Creative Light - Issue 53

GuildAwardsSpecial

© LISA SUMNER

© GRAHAM HAZLEGREAVES

© SIMON NEWBURY

© STUART WAUGH

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EDITOR

Julie Oswin

Welcome to the first edition of Creative Light for 2023.

To kick-start the year, the Guild hosted a fantastic weekend celebration of their Annual Awards which was held at DoubleTree by Hilton, Stoke-on-Trent, on Saturday, 4th February 2023. It was great for members to get together and celebrate the success of the members awards. The winning images are featured throughout this edition.

Paul Brown shares with Creative Light his series of inspiring and colourful ICM work titled A Change in Mind—a Change in Direction. Michelle Szpak is back! With a fascinating article on how you can, as a photographer, hold your business back.

Peter Morgan from Tech for Togs has written and article with a difference for this edtion on capturing headshots‘10 Indispensable Tips for getting a Killer Headshot’

Philip Yale submitted his Craftsman Panel in December 2022 which was upgraded to Master Craftsman by the Judges. You can see his abstract panel on page 80 of this magazine.

Finally, last but not least a big thank-you to Samantha Jayne Sadler for taking all the images on the evening of the Guild’s Awards, which Guild Members can access free of charge.

Contact Sam via her website - https://www.samanthajaynephoto.co.uk

Enjoy!

- Julie Oswin, Editor & Creator of Creative Light Magazine

FRONT COVER

The Front Cover for this edition is a beautiful image and one of many award-winning images captured by Clare Perry, the Guild’s UK Photographer of the Year 2022. Clare’s image was one of many entered by her, and amongst thousands entered into the Guild’s annual Image of the Month Competition 2022. This image was entered into Baby & Toddler Category and awarded a silver and chosen by the Guild’s Judges as one of the Top Ten Finalists in the Baby & Toddler Category.

Congratulations to Clare Perry, the finalists and the winners of the Guild’s Image of the Year Competition 2022.

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Guild Awards

When we started the Image of the Month, all those years ago, we never imagined how important it would become to so many people, including us, and the Awards Night on Saturday 4th February 2023 showcased everything we could have wished for and more!

A big thank you to the Guild’s amazing Judges who commit their time to judging the Image of the Month each month and ‘pay it forward’ through the Guild’s feedback and mentoring programme.

Also a special thank you to our fabulous Trade partners who sponsor the Event each year with incredible prizes and the Year Book of course- What they do for our Community is so important and greatly appreciated.

Finally, we can’t forget our lovely Carly who works so hard on the IOM each month as well as finalising the end of the Year results.

The IOM isn’t all about achieving the Photographers Bar, or winning an Award of course, as fabulous as that is - it is the personal journey everyone has when pushing themselves, learning new skills, embracing feedback on your images, and letting these things influence our next images.

And as Nelson Mandela said “It always seems impossible until it’s done”.

Whether you enter our competitions or not, we are sure you will enjoy the inspirational competition images in this exciting edition of Creative Light, edited by Julie Oswin of course, along with those taken on the evening itself by the amazing Samantha Jayne Sadler.

P.S. The date has already been set for next year Guild Awards night - It’s the 3rd February 2024. We hope to see you there..

Awards 2022

Winner: Sarah Dowdall

The Founders’ Cup

Sponsored by Datacolor

The Guild of Photographers started life as the Guild of Wedding Photographers in 1988 and it’s founders were Roy Doorbar and Ian Gee. They both sadly passed away in late 2016, and the ‘Founders’ Cup’ is a prestigious Photography Award which acknowledges what they started, and their aims of supporting photographers and raising standards in the industry by encouraging personal development.

Entry comprises of a three image themed body of work, which is initially entered digitally. Following initial judging those selected as finalists then resubmit their work in a printed format for final assessment.

The competition is restricted to those who have not won a National Competition before and have not attained the level of Craftsman with the Guild (or equivalent elsewhere).

WINNER: Sarah Dowdall

RUNNER-UP: Nigel Proctor

The Winner of the Founders’ Cup 2022 - Sarah Dowdall receives an amazing SpyderX Photo Kit courtesy of Datacolor.

The Runner-Up of the Founders’ Cup - Nigel Proctor receives a fantastic Spyder Checker24 Calibrator from Datacolor.

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Image of the Year

Avant Garde & Contemporary Portraiture Category

WINNER - Sarah Wilkes

RUNNER-UP - Magdalena Bartnicka

Sponsored by One Vision Imaging & Infocus Insurance

Image of the Year

Baby & Toddler Category

WINNER - Ela Drozynska

RUNNER-UP - Clare Perry

Sponsored by One Vision Imaging & Infocus Insurance

Bird Category Image of the Year

WINNER - Judith White

RUNNER-UP - Lorraine Dale

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Image of the Year

Children's Portraiture

WINNER - Eva White

RUNNER-UP - Barbara MacFerrin

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Image of the Year

Classical Portraiture

WINNER - Millissa Forbes

RUNNER-UP - Martin Clark

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Image of the Year

Commercial Category

WINNER - Ian Knaggs

RUNNER-UP - Andrew Ford

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Image of the Year

Creative & Digital Art Category

WINNER - Morag Forbes

RUNNER-UP - Ian Knaggs

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Image of the Year

Equine Category

WINNER - Sharon Bolt

RUNNER-UP - Kirsty Bevan

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Image of the Year

Event, Sport & Action

WINNER - Ryan Hutton

RUNNER-UP - Michael Peat

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Image of the Year

Flora Category

WINNER - Gaille Gray

RUNNER-UP - Molly Hollman

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Image of the Year

Nature & Wildlife Category

WINNER - Jayne Bond

RUNNER-UP - Gary Neville

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Image of the Year

Newborn Category

WINNER - Anneka Lewis

RUNNER-UP - Clare Perry

Sponsored by One Vision Imaging & Infocus Insurance

Image of the Year

Pet Category

WINNER - Lorraine Lucas

RUNNER-UP - Katie Brockman

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Pictorial Landscape Image of the Year

WINNER - Chris Chambers

RUNNER-UP - Mark Harris

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Image of the Year

Urban Category

WINNER - Morag Forbes

RUNNER-UP - Helen Simon

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Image of the Year

Wedding Category

WINNER - Chris Chambers

RUNNER-UP - Chris Chambers

Sponsored by One Vision Imaging & Infocus Insurance

S U R A N C E

The Judges Choice

Overall Image of the Year

WINNER - Lorraine Lucas

RUNNERS-UP -Morag Forbes & Millissa Forbes

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The Members Choice

Overall Image of the Year

WINNER - Chris Chambers

RUNNERS-UP - Katie Brockman & Lorraine Lucas

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Photographer of the Year

Top Ten Photographers 2022

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Categories - £200 Print Voucher for the winner, a £100 voucher for the runner up

THE NATURAL WORLD CATEGORY

1. Winner: Katie Brockman

2. Runner-Up: Chris Chambers

3. Jayne Bond

4. Stuart Waugh

5. Gary Neville

6. Emily Endean

7. Rosalie Smith + Mark Harris

8. -

9. Edward Allistone + Laura Galbraith

10. -

OPEN CATEGORY

1. Winner: Simon Newbury

2. Runner-Up: Ian Knaggs

3. Helen Trust

4. Mark Harris

5. Morag Forbes + Chris Chambers 6.7. Peter Benson

8. Andrew Ford 9. Helen Simon + Steven Lambert 10. -

PEOPLE CATEGORY

1. Winner: Magdalena Bartnicka

2. Runner-Up: Sarah Wilkes

3. Martin Clark

4. Katherine Evans

5. Emma Finch + Nikki Goodeve

6. -

7. Jo Kelly

8. Karen Nicholson

9. Tina Frances + Steve Reid

10. -

MATERNITY, NEWBORN & BABY CATEGORY

1. Winner: Clare Perry

2. Runner-Up: Lisa Sumner

3. Magda Bright

4. Hayley Harraden

5. Talissa Fernando-Clark

6. Rachel Sloan

7. Katherine Evans

8. Laura Spence

9. Vicky Glanvill, Michelle Putka + Bregitte Van Haaren

10. -

PETS CATEGORY

1. Winner: Katie Brockman

2. Runner-Up: Clara Allansson

3. Frankie Adamson

4. Nicki Goodeve

5. Lorraine Lucas

6. Victoria Borton

7. Kin So

8. Sharon Bolt

9. Steve Jones

10. Mandy Newby

WEDDING CATEGORY

1. Winner: Chris Chambers

2. Runner-Up: David Conway

3. Ben Cumming

4. Simon Newbury

5. Abraham Overvoorde + Jaine Briscoe-Price

6. -

7. Emma Hammond + Tommy Hill

8. -

9. David Bostock, Stacey Oliver + Dale Turner

10. -

Photo: Frankie Adamson

The Guild’s

All Round Photographer of the Year - 2022

Katie Brockman

Sponsored by Loupedeck

This goes to the person with the highest combined score from any two sections of our competition which is something incredibly difficult to achieve when you consider most photographers specialise or concentrate on one genre!

THE INTERNATIONAL PHOTOGRAPHER OF THE YEAR - 2022

SPONSORED BY CLICK PROPS

The Guild’s International Photographer of the Year for 2022 will be receiving two x 8.92x15 ProFabric Sweep Backdrops worth £1100.

Katie Brockman

The Guild’s 2022

UK Photographer of the Year

Clare Perry

This title goes to the person with the highest combined score from the Guild’s IOM Competition. Clare will be receiving the Surecolor SC-900 - an amazing Professional Printer from Trade Sponsor Epson.

Photographers Bar Winners

Frankie Adamson — Clara Allansson — Ali Asplin — Magdalena Bartnicka —

Peter Benson — Kirsty Bevan — Victoria Borton — Baron Bratby — Amy Bray —

Magda Bright — Jaine Briscoe-Price — Paul Campbell — Lisa Carey — Martin Clark —

Steve Collins — David Conway — Dawn Cotterell — Eleanor Cruse — Ben Cumming

— Gary Davis — Kathryn Dickinson — Nigel Doherty — Sarah Dowdall — Paul Dunmall

— Joanne Eastope — Emily Endean — Lauren Fairman — Helen Farlow — Talissa

Fernando-Clark — Emma Finch — Andrew Ford — Tina Frances — Mandy Fraser —

Gaille Gray — Christopher Hall — Emma Hammond — Stewart Hanman —

Ali Harris — Mark Harris — Graham Hazlegreaves — Tommy Hill — Katie Hughes —

Jill Johnson — Christine Johnstone — Steve Jones — Jo Kelly — Ian Knaggs — Lorraine

Lucas — Tracy Main — Jenny McDonnell — Lisa Mitchell — Mandy Newby — Vicky

Norton — Abraham Overvoorde — Trevor Partridge — Clare Perry — Sandie Powner —

Malgorzata Pulman — Michelle Putka — Steve Reid — Angela Robertson —

Kim Robinson — Amanda Rodwell — Lyn Rostron — Christine Russell —

Lucy Sellors-Duval — Sian Shipley — Helen Simon — Carl Simpson-Smith —

Monima Simpson-Smith — Rachel Sloan — Rosalie Smith — Kin So — Laura Spence —

Stu Stretton — Lisa Sumner — Brian Terrey — Estelle Thompson — Bregitte Van Haaren

— Louise Walker — Nigel Wallace — Jane Webster — Tim Wilde —

Peter Woods

TWO BARS

Jayne Bond — Katie Brockman — Sue Dudley — Katherine Evans — Louise Farrell

— Morag Forbes — Laura Galbraith — Vicky Glanvill — Nikki Goodeve — Camilla

Gore — Hayley Harraden — Mark Harris — Ryan Hutton — Steven Lambert —

Anoushka Lynd — Gary Neville — Simon Newbury — Karen Nicholson — Nigel

Proctor — Cliff Spooner — Charles Thorne — Jo Tresidder — Helen Trust — Stuart

Waugh — Dawn Westwood

THREE BARS

Lucy Baines — Chris Chambers — Marie Sampson

SILVER BAR

Chris Chambers — Steve Collins — Dawn Cotterell — Andrew Ford — Hayley

Harraden — Ian Knaggs — Simon Newbury — Sandie Powner — Nigel Proctor —

Marie Sampson — Charles Thorne — Helen Trust — Dawn Westwood — Peter

Woods

GOLD BAR

Sue Dudley — Tracy Main

Photo: Gaille Gray

Special Contribution Award

CLAIRE ELLIOTT

A gentler soul you couldn’t wish to meet! This lovely lady studied graphic design, photography and fine art before deciding that photography was her calling. She turned professional in 2001 and her exceptional skill as a photographer of Newborn’s, Toddlers and Families soon became obvious. She joined the Guild 10 years ago, and became the Guild’s first Craftsman in the Newborn genre, not long after we became the Directors actually, and later on she achieved Master Craftsman status.

Over the years she has been a much-trusted Judge and a Mentor, as well as a trainer at the forefront of the UK’s Newborn Industry when this genre hit our shores becoming the UK’s first global Ambassador for the Stand-In-Baby.

Claire Elliott is by nature, one of life’s giver’s, who over many years has genuinely wanted to help others to fulfill their dreams through photography, and she’s done just that!

Ladies and gentlemen, `We give you the Fairy Tog Mother - Claire Elliott’

Steve & Lesley Thirsk Directors

The Guild of Photographers

Special Contribution Award

CHARLOTTE BELLAMY

This person’s photographic journey started with portraits and weddings 15-20 or so years ago and she joined the Guild some 10 years ago.

About 6 or 7 years ago she moved from the UK to the Netherlands and it’s fair to say she had to start again in all ways including photographically.

Charlotte Bellamy turned to landscapes and with her desire to push herself combined with a sprinkle of inspiration from our mentoring programme she developed a love for and specialism in ICM and creative landscape photography.

She became a Master Craftsman and won not one, but two ‘All Round Photographer of The Year’ titles plus more before joining the Guild’s Panel as a Judge and Mentor. Many of her images are made just a short walk from her home, proving that you need not travel to beautiful and exotic locations to create unique images.

Charlotte loves to share her experience and knowledge with others, offering training to beginners plus, and she leads photography tours in The Netherlands. Her motto is ‘take a moment to look at the normal; you might just see the incredible’ …

This Award goes to the “incredible” Charlotte Bellamy!

Steve & Lesley Thirsk Directors

The Guild of Photographers

JEREMY PRICE Special Contribution Award

This person had a successful career problem solving and launching brands for blue chip companies in the 1990’s.

Then Mr Jeremy Price attended a meeting where he was shown a pocket book by a company called Graphistudio. The innovation shown by Graphistudio, was too good to miss, and the rest is history - Jeremy launched Graphistudio in the UK in 1999, and we can only wonder how many families have precious family heirlooms in their homes because of this move.

Over the last 24 years Jeremy has worked with many of the world’s top photographers and trainers and has seen first-hand the many ways to be successful in this industry.

He is always generous with his time sharing the knowledge he has accrued about how to make businesses more profitable - something he has now developed into workshops which he takes around the country.

He is, and always has been committed to help photographers, as he enjoys nothing more than watching people develop and grow successful business … but let’s go beyond that and not the forget the PERSON that is Jeremy Price – A much loved, respected friend to many (as well as a wearer of fabulous waistcoats of course)!

As he moves into his 25th year in the industry, we are sure he will he continue to work tirelessly to help others in any way that he can…it is our privilege to present this Award to Jeremy Price!

- Steve & Lesley Thirsk Directors Guild of Photographers

Special Contribution Award

CALUM THOMSON

Our next Award is for someone who has worked in the photography industry since cameras were invented – well, not quite, but they will have certainly seen a lot of changes in 35 years. This fun-loving, but highly committed person started work in the 1980’s with Regency Film Service. He then spent over 16 years in various roles at Eastman Kodak. ‘In the early days of Calum’s Kodak time, Brenda Haycock from Calumet said to Jon Cohen (Fuji) that he’s so good at what he does he shouldn’t be working for Kodak but Fuji!’…something

that never happened, but it reflects how well Calum was respected from the outset. Whilst at Kodak, he reached the dizzy heights of Equipment Sales Manager across the UK and Europe, before becoming the UK Sales Director for Photologic, Kodak’s new distribution arm. A few years later, following a relocation to be with family, he moved to the fabulous Loxley Colour, which is where Lesley and myself first encountered his vibrant personality, passion and helpful nature! In 2019 he then joined the fantastic team at Digitalab, where he is now their amazing, and very popular Commercial Director.

The photography industry is, without doubt, in Calum’s blood and it is richer for that fact!

He’s contributed so much to both the industry and photographers, so we are delighted to present this special acknowledgement to the very ‘affable’ Calum Thomson.

- Steve & Lesley Thirsk Directors Guild of Photographers

Special Contribution Award

CHRISTOPHER JAMES HALL

For many people who have experienced homelessness, losing their self-esteem can be the most damaging part of their experience. Being on your own, with no support around you can be soul destroying, leaving you feeling worthless.

Guild member Christopher Hall experienced homelessness and dreamt of becoming a photographer. When Chris was able to access accommodation, he was given a camera. This moment was the launchpad of his career.

Christopher now works with organisations to create and enable bespoke projects to enhance the lives of others in a similar position to what he was. Emmaus is one such organisation, providing a home and meaningful work for as long as someone needs it.

In his project, The Emmaus Journey, Chris enabled companions who live there to create images that show what life is like living in that community, and in his words “at the same time learning new skills, whilst being able to see the environment where they live in a new and exciting way. Those involved managed the project from the initial idea to printed book which was published last year, so learnt much and should be immensely proud of what they achieved. Neither Lee who had never had a job, nor Chris who had been sleeping rough in London, had ever had a proper camera and photography became part of their lives.

The images capture their journey through their eyes, showing where they slept on the streets, their fear of entering a home, then the love of feeling safe in their own space with the luxury of a breakfast awaiting them plus many more. This is an example of Chris’s desire to pay it forward through photography and we are very proud to acknowledge that!

He isn’t here tonight as he recently got married and he’s on a weekend celebration with several of his closest friends, but we felt it important to acknowledge his work which will influence many …

- Steve & Lesley Thirsk

Directors

The Guild of Photographers

A Change in Mind A Change in Direction

Paul Brown

It was one photo from a photography club member, followed by an inspiring talk by club speaker Glenys Garnett which set me on a new path and style of photography.

First, let me fill you in on my past background. My name is Paul Brown, and in 2009, I left the Royal Air Force after 22 years as an airframe engineer. I left Scotland for Lancashire and became a wedding photographer primarily. I had been lucky enough in my last couple of years in Scotland to have the opportunity to photograph weddings at some beautiful locations in the North West Highlands. However, I had no real training, which in hindsight, I don’t recommend. So, I found myself in a new town, not knowing anyone, plus not knowing what to do next. So I joined a photographic organisation and got involved in the forum discussions and banter. Before I knew it, friendships were made, and my development as a photographer grew. Over the next few years, I was lucky to have some wonderful mentoring and advice from photographers, such as Paul RG Haley, Julie Oswin, Richie Crossley, Gary Hill and many more, plus a wonderful opportunity to be a busy Wedding Photographer from the now retired, Mark Pearson.

Then in 2016 (the short version), I had a change in my personal life, which meant moving to Yorkshire to be with someone, I met through photography.

I gave up full-time photography and started working for the country’s fastest-growing supermarket, which I enjoy way more than I thought I would. But at the same time, I wanted to keep a love for photography and capturing images. After seeing an Exhibition by Bingley Camera Club (bingleycameraclub.org.uk) in my local town of Baildon, I decided to attend their meetings. Five years later, I’m now the Club President of over 100 members. We are not an ‘old school’ style of club; we are a vibrant community of photographers with an ethos of sharing knowledge and helping each other. We have things going all the time, a hard-working Committee and a standard of photographic excellence getting better all the time, which has meant we have risen up through the rankings and missed out on being the Top Club in Yorkshire by 0.1 points in the Yorkshire Photographic Union Annual Competition. Also, being part of a great club has made me want to get out with the camera and take photos. So, my advice to any photographer, if you are someone who is getting lots of help and advice for free, never forget that and be prepared to share that knowledge in the future.

So, now onto my new direction with my photography. As mentioned at the beginning, an Intentional Camera Movement (ICM) photo from club member Ron Pengelly (@pengellyron on Instagram) and a talk on creative photography from Glenys Garnett (@ggcimages), I was inspired to learn more and get creative. At the time, with a mixture of tiredness from being busy at work, and the strains of life, I could feel my mental well-being start to degrade.

So getting out and trying to create a piece of art from things and places that would typically only produce a boring record shot lifted my spirits. I am a Canon user, and as many makes of camera, it has a multiple exposure mode where you can create a single image; in the case of a Canon 5D Mk IV, up to nine exposures. So, mixing longer exposures with multiple exposures produced results I liked and inspired others within our club to get more creative. Now for the tech bit, you may have several blend modes in the camera. These blend modes equate to an equivalent blend mode in Photoshop; for example, darken mode in the camera (Canon) is identical to darken blend mode in Photoshop. Therefore,

I recommend playing with the different settings and seeing the results. You will also require neutral density filters if you cannot get your exposure long enough, especially in bright conditions.

As you experiment, you will get many awful shots, but as you work out what tones work together, how the lines blend, plus how colours work together, you will see results on the back of the camera that are almost paintings.

The beauty of these shots is that they take minimal editing. Things that would normally be a distraction, blend in. But don’t worry if your camera doesn’t have a multiple exposure option; you can still blend images and experiment in postproduction or get creative with single shots and long exposures.

So, in summing up, creative imagery is now gaining recognition in the photography world and being seen as a photographic skill. I want to develop more and get a good portfolio of artwork.

At the time of writing, I am quite proud that a straight out-of-the-camera ICM multiple exposures have got me short-listed for Photographer of the Year for ‘In Camera Artistry’ with The Societies of Photographers.

If you want to see more examples of my creative side, go to www.paulbrown.art or follow me on Instagram @pbphotographer and come and say hello. Photography can easily harm your mental well-being when running a busy business, but it can also be a tool to heal the mind.

Thanks for reading.

Paul Brown LSWPP

© Paul Brown

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Peter Morgan 10 INDISPENSABLE TIPS FOR GETTING A KILLER HEADSHOT

Peter loves photography and gadgets. It would be safe to say he is obsessed with technology. He has worked in the computer and telecommunications industry from the age of 16. Peter is an Apple and Windows Engineer, Backup and Disaster Recovery Specialist and has been supporting individuals and businesses for over thirty years. He started a professional photography business in 2014 after selling his IT company to pursue his love of photography. Peter soon found out that his IT skills meant that great photographers trusted him with their businesses technology. Often he would trade his IT repair skills for photography training to learn as much as he could about every different genre and type of photography to create his own unique and quirky style.

Like many other photographers, the global pandemic postponed Peter’s primary job as a professional photographer, so he began looking at the real problems photographers and creatives faced daily. This is when his idea for ‘Tech for Togs’ came into fruition as he was constantly being asked for help on Facebook Group with an average of 20 requests daily.

Many photographers don’t have a robust, stress-tested backup solution. As a photographer, Peter finds that having the solution, workflow, and knowledge is invaluable for the creative industry.

Peter has written an article for this edtion based on photographing headshots.

Killer Headshots

If part of your business is capturing Headshots, then this is for you. Even if you’re thinking of adding it to your portfolio, it’s worth checking these essential tips and tricks if you’re a commercial photographer. You can up your customer’s average spend by offering this essential service.

1. Have a great booking system that sends information on what your clients need to do to prepare for their upcoming shoot. I use Calendly (there’s a free version and a paid version available). I send out a few paragraphs informing clients what I expect from them, what they should expect from me, my fees, payment methods and how to prepare to get the best shots. Personal grooming and fashion tips should also be included, as you always want your customers to look their best, as this will reflect in your images. It’s easier for them to read about bleaching a top lip and pulling stray nose and ear hairs than it is to be talking to them in person about this, as it may or may not even apply to them, but it shows you’ve considered everyone.

3. Kit-wise, find a style and stick to it. I use three Godox AD200 with the bulb head on a Godox S2 Speedlite Bracket for Bowens. I use Godox strip boxes, as they are cheap but good quality and offer a decent amount of diffusion. I turn on the guide lights so that the eyes adjust to the light, and we see more of the colour in the eye. They are set up in a triangular configuration with the top two parts of the triangle at 1/16 power and the bottom horizontal strip box set at 1/32. My Canon EOS R is set up at f/4-5.6 at around ISO 200 and 1/160 a second shutter speed on a Canon 100mm f/2.8L Macro lens. I always use a tripod, and my kit of choice in the studio is a Manfrotto MK290XTA33WUS 290 Xtra Aluminum Tripod with the 804 3-Way Pan/Tilt Head. I shoot tethered using a Tether Tools TetherPro USB Type-C Male to USB Type-C Male Cable and edit into Adobe Lightroom Classic. You can also use Capture One, as the tethering on that is better, but I prefer using Lightroom.

2: Don’t take photos as soon as people come into your studio or space. Talk to them, make them coffee, tea, whatever. Talk to them about where they will be using the images and whether they will use them with copy text to the left or right. Look at the clothes they have brought and help them choose the first outfit to shoot. Reassure them if they have turned up with a zit from hell. It happens to the best of us, and rarely does anyone turn up looking immaculate. This is important, as people will feel more relaxed with people they like and trust.

4. Get good at banter. The face is an expression map of people’s feelings, concerns, and worries. The best way to get great, expressive photos is to make people laugh and shoot through the smile. Start by understanding the key stages of facial expression. During the initial energy in the face from hearing something funny, they might tilt their head back and laugh, and then comes the cooldown. The energy still resides in the face for a second or two, and this is what you aim to capture, as this is the most impressive part. The final stage is where the face returns to the expression before what made them laugh or smile.

Getting good at making people laugh puts them at ease and brings out their personality. Plus, you get some incredibly expressive and amazing photos that blow people away. Remember, most people will have never seen themselves like this. The Headshot: The Secrets to Creating Amazing Headshot Portraits

5. Use an app or a notepad if you’re not good at coming up with things to say to people. It’s an excellent way to have instant access to a few funny things to say if you freeze up, and it’ll get you into the habit of coming up with things that will eventually lead you to develop your banter and style.

Get some good training. I recommend Peter Hurley’s Hurleyisms. It led me to train with Peter Hurley in London when I took the Headshot Intensive training a few years ago. It took me down another path, generating an additional income stream that makes me a decent amount yearly.

7. Advertise on LinkedIn. Most of the clients that will need a great headshot will be found there. Use headshots you’ve taken in the past to advertise for new clients. Write a blog on how a killer headshot is going to raise people’s profiles that they can use on their website and social media.

8. Pricing-wise, big companies will tend to want all of their employees photographed at the same time for maybe a website refresh or even employee badges, so remember to give them the price of a day rate as well as the option of a session rate and fee for editing chosen images. The session cost is usually what I charge for a single two-hour session, and then I charge per image edited. You can still have a full- or half-day rate for multiple-client business sessions, but you should spend at least 30 minutes with each staff member to get the best shots out of them. Don’t try to rush everyone through, or you’ll end up with unhappy clients and will be unlikely to get a repeat booking or even have them choose more than one shot.

9: Once your session is over, sit the client down, make them a cup of coffee, and allow them to choose their images. If I have taken around 200250 photos in a two-hour session, most people choose to purchase approximately 20-25 images. These are edited and uploaded to my finished client platform. I also upload all the unedited images to another gallery and inform every client that for every recommendation I get because of them, as soon as the new client books in, I allow them to choose an image from the unedited gallery to be edited and keep free of charge. This is a good referral system, as it’s using people that are already happy with their images I wouldn’t otherwise sell, and it’s good to be able to reward people for recommending you.

10. Partner with a local makeup and hair stylist. Lots of clients will do their own hair and makeup, but offering the service at an additional upfront cost makes this more of an experience for people and makes the session a little more special. You can work on a referral fee from your hair and makeup artist and earn extra revenue from the session.

This article will give you insight into how I run my headshot business.

Experience the joy creating a personalised CEWE

PHOTOBOOK

From one-of-a-kind moments, to nature and landscapes, to capturing January is a perfect time to print your photos and get creative by making CEWE PHOTOBOOK.

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Design tips for your next photo book.

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Are You Holding your Business Back?

Are your beliefs holding you back? Stop sabotaging yourself.

What you believe creates your reality. I am sure you have heard these words before, and now even science is getting behind how our brains create the reality around us.

What are beliefs? Well, they are just a thought we keep thinking. The more someone tells us something, or we say something to ourselves then more we believe in the belief itself.

Let’s use this article as an example. I have been trying to write this for weeks, but every time I go to start it I think I am no good at writing. You can’t write this. Writing is not your thing; you were never good at it.

This belief for me has come from school. I have always been amazing reader but writing and spelling, were low grades. Towards the end of school, I found out I had dyslexia. More proof that I should never write things.

This belief then leads to me procrastinating, and self-sabotaging myself. If I leave it too late, maybe it won’t be needed. Then I won’t look bad. People won’t message me telling me how bad I am at this, and I won’t get rejected.

As you can tell I have pushed through this otherwise you wouldn’t be reading this right now. But yep, this has taken me ages to force myself to sit down and create this. (I am also in the process of writing a book – I mean why would I do this to myself!).

BUT if we give up and let our beliefs stop us, forcing us to stay in our comfort zones. Then what will we really achieve in our lives? What will we miss out on? Living a half life when we could achieve so much, just because someone or ourselves decided we weren’t any good or could never done it.

It is all just a belief. A belief that is changeable. One we can work through and show the world or maybe just ourselves that we can do it. Beliefs are dangerous when they hold us back. Beliefs are changeable and so is who we think we are.

I felt this is a good subject for this publication. As you are flipping through and looking at all the amazing awards by many great photographers. I can hear some of your thoughts. I could never do that! I will never be that good! I shouldn’t bother entering the competition, what’s the point. I will never win. Imposter Syndrome here we come!

Everything you have just said is a BELIEF! Your belief! I am not good enough. My work isn’t good enough etc. All beliefs about yourself and your life.

BUT YOU CAN! You can enter and you do have a chance to win awards. Although awards should never just be about winning, they should be about becoming the best photographer you can be. Working with amazing mentors and judges. Honing your skills and getting better with each month you enter. You can build your knowledge and skill. Yet that thought that belief will stop you from every trying. From growing into who you could be.

Not one of those photographers who won this year took just one picture and won. They honed their skill, they practise, and they became the best version of themselves. There is no magic and if they can do it, then so can you! In fact, I would go back to the images now, look at them again. This time as you look, know that if someone created this, won the awards then so can you. You have everything they do and what you don’t you can learn.

Don’t let your beliefs stop you from being amazing. Don’t let them self-sabotage you and keep you playing the small game. After all failure only exists if you give up! So don’t give up and keep playing the game.

Where else can beliefs knock you back? Unfortunately, everywhere. Do you believe you can’t make money in your business? Do you think life isn’t fair? That life never works out for you. Do you find yourself discounting your products and services before your client has even said if they are ok with the price? Or maybe trying to avoid the price altogether? Taking on bookings that aren’t something you enjoy? Ignoring e-mails or messages? Avoiding (like me) writing your blogs (after all I am no good with writing ). Look at what you avoid or what happens in your life, and you will find hidden beliefs behind them. Beliefs you can change, with the right tools.

What do you want to change? The first step is awareness. Looking at those beliefs and facing them head on. It is time to take control of your beliefs and make them work for you.

www.photographersmindset.com

All social media: @Photographersmindset

PODCAST: Photographers Mindset

Join Michelle for her FIVE DAY FREE Mindet Workhop: Starts on the 20th March 2023

https://photographersmindset.com/5-dayphotographers-mindset-workshop/

REFRESH YOUR SAMPLES

The start of the New Year sees wedding fair season fast approaching which means it’s time to ensure your product samples are showcasing your best work. To make it easier for photographers, SIM offers 40% off sample albums and sample frames throughout the year so you can present your photography in style. Visit our dedicated sample page for your exclusive discount code.

40% OFF ALL ALBUM & BOOK SAMPLES

For professional photographers, product samples are an essential tool for marketing packages to new and existing clients. It’s vital for clients to see your photography displayed at its full potential, professionally printed and expertly bound, to truly illustrate the quality of your work. All of our albums are handmade in our Hertfordshire workshop using only the highest quality materials, making these a great way to present your photography to clients. Use our free SIMWARE software to create your album design and we’ll craft your product by hand in only 10 working days. If you have an important client meeting or wedding fair that you require an order for, please let us know on your checkout form so we can get this delivered in time for you!

Master Craftsman PHILIP YALE

THE CONCEPT

Flossy is a 27 year old Arabian mare that I have known and photographed for some years now. Back in 2021 her owner asked if I could take some photographs that were a little different and eye-catching, but she didn’t know quite what. The idea came to me that I could take some close-up shots from slightly unusual angles and that they might fit the bill.

As I reviewed the results of the first session, I suddenly thought that preparing a larger set of abstract shots would be a really interesting exercise. I opted for black and white with a very dark, almost black, background. Grey horses really suit this style, probably more than any other colour of horse. These new shots were very abstract indeed, and at first glance they weren’t obviously photographs of a horse. The client loved them, and so did I.

When I started to think about preparing a panel for Craftsman, I knew already that I wanted to incorporate these images in some way, but I was struggling with the best way to present them as a coherent set. Eventually I had a moment of inspiration where I imagined piecing the images together as a mosaic so that collectively they would be viewed as a horse. It turned out that that would have required too many similar images to form the body when shared between 20 prints, so wasn’t ideal. It didn’t take long to modify the concept to one that formed two horses facing each other, and this allowed for much more variety in each image. More photographic sessions followed until I felt that I’d got the ones I needed to complete the project.

The idea was never to completely create two horses out of 20 images. I wanted to create an impression of two horses, where each individual image need not convey the final result in isolation, but where the combination of the prints left the viewer in no doubt about what they were seeing.

MY PANEL WAS READY

By December 2022, after over a year of planning, mentoring, changing my mind about certain prints, and getting the beautifully-finished prints delivered from DigitalLab, everything was ready. The date for the judging had been scheduled, and I duly arrived to lay out my images in the correct sequence and then present my written statement to the judges in person. That was really nerve-wracking. Not because I was frightened in any way but because this whole process meant so much to me. When I first joined The Guild and looked at the quality of work being produced by the other members, it completely eclipsed my own, and I could only dare to dream that one day I might be that good. Now, here I was with a chance to attain Craftsman status which is a pretty exclusive club, and that really mattered to me rather more than I had perhaps realised. I was shaking as I read out my statement!

Once that was over, I then had to leave the room so that the judges (who had had their backs to the panel this whole time) could turn and assess it in private.

THE VERDICT

It took slightly less than 15 minutes before I was summoned back into the viewing room again. There was no delay and the first word spoken to me was “Congratulations …”

If that had been it, I’d have been thrilled and delighted and more than satisfied. But there was more.

Not only had the judges all agreed that I had earned my Craftsman status, but the they unanimously agreed that I had gone beyond that. To my astonishment, they told me that I had been upgraded to Master Craftsman! I almost cried. After all the tension that had been building up beforehand and the realisation about just how much I craved the Craftsman title, being told I had actually been given Master Craftsman was almost too much to take in.

It was, and will always be, a huge honour to have this panel rated so highly. I am personally very proud of it, but more than that it helps to silence those nagging moments of self-doubt that I so often feel as a very part-time photographer when comparing myself to so many other outstanding Guild members, and that is a very reassuring feeling.

© 2022 - Philip Yale Master Craftsman

© Katie Brockman

Ask a Copyright Lawyer

US-based Copyright Lawyer Lauren Brown answers all your questions about copyright infringement on behalf of Pixsy.com.

To have your copyright-related questions answered, please send your questions to support@pixsy.com and we will try to publish them here. Each month, we will randomly select one question to win a Pixsy photographer package. Every winning package will consist of 6 months of free use of Pixsy’s professional award-winning reverse-image search tool, with access to their global team of professionals.

Q: I have a claim pending with the U.S. Copyright Office. I’ve heard it can take over a month for my claim to be processed. Why does it take so long? - Jonas, Los Angeles

I am glad you asked this question Jonas, because processing times for claims registered with United States federal agencies are notoriously slow, and the U.S. Copyright Office is no exception. The current average processing time for a copyright claim is 2.7 months. There are a number of reasons the processing time for a claim may be delayed, and anticipating some of those reasons can help shorten that time by t proactive measures.

The most common reasons a claim gets delayed longer than necessary are simple, administrative mistakes. Before submitting a claim, it is always a good idea to take a look at the section of the Compendium of U.S. Copyright Office Practices that is relevant to the type of claim you are filing and make sure you are adhering to their best practices. But in general, there are a few steps you can take that will help ensure your claim, no matter the type, is processed in as timely a manner as possible:

• File your claim and upload a copy of your work electronically, rather than through the mail.

• Make sure you have paid the filing fee.

• Monitor your email closely. The office may contact you with questions about your claim, and answering these as quickly as possible will help speed up the process.

Outside of typical administrative delays, processing times also lag when an electronic application is submitted but the applicant fails to upload the deposit within the allotted time, or when the applicant uploads an electronic deposit for a claim in which a physical deposit is required. The office will then need to communicate that requirement to you and you will need to send in the physical deposit, all of which takes time.

Additionally, claims will take longer than normal to process if the office has follow-up questions for you. This may happen because your claim is uniquely complex, or because the office has questions about your application or the work itself.

It is difficult to predict which types of claims the office is more likely to need further communication on, but by informing yourself about the requirements for your type of claim in advance, ensuring you follow all instructions carefully, and allotting ample time for both the processing of the claim and any additional communication that may be needed, you should be able to move through the process smoothly.

Q: I want to register my work with the Copyright Office so it is protected, but it’s been more than three months since I published it. What is the benefit of registration even if my images are not “timely registered”? - Jennifer, London

Jennifer, this is something I get asked frequently by photographers. In order to be considered “timely registered,” a work must be registered with the US Copyright Office within three months of its publication date, or before any infringement occurs. The primary benefits of having your work timely registered are realized during the litigation process, but there are numerous benefits to registering your work even if you do not meet the requirements for timely registration.

For certain works that have a “history of prerelease infringement,” the Copyright Office has introduced a process by which authors can “preregister” their work. If your work has been preregistered, you have evidence of infringement, and if you complete the full registration process within one month of becoming aware of the infringement, your work may also be considered “timely registered.” But, it is important to mindful that all works are not eligible for preregistration.

Three conditions must be met in order for your work to qualify for pre-registration:

1. The work is unpublished;

2. The work must be in the process of being prepared for commercial distribution; and

3. The work must be one of the following types:

a. Motion Pictures

b. Sound Recordings

c. Musical Compositions

d. Literary Works

e. Computer Programs

f. Advertising or Marketing Photographs

To start, the US Supreme Court has held that a copyright owner must possess a certificate of registration before they can initiate any copyright infringement litigation—whether the work was timely registered or not. Even if you do not now anticipate bringing a lawsuit to protect your work, circumstances may change and it is wise to ensure that you at least have the option. At a current price of $65 for a standard application, the cost of registration is relatively low in light of the potential benefits.

Next, registering your work with the Copyright Office will likely increase your chances of being able to successfully stop infringement of your work without the need for litigation. A copy of a certificate of registration attached to a cease-and-desist letter adds authority to the demand and generally increases the likelihood that the infringer will stop their conduct before a lawsuit becomes necessary. Registration may also help copyright owners guard against importations of infringing copies of their work by allowing them to establish a record with the U.S. Customs and Border Patrol.

Although still outside the requirements for timely registration, registration of a work before or within five years from the publication date will also serve as prima facie evidence of the copyright’s validity in court.

What you, as a copyright owner, forfeit in the event your work is not timely registered is the ability to pursue statutory damages or recover attorneys’ fees should you choose to pursue litigation. The ability to pursue statutory damages and attorneys’ fees is a significant bonus of timely registration because it removes the burden on the copyright owner to show that they lost money as a result of the infringement, or “actual damages.” Per Section 504 of the Copyright Act, the amounts for statutory damages range from US$750-$30,000, but can be up to US$150,000 if it is shown that the infringement was “willful.”

If you can demonstrate that your actual damages exceed the allowed statutory damages, then it may be in your best interest to go through the extra steps of demonstrating you have suffered actual damages, but the benefit of timely registration is that there are remedies you can fall back on even if you can’t prove actual damages.

Q: I have proof that someone infringed on one of my registered photographs, but I don’t want to file a lawsuit. What will a law firm do to help me negotiate a settlement instead?

- Annette, New York

It is perfectly understandable that copyright owners want to avoid bringing litigation to protect their work(s). Litigation is costly and time-consuming, and you may not end up recovering much at the end of the day. That is why many copyright owners choose to engage in settlement negotiations with alleged infringers and resolve the dispute that way.

If you choose to go the settlement route, there are a few things you can expect that a law firm will do to help get you a favorable outcome. Anticipating some of the measures firms take in settling copyright infringement claims can help you help your legal team, and hopefully increase the efficiency of the process. While every case is different and the strategy(s) used by a law firm will vary greatly depending on the facts of a particular case, you can generally expect that a law firm would, as part of a settlement negotiation:

• Provide evidence of as many instances of infringement as possible

• Emphasize any facts that may show the infringement was willful, not innocent

• Anticipate and be prepared to counter any claims of “fair use”

• Show that you, as the copyright owner, were financially harmed by the infringement

• Show that the infringer was somehow financially enriched by the infringement

This list is by no means exhaustive but should give copyright owners a general idea of what type of evidence and documentation is important to maintain in the event they need to pursue infringers of their copyright(s), and how they can help a law firm make the best possible case on their behalf.

Alternatively, I would recommend you try a service like Pixsy, which can take all the hard work out of the litigation process. They operate on a no-win/no-fee schedule and provide each photographer with a dedicated team to assist them with their claim.

For more information, go to Pixsy.com to learn more about how they might be able to help you.

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( Trade discounts/offers are subject to change )

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

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