

...I wasn’t sure which to chose, but your advice about going for the one which ‘makes your heart sing’ was just right”. - customer

“

Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly”.

- Langston Hughes

Q: Website? Do you have one? If so, did you design it yourself?

Yes.

www.daisychained-photography.com

Q: What was your working background before becoming a photographer?

Bricklayer interspersed with general lay-about.

Q: How would you describe your style of photography and your approach?

I use a blog to share photographs of my everyday life. Photographs that I create on the street, or wherever I happen to be, as an aid to mastering my photography. Probably more importantly because I love to photograph. How can these random snapshots help me improve? Because just by roaming the world with a camera I am training my mind to react to shapes and patterns, my head to listen to intuition. Photography, just like any other human endeavour, requires practice. There are no shortcuts, we learn by doing, by becoming involved.

Q: How long have you been a photographer?

Something along the lines of eleven and a half 12 years.

Q: What photography books would you recommend?

• The Landscape Within : David Ward.

• Perception and Imaging : Richard Zakia

• The Practice of Contemplative Photography : Andy Karr and Michael Wood.

Q: Do you advertise?

.

Q: Your favourite food?

Burgers or the deliciously rare Chicken EnCroute

Q: Which three words describe you?

Lazy. Funny. Dedicated.

Q: So who are you?

I’m really just a guy with a stick!

- Brian McLernon

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“An excellent reason for joining the Guild is to submit your work for assessment and progress through our membership levels. It is a way to measure and evidence your skill level, as well as show your customers that you are committed to providing them with the very best service. Whilst photography-related qualifications have always been a controversial issue, how do you judge an art form?

Our ‘Qualified’ status aligned to the standards of competence that reflect a level where the customer should be ‘pleased with the results’ when employing the services of a skilled tradesman (the photographer). In other words, ‘Qualified’ indicates professional ‘competence’ to a level where the Guild is willing to recognise the photographer as an ambassador of the association, so those who achieve that level should be proud of doing so”.

- Steve & Lesley Thirsk

Renaissance Range

Taking Fine Art (Giclee) to the next level

Image credit: Barbara MacFerrin

Taking Fine Art (Giclee) printing to the next level, our Renaissance service is as unique as your photography. Whilst Fine Art printing has become part of a staple diet for professional photographers, it’s also been a headache in handling and displaying the beautifully printed image such is the delicate nature of these papers. Many opt for glazing for protection but even using the highest quality UV and anti-reflective glass available, it remains a barrier to enjoying the textured appeal of the paper itself.

Our Renaissance finishing service alleviates the need to glaze as we expertly hand brush your fine art print with the best varnish. This not only protecting your inks but maintains the texture you selected Fine Art for in the first place. Beyond this service you are free to select any frame you desire across our entire range. The result is simply stunning!

Top of my collections is a Renaissance Frame. It’s simply stunning, timeless, and a piece of art that will be treasured for years to come. My studio sample is breath-taking and I have received so much positive feedback from clients.

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Premium Quality, Competitively Priced

Photo: Lynn Stanfield

Lynn Stanfield

wedding photographer

Lynn Stanfield is a wedding photographer based in Northern Ireland. A Qualified Member of the Guild of Photographers and was 4th in the UK for the Guild Wedding Photographer of the Year 2017 and a finalist in Northern Ireland Wedding Awards 2018 for Wedding Photography. She is a Licentiate of the Professional Photographers Association of Northern Ireland and a member of their Council. Having previously worked in administrative roles for charities and as a part-time lecturer in further and higher education, Lynn has been able to apply her organisational and people skills to her business, feeling that she has found her niche and business since 2012, she now shoots over 40 weddings a year.

Lynn’s approach to Weddings and her Photography

“Relaxed and fun! I have fun when I’m shooting weddings, and hopefully, that comes across to my couples. Some of my wedding day fun has included paddling in the sea with a bride, being shot at by Nerf Guns, hanging off the back of golf carts, dancing the Argentine tango with my hubby as the ‘second dance’, and generally laughing, and sometimes crying, along with my fabulous couples during their amazing days!”

Guild Member, Lynn Stanfield talks to Creative Light about her Wedding Photography

Q: What equipment do you take to your weddings?

I take three Nikon full frame cameras, various lenses, 2-3 flashes, light stands, triggers and modifiers, a reflector, video lights, Icelight. Spare batteries, a groundsheet and a white wedding umbrella! I also usually take my husband as an assistant and driver!

Q: How many weddings do you photograph each year?

About 40-45

Q: Favourite camera and why?

Nikon D750 - it’s excellent in low light, and the flip out screen is handy when I need to be taller!

Q: If you could choose one lens which one and why?

Nikon 58 1.4G - my favourite lens! It’s a great versatile focal length and a lovely lens.

Q: What lighting equipment do you use?

Nikon speed lights with Magmod modifiers, video lights and an Icelight

Q: Can you describe how and when you use your flash, video or reflector on a location shoot?

I use flash on camera bounced for indoor shots, e.g. speeches in winter and dancing.

I use the flash off camera with a modifier for sunsets or to backlight or for night shots - I’ll also add a video light in front. I use the Icelight when I need a bit of extra daylight balanced light. I have a reflector with me if I need it, but I tend not to use it much, instead of looking for natural reflectors.

Q: What have you found the most challenging about being self-employed?

It’s easy to get too busy and not take enough time off!

Q: What have you found the most challenging about photographing weddings?

Tight timelines - I’ve learned to work fast when I need to!

Q: What tips or advice would you give to someone wanting to become a wedding photographer?

Get plenty of experience of shooting different types of events in a different light, and get to know your equipment inside out. Assist at weddings to learn the flow and pattern of a wedding day and progress on to second shooting. Learn about the business side. Be prepared to work hard.

Q: How important is Photoshop in your final images?

I don’t use Photoshop much - I do most of my processing in Lightroom, just dipping into Photoshop for the occasional image where, e.g. I want to remove something.

Q: What new gadget or equipment have you your eye on to buy next?

I’m tempted to try the Sony A7iii - I like the idea of a silent shutter during ceremonies

Q: What lenses do you have in your camera bag?

Nikon zooms 24-70 2.8 and 70-200 2.8, Sigma 35 1.4, Nikon 58 1.4 and Nikon 85 1.8

Q: What work background did you come from before becoming a photographer?

I’ve done many things from being an insurance claims handler to teaching undergraduate theology (locally and in West Africa). I’ve worked in the charity sector for conservation and autism charities but most recently before becoming a wedding photographer I taught English as a foreign language.

Q: How long have you been a photographer?

I’ve always loved photography but got a DSLR 8 years ago and set up my business six years ago.

Q: Apart from sheer hard work, what would you say is the main ingredient to your success?

I care about what I do, and that comes out in excellent customer service - happy clients tell their friends and a lot of my bookings are from friends and family of past couples.

Q: What do you feel has helped you to succeed in wedding photography where so many others have failed?

I love what I do, and I’ve been very driven, partly because half the time this doesn’t feel like ‘work’!

Q: Website, did you design it yourself and what did you want to acheive?

I designed it myself; I wanted it simple, bright and happy.

Q: When photographing a wedding, how many images do you take?

It varies but 1800- 2000

Q: To relax couple’s on their wedding day what techniques do you use?

I get them chatting to one another, having fun, I want them to have a great day as well as get great images for them.

Q: Favourite part of the world?

I love the Canaries as my ‘holiday place’. Love Italy too.!

Photo: Lynn Stanfield

Q: Who or what started you off on your road to becoming a wedding photographer?

I got into photography and started shooting local dance events linked to the dance classes I attended. Then friends asked me to photograph their wedding and the third time they asked I finally said yes! I loved it and knew this was what I wanted to do.

Q: Which books or magazines would you recommend members to read?

Creative Light of course!

Q: Where are you based? Have you always lived there?

I’m based in Co Antrim which is just outside Belfast. I used to live on the other side of Belfast but since getting married have ended up less than a mile from where I grew up!

Q: Favourite food?

Steak and chips!

Q: What do you do to relax and enjoy to do in your spare time?

We got a puppy in June, so she makes me get out every day for a walk! We also spend any weekend days I’m not working going for long walks and dog-friendly cafes and pubs for dinner. My hubby and I met at dance class and when we get time we like to go dancing together.

Q: Have you had any formal training, college, seminars or are you self-taught?

Being a former higher education lecturer, I am a big fan of the importance of education and learning. I aim to attend several training days/workshops/seminars every year from a variety of speakers. I’ve also had mentoring sessions and gained Licentiate of the Professional Photographers Association Northern Ireland and Qualified with the Guild of Wedding Photographers.

Q: What has been the proudest moment in your photographic career so far?

Getting ‘The Photographers Bar’ and coming 4th in the UK for Wedding Photographer of the Year in February.

Q: What would you have done differently in your business if you could start again?

Started earlier! I love what I do.

Thank you Lynn for sharing your wedding photography and giving an insight into your work with the readers of Creative Light Magazine.

- Julie Oswin, Editor

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

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

SHUTTERTAX

The online accounting option for photographers with a 20% discount for The Guild.

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.

Professional Membership costs £129 and Regular Membership costs £99

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.

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 AI powered image monitoring and copyright infringement resolution service.

The value of registering with the US Copyright Office - regardless of where you live

DEMYSTIFYING COPYRIGHT

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.

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