Creative Light - Issue 56

Julie Oswin EDITOR

Welcome to the latest issue of Creative Light, the Guild of Photographers’ Online Magazine. We are thrilled to bring you articles and features that encapsulate the essence of photography and the creative process that fuels it. A celebration of the art of photography. It’s a platform where seasoned professionals, budding photographers, and everyone in between can come together to share, learn, and be inspired.

The Guild of Photographers are excited to announce that PhotoHubs Events will take place this Autumn in Oxford and Peebles [click here to visit the new website] These events will be a spectacular showcase of photography training with leading speakers from across the industry. From technical tutorials for beginners to in-depth discussions on advanced techniques for professionals, there’s something for everyone. We also spotlight some of the most innovative photographers in the industry, sharing their stories and work to inspire you on your own creative journey.

So whether you’re a seasoned pro or just starting out in photography, Creative Light has something for everyone in this issue. We hope you enjoy reading it as much as we enjoyed putting it together for you.

“ Remember, creativity is not just about seeing; it’s about feeling. It’s about capturing those fleeting moments that tell a story, evoke an emotion or simply take your breath away. And at Creative Light Magazine, we’re here to help you do just that.” - Julie Oswin

Front Cover - Issue 56

Jessica McGovern

Superb image captured by Guild Photographer and Digitalab’s Ambassador Jessica McGovern. Jessica was awarded a Gold Award for this image in the Guild’s Image of the Month competition - August 2022. Such a fabulous shot with so much feeling and expression.

Jessica is one of the main Speakers at PhotoHubs, Peebles on Wednesday 27th September 2023, she will be running two workshops.

More information on Jessica’s workshops can be found here - [click here]

W ORLD TRAVEL

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£2,500 Enter for a chance to win

Dare to be Different

In an age where social media points you towards popular photographers and artists, it is very easy to be overwhelmed by the talent of others. It is also easy to assume that if a style or concept in photography is popular with followers, this is an indicator of the path you, too, should follow for sales, growth, support and self-fulfilment.

On a couple of those counts, you may be correct. However, regarding self-fulfilment, you couldn’t be further from the truth.

As an individual, who has never wanted to follow the crowd, I am determined to create my own work and for it to be unique and unlike that of others. I can’t think of anything worse than someone mistaking my work for that of another or looking at my images and thinking they had seen similar before. I will gladly put my hands up and admit I have been coaxed to workshops promising me they will show me how to create images in a particular style. And at times, I have found myself following a step-by-step tutorial to create an end image, which I may have been delighted with, but in my heart of hearts, I felt it was not really mine.

Sean Tucker speaks about this in his book ‘The Meaning in the Making’, which I can highly recommend to anyone looking to find their own voice in the art they create. He suggests that copying or learning from others is part of the process of understanding and developing as an artist. But you must recognise when it is time to step out from following in another’s footsteps. It’s not an easy step to make, especially if it has got a bit comfortable. But when has a step into the unknown ever been the easiest option?

So how can we take inspiration from others but remain true to ourselves and create our own very original work?

I’ve tussled with this for years. Ever aware of likes and loves on Instagram. Submitting competition images that I think will do well, only to find they are not recognised by those very individuals, I was desperate to recognise my work. All this becomes tiring, demoralising. On my journey, I lost self-belief in my ability, felt like an imposter, and, even worse still, lost my desire to pick up my camera to make images. I know I am not alone here; many of you will recognise these feelings.

The greatest gift you can give yourself is to make images for yourself. Photos that you love. Images that you are proud of and say something about the person and the individual YOU are. It’s probably the hardest step to make in your photographic journey. But when you make that step, you enter a stage of your journey where your creativity will blossom. Your images will develop a unique style, and you will feel proud of what you create, purely for the love of what you are doing. But you need to stop worrying about what other people think or whether they will hit that ‘like’ button when you post your image.

That is all very easy to say, but how can you make this enormous leap?

Next time you go out to take photos – plan

NOT to share them with anyone. Make them yours. A bit like writing a diary that you know no one will read – it is guaranteed that you will be more honest and open and maybe try things because it does not matter if they fail.

Using your mobile phone is a great way to remove the pressure of expectation. It was playing with my phone and a couple of apps and creating multiple exposures, creating the inspiration and starting point for my Master Craftsman qualification panel. Nothing like it had ever been seen before. My mentor told me it would be like Marmite and could go either way. But he had faith in my images that they were unique enough and had the impact that could not be ignored (and thank goodness he was right – I had a room of Marmite lovers on my side that day)!

Another exercise you could try is to take a notebook and write down a list of everything you would love to photograph – not what you would like to make money from. I repeat – what you would love to photograph if tomorrow, someone told you money was no object and you could photograph

absolutely anything. Write that list, and it might just surprise you. There may be a budding food or abstract photographer waiting in the wings, even if you photograph babies as a job. Then maybe work with one of the simpler ones first, working your way towards those requiring a little more determination or funding. When I put my camera down on arriving in Holland, my mentor told me to photograph whatever I loved. When the requirement to make money was removed, I gave landscape photography a go and entered a new world I would never have thought to experiment with.

A third exercise you could try is going out to make images and take a step back. Put your camera back in your bag and take a moment to look next time you go out to make images – and I mean really look and don’t just see. Give yourself the time to immerse yourself in what you will photograph and ask yourself what has captured your eye. Doing this, and then recognising and processing this information, will give you a much greater understanding of what it is that YOU actually want to be captured in your images. You can then use this greater awareness to create images that represent not just what you see but the emotion or feeling you are experiencing. Bringing this to an image – no matter what the genre- will elevate your images from photos of things, people and places to images that offer a viewer an understanding of why you made that image.

As a judge, I see so many images which are created in response to successful submissions from the previous months, whether it be subject matter, backgrounds or editing techniques. Images that copy the success of others without also adding individuality lack impact. If you can be brave enough to take what inspires you and use it as a springboard rather than a template, you will gain a much greater level of self-satisfaction from the image creation process. Take yourself back to enjoying the experience of image creation rather than the expectation of the end result, and your excitement, experimentation and play will shine through in your images. Others may see this, but most importantly, you will be proud of what you create on a personal level.

Dare to be yourself and to create images you love.

Inspiration or Copying?

I loved the work of Andy Gray. I found his tutorial on YouTube and watched and dissected it. I created this image by following his tutorial step by step. Submitted to a competition, it actually won a gold award. I was delighted with this – but it’s the only one of this style I have ever made, as I feel it’s just a copy of someone else’s style.

© Charlotte Bellamy

Why would you photograph grass? Why not. I love everything about it. The colour, the way it moves, the way it tickles my legs and how it catches the sun. That, for me, is enough reason to make this image. I love it.

I painted in school and remember very clearly being told that I wasn’t really very talented with a paintbrush. It’s taken 40-odd years to be brave enough to pick up a brush and have a play…. just for me. Now I combine my photography and painting and get a real buzz by creating something unique.

This, again, is just grass!

© Charlotte Bellamy

© Charlotte Bellamy

I love bold colours and contrast. When I saw these alliums in a neighbour’s garden, I fell in love with their shape. I wanted to portray their delicate ball heads bouncing and the stems waving in the wind. I love the fact this image is so soft and delicate compared to my usual work.

Following a mindful photography course, I was encouraged to step out of my comfort zone and respond without worrying about the end result.

© Charlotte Bellamy

© Charlotte Bellamy

Love it or hate it, it will be a bit like Marmite. A couple of my Master craftsman images that I love.

In Costa Rica – I found myself drawn to the roots of this mighty tree. I made this image because I loved what I was photographing.

© Charlotte Bellamy

When I decided I wanted to create hills that do not exist in Holland, I figured out how to make it happen. It was exciting; it felt a bit naughty to make up my own interpretation of what was in front of me! This was created with movement over the tree tops of a nearby wood.

Photographing flowers in B&W…why? Why not! I was looking for a new way to interpret something I had photographed a million times.

© Charlotte Bellamy

Do moving horses need to be sharp? Who says?

Perfecting my ICM skills with moving horse – this is a long-term project – just for me!

- Charlotte Bellamy

© Charlotte Bellamy

Natasha will be speaking at PhotoHubs Events in September

Maternity Photography by Natasha Ince

Let’s talk...

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Problem Solving with Gary Hill

Gary has been a photographer and a Master Craftsman with the Guild of Photographers as well as a Fellow of the Societies, and he has numerous awards to his name. Gary is a Brand Ambassador for Digitalab, Click Backgrounds, a Friend of Graphistudio and a Sony Alpha Creator.

He is however probably best known as an Educator, being an exceptional trainer, especially in the areas of Lighting and Posing.

Posing Hands

Question One:

“ I always seem to have problems posing hands in images. Have you any tips for ways to make it easier? “

Many people have issues with hands in portraits; making them look natural can be a real problem. One of the first things I say to photographers about hands is, if they don’t need to be in the shot, don’t put them in. So many times, they are added into a portrait, particularly a head shot when there is no need, and they add nothing to the image. I try and say that the next thing is to remember the golden rule – no fists, no Thunderbirds, and no claws! All of those will look awkward in portraiture (fists can be made to work, but they are tough to get right), so avoid wherever possible.

A guide or ‘rule’ to remember on hand posing, try and present the ‘side of the hand’ to the camera wherever possible. The back of a hand should not be shown in a portrait in the upper half of the body or face unless the ‘back of the hand’ is included to make a statement.

For example, my hands are inked, and sometimes I want to show that in an image, but the inked hands would be the focal area because they are the purpose of the shot.

Hands to the face are interesting; sometimes they can look exquisite, and others just clumsy. Avoid placing the hand forward of the lip line; it will be in front of the plane of focus and will always look bigger. If possible, especially with a female subject, the hand to the face should ideally be behind the lip line and not dominate the image because it will be less in focus than the eyes. It’s also important to break the straight line from the forearm to the hand by breaking the wrist. Please see the example below and opposite.

Another tip I give is that if the hand is on the upper body or face, put it on the opposite side of the portrait’s main light. Hands, on average, are on stop brighter than the face as the face gets more sun and weathering. If the hands are on the main light side, they will catch the light before the light falls onto the face and appear brighter. This is to be avoided as you will then be on the computer darkening the hands in post-production. Also, being brighter, they will look more prominent. Placing the hands to the shadow side of the face will result in a more natural hand as the light will be softer and darker.

“Fashion images need to have delicate hands to be elegant’

So, while hands are really important and a significant part of a person’s personality, they need to be handled well in an image to work.

Shots of more than one person, the ‘hands’ can also make or break the image. Keep to the ‘rules’ where possible, especially in a group photograph. Try not to repeat the same positioning of the hands on every member of the group.

Skin Tones

Question Two:

“ I see lots of Judges comments about arms, hands, and feet being differing skin tones to the rest of the image. Why does this happen, and how can I avoid it? “

Great question! Varying skin tones on an image is something that is becoming more common rather than less common in today’s photography, especially in fine art style of portraiture. When you look at colour, you are, in effect, looking at three different parts to any colour. The first part is the Hue; this is the colour or shade of the actual colour. For example, if we look at red, the old telephone box red

is a particular hue, red wine is another, and the red in the lettering on Spar logos is another. They are all ‘red’ but all different shades or hues of red. The second part of colour is its saturation, how intense that colour of red is, from a soft subtle pink of a rose to the deep burgundy red of red wine there are differences in saturation that can show in how intense that colour is. The third part of colour, in simple terms, is luminance. How light or dark that colour is. The exact same shade of a colour can look vastly different depending on how much light hits the subject.

The original image had a pure red rectangle; the top lefthand side is still pure red (in Photoshop R 255, G 0, B 0). On the top right side, I added a curve (RBG Curve) and lifted the black point, no colour added, the bottom left I desaturated, the bottom right I lowered the white point on an RGB curve. So, in effect, I haven’t added any other colours to the red other than changing its saturation and luminance; technically, its ‘hue’ should have stayed the same, but it is clear it hasn’t.

So what happens when light falls off in an image or during post production, we either tend to add a vignette or otherwise darken parts of it, resulting in massive shifts in how colours appear. That is what has happened here, so if you consider skin, for example, if the legs are darkened, they will look different from the skin on other parts of the body.

In this example here of Ms. England April Banbury, I have made a selection of almost half of the image, added a curves layer to that side of the image, and pulled it down in the mid-tones. You can instantly see that the image has become more saturated in that part, and there is a definite colour shift in both the subject and the background. This is what happens.

In the second example, a screen shot, I have changed the curve blend mode to Luminosity; this reduces the increase in saturation and only darkens the image—a beneficial fix. My personal preference is to add a hue saturation after changing the blend mode and just reducing the saturation slightly by clipping this layer to the curve layer (where the cursor is in the third image) to ensure it only affects where the curve layer has affected the image. This means we can get that vignette or darkening without the massive colour shifts. Be very wary of desaturating more than 11-15 as then you end up removing too much colour, and the skin can end up looking very grey, again, regularly seen.

Changing light levels within an image in post-production takes time, and it is always better to have perfected the lighting at the point of capture. It is quicker to add another light or flag off part of the lighting once than to spend at least fifteen minutes correcting the lighting on every image in post-production.

I love Photoshop as much as anyone else, but the skill of the photographer in capturing the image as intended will result in a cleaner, more satisfying result and, it is often far quicker than doing it in post.

- Gary Hill Guild Panel Member, Judge & Mentor www.artoftheportrait.co.uk

Image by Wilkinson Cameras’ Ambassador, Kevin Morgans

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CLASSIFIED TO GOLD

- A GUILD MEMBERS JOURNEY

Jodie Painter

“Photography has always had a magical quality that captivates me. My earliest memory is of watching my father in a makeshift darkroom at home, where he would place paper into trays of chemicals, and an image would appear before my eyes. Even now, I am amazed by the ability to capture and freeze a moment. I pursued photography and FineArt in college and eventually purchased my first digital camera. Over the years, I have learned about lighting, composition, and post-processing, and I have even won awards for my images and digital work. In 2020, I was selected as an Image of the Year Finalist with the Guild of Photographers.

Dogs hold a special place in my heart due to their unique qualities of unconditional love, friendship, and laughter. I volunteer at local dog rescues, walking and spending time with dogs while they wait to be rehomed. I also support and fundraise for local rescue centres.”

Q: When did you first pick up a camera and become interested in photography?

I first picked up a camera around 14 years old, back in the darkroom times. My Dad had a makeshift darkroom in our bathroom, so I spent many happy hours watching Dad develop negatives and print photographs dipping paper in and out of various trays of chemicals.

Q: What have you found most challenging with your photography?

Learning the computer side has been frustrating!

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

Large dogs jumping all over me to feed them is a good reason to get up.

Q: Photography can sometimes be frustrating at times; what have you found the most frustrating about being a photographer?

People undervalue just how much work can go into a single image. They think everything happens in the ‘good camera!!’

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

I love my little AD200 strobe - it fits into a pocket and is very powerful!

Q: What is your favourite go-to lens? My favourite lens for portraits is my Canon 24-105 lens.

Q: What advice would you give members of the Guild starting their photographic journey and entering Image of the Month?

It’s a great way of seeing how you have improved BUT enjoying your photography and making art you love should always come before competition results.

Don’t beat yourself up if it doesn’t go well, some of my favourite images I have taken didn’t do well and are not technically point scorers, but when I look at them, there is just a feeling about them which makes me happy. Enjoy the process.

Enjoy making art!

Q: Post-processing of your images. Preference for Photoshop or Lightroom and how important is it to your finished work?

Photoshop: Very important to my finished work; I love how easy it is to twiddle about with an image now, and great fun!

Q: Tripods? Love or hate them?

Suitable for hanging clothes on.

Q: Best Buy for £50 - photography related? Optech camera strap.

Q: The lighting of images. What do you look for and your key elements when creating your shots?

The lighting suits the mood I am trying to create, carving out the three-dimensional qualities.

Q: Where do you get the inspiration for an image? What attracts you?

I’ve always had a very vivid imagination and have always been drawn to weird and dark imagery. I went to Art college as a kid and studied art history. I loved the art of Edvard Munch/H.R Giger/Hieronymus Bosch; this kind of work inspires me.

Q: Interesting facts about you?

I have a massive dragon tattoo on my thigh and make bat boxes.

Q: Three words that describe you?

Quiet/Strange/Kind

Q: What is your favourite meal?

Avocado and Poached Egg

Q: What is your favourite place in the world and why?

In the middle of any Forest, I always feel better outside, surrounded by nature, away from people, noise and the internet.

Q: Where next?

Rescue more dogs, go mirrorless, and try art nude. ;-)

- Thank you for sharing your photographic journey with Creative Light Magazine Jodie.

website: https://canineportraits.co.uk

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FOOD PHOTOGRAPHY STYLING

You sit down for a meal, and the food arrives beautifully presented; you admire this as art and skill in the chef’s hands.

Chefs have a knack for knowing what to do with the food they are serving up, so it’s a feast for our eyes when it gets to the table.

Not only is it a knack, but they have been trained for years to make the food aesthetically pleasing for the customers. We eat with our eyes first.

When I’m working with restaurants and pubs, the chefs are heavily involved in styling the food, so it...

• It looks like their food

• Looks the best it can look

FOOD STYLISTS

A food stylist can be used if the business doesn’t have a chef. I have the preferred food stylists I work with, who are worth their weight in gold when you are photographing packaging shots, and the food has to be perfect.

Food stylists can slow the day down, but you have to decide if it is perfection you need (e.g. for packaging) or speed (e.g. to get through a whole menu)

A food stylist will charge between £200-£400, dependent on their level of involvement in the day. But, if we don’t have a chef and we don’t have a food stylist, how do we style our food so it doesn’t look like a flat gloop on a plate?

There is a skill to it.

Let’s look at a few essential items that make or break your food photography.

PLATING

Customers believe a dish tastes better if it’s presented beautifully. Even basic dishes can benefit from thoughtful presentation—it makes the dish seem more appetising and valuable. Food plating focuses on five key presentation factors:

1. The colours

2. How it’s arranged

3. The texture

4. The balance in the dish

5. How easy it is to eat.

As the photographer, we don’t have to be as worried about how easy it is to eat; we need people to want to eat it.

When we are plating food, we need to consider these 8 points….

1. CREATE HEIGHT ON THE PLATE – it shows more of the food

2. CUT MEAT HORIZONTALLY – it gives the beautiful lines in the meat

3. PLAY WITH TEXTURES – crunchy to hard and soft to mushy

4. CONTRASTING COLOURS – use the colour wheel to add variety to the colours you use

5. MATCH FOOD PRESENTATION TO YOUR FOODS STYLE – is it homecooked or fine dining, the plating needs to show this.

6. CHOOSE THE RIGHT PLATES – size, colour, and style are everything

7. WHEN IN DOUBT, KEEP IT SIMPLE – take food off the plate if it doesn’t look right

PROPS

A few well-placed props are better than overcrowding, as the old adage goes…. Less is more! So don’t get carried away.

When considering your prop collection, think about the props that you will use time and time again. You may love some fantastic baking accompaniments, but if you only use them once, they will be a waste of money and a dust collector very quickly. There are essential props that you will need and those that are just, well, lovely. Don’t get carried away! Ask yourself…….

• How often will I use it?

• Can I use it with different dishes?

• Do I already have something like this?

• Where will I store it?

• That should slow you down!

What to consider when building up your props…

- PROPS SHOULD COMPLIMENT, NOT OVERPOWER THE FOOD – they should never distract from the dish.

- THINK ABOUT SIZE, SHAPE, PATTERN & COLOUR – to get the best out of your food.

- CHOOSE SOMETHING YOU CAN USE REPEATEDLY –different dishes and a change in style means that the props aren’t noticed (if used correctly).

- ITEMS THAT MIX AND MATCH WELL – you want to be able to use the items on their own or mix them with other props.

Here are some of my favourite prop places: Antique fairs, charity shops, car boot sales, local potters, TK Maxx, Flying Tiger, Zara Home, H&M Home, and Nom Living.

PLATES, BOWLS AND COLOUR

Neutral plain plates/bowls – Can be beige, lightly speckled, with a modern minimalistic style.

• White plates/bowls – give colourful food a wow and go with most things.

• Off-white plates/bowls - have a charming rustic feel to them.

• Black bowls/plates – great for pasta or a salad as it can be a vast contrast.

• Wooden and clear glass plates/bowls -highlight the food rather than distracting it.

PLATES

Glossy plates will reflect light and are harder to photograph.

Matte is best: it stops the light from bouncing everywhere. Go for a dessert plate rather than a dinner plate; the viewer won’t see the difference.

• Dessert plates make it easier to fit everything into the image.

• Shooting a small piece of cake on a large plate makes the food look less abundant; we want it to look plentiful.

• Use a shallow plate – it prevents your food from getting engulfed on the plate.

• Use a plate with a low rim to avoid awkward angles and cutting off the bottom of the food.

• The more unique the plate, the better – handmade ceramics can add an element of intrigue to your food.

BOWLS

• Large bowls are good if it’s the main event – the hero is doing a solo if you like. For example, a bowl of noodles or soup that fills the majority of the frame.

• Small bowls or pinch bowls are good for raw ingredients, dips, preparation, salt & pepper, sauce, olives, cheese and tapas, adding a little more interest to the image.

• Small bowls are great for flat lays and to fill empty spaces if the negative space looks too overpowering.

• Small bowls convey the story without overcrowding the hero of the shot.

• When using small bowls as accompaniments - Ensure the ingredient you add matches the dish.

• Patterned bowls don’t have to be distracting; they can accentuate & add personality to the image.

• Measuring cups/spoons come in steel, copper, cute colours, enamel, vintage, and retro – they can have the same purpose as a pinch bowl in a photo.

GLASSES

• If your hero is the drink – clear thin, delicate walled glasses are best so you see the liquid in the glass without any discolouration or distortion of the liquid.

• Frosted or heavily textured glasses are great background props but not the main event.

• If you are shooting 45 degrees into the glass, you may be able to play around with the glass slightly more.

• Don’t just think liquid with glasses; think of panna cottas, mousses and parfaits – a margarita glass can look amazing with a dessert.

• A selection of shapes and sizes is perfect, but only 2 or 3 of the same glass are needed, not the whole collection.

• Charity shops have some interesting old varieties of cocktail and wine glasses.

CUTLERY

• Cutlery is a large part of food photography to help the viewer see the food being dived into to help with the story.

SHINY VERSUS MATT

• When you think of cutlery, you think of a brilliant shiny set of cutlery, so why wouldn’t you think that would be the best thing to photograph with?

• Well, shiny surfaces are reflected; therefore, you can see many things in your cutlery (even if you are taking the photo), so opt for matt cutlery or buy dulling spray to take the shine off it.

QUANTITY

• You only need 2 or 3 of each knife and fork as you would rarely have in 1 shot – don’t buy the hold canteen!

COLOUR

• Silver cutlery – traditional, vintage, sleek and lots of choice can take on many forms.

• Gold cutlery – adds a little glamour or nostalgia to your shot.

• Black cutlery – elegant, sleek, cool and no shine.

• Wooden cutlery – rustic, charming and no shine at all.

• You can spray paint old cutlery any colour, but ensure it looks good enough to use.

Other props to consider are:

JUGS & SMALL PITCHERS

PAPER STRAWS

TEACUPS & MUGS

TEAPOTS

CAKE STANDS

COOLING RACKS

POTS, PANS, COOKING APPAREL

PLANTS & FLOWERS

UTENSILS

Such as Cake forks, Cake knives, Cheese knives, Paring knives, Pizza cutters Soup spoons.

Condiment spoon Salt spoons Hand whisk Garlic press Scraper Honey drizzler.

Herb chopper Rolling Pin Pestle and Mortar.

NAPKINS

• When I say napkin, I mean a conventional napkin or a piece of material, tea towel or any other textile that works well in your shot.

• An artfully placed napkin can bring a photo together, add shape and dimension, and complete a story. They are perfect for when you need to add movement or fill in space without distracting the scene.

Things to consider with napkins are:

NAPKIN MATERIAL

– linen, cotton, cloth or even cheesecloth or muslin – we are looking for fabrics that add texture, interest and layers to our shot.

NAPKIN COLOURS

• Whatever colour you choose must match the food, allude to the season, or not clash and overpower the shot.

• Light napkins pick up the texture beautifully, adding interest to our images.

• Colourful cloth napkins are a fantastic way to brighten up a dish and add visual interest if your composition is relatively simple.

NAPKIN PATTERNS

Whatever the colour, look for simple patterns and complementary or contrasting colours to your food and plate. It needs to look minimal and sleek, not cluttered.

NAPKINOLOGY - HOW TO USE A NAPKIN

I know – you must be rolling your eyes at me – thinking I am mad talking about how we ‘use’ a napkin, but humour me on this one as there is a method to my madness.

In Food photography, we use napkins to:

• Fill compositional spaces

• Soften the shot

• Add emotion and mood to the shot – rich, fun, romantic, vintage.

• Put Under a plate – to add colour and interest.

• Put under glasses – like a colourful coaster

• Put under cutlery – logically, where it would go.

• As a tablecloth/table runner, it may be part of your background if it’s large enough.

• The napkin is not the hero of the shot., it’s the supporting cast. If you see a food photo you like and the napkin doesn’t jump out at you, then you know that the napkin’s size, fold, colour, shape and placement were perfect.

NAPKIN SHAPES

• A napkin may start off flat, but it can be twisted, rippled or arranged to suit the shot.

TO RECAP, FOOD STYLING

1. Ensure you know if you have a chef or food stylist or if you’re alone.

2. Plating – focus on colour, how its arranged, texture, balance and ease of eating it.

3. Props – should complement, not overpower and think about the size, shape, pattern and colour.

4. Colour of plates/bowls – think if it needs to blend or if it needs to clash.

5. Plate – matt dessert plates that are shallow work best.

6. Bowls – decide if the size of the bowl makes it a hero or an accompaniment.

7. Glasses – choose thin glass with a gorgeous shape.

8. Cutlery – try and find old tarnished cutlery or matt cutlery that doesn’t bounce the light.

9. Choose other props wisely – don’t pick an item you will only use once.

10. Napkins – think of the material, colour, pattern, texture and shape.

- Emma Dunham The Foodies Photographer

Website: https://www.emmadunham.co.uk

N S U R A N C E

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.

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 been looking into AI-Generated Photos and whether or not they are actually Art or Plagarism? Interesting concept...

Peter Morgan

AI-Generated Photos: Are They Art or Plagiarism?

The future of photography. Are we photographers in danger of being replaced, or is this just another fad to pass us by? Who owns the digital rights? How much of a photograph generated by AI still belongs to the original artist, or does it belong to no one?

The Ethics of AI Photography

Artificial intelligence (AI) is rapidly changing the world at an incredible speed, with photography no exception. AI-powered tools are now available that can quickly create realistic images without the need for a human photographer. This raises a number of ethical and logistical questions, such as:

• Is there a role for AI-powered photography in the future?

• How do we ensure that AI-generated images are authentic and truthful?

• What are the implications of AI photography for photojournalism and other forms of documentary photography?

• How do we police the copyright and ownership of work and ensure work does not breach Copyright or IP Laws?

The Role of the Photographer in AI-Powered Photography

In traditional photography, the photographer plays an undisputable central role in the creative process. We choose the subject, the composition, the exposure, the lighting, and the pose. We also have the power to manipulate the image in post-production. However, the photographer’s role is much more limited with AI photography.

The AI the tool does the majority of the work, and the photographer is essentially just a user, even though we do have a somewhat limited choice of content selection. This raises the question of whether AI photography can truly be considered art. Some argue it cannot because the photographer is not exercising their creativity. Is it derived from a passion? While computers are incapable of empathy and passion, is not all art derived from passion of one kind or another? Others argue that AI photography can be just as creative as traditional photography because the photographer is still responsible for choosing the subject, and the AI tool is simply a tool that helps them to express their vision.

The Authenticity of AI-Generated Images

Another ethical issue raised by AI photography is the authenticity of the images. With traditional photography, it is relatively easy to verify the authenticity of an image. The photographer can be identified, and the image can be dated and geotagged. With AI-generated images, however, it is much more challenging to verify their authenticity. Where does this take us when it comes to photojournalism and the reality that is becoming “you can’t now trust what you see before your eyes” and the end of the “the camera never lies”, saying?

This is because AI tools can be used to create images that are almost indistinguishable from real photographs. This raises the possibility that AI-generated images could (or probably already are) be used to create fake news or propaganda. It is essential to be aware of this possibility when consuming AI-generated images.

The Implications of AI Photography for Photojournalism

Photojournalism is based on the principle of objectivity, which means that the photographer should not manipulate the image in any way. This is to ensure that the viewer can trust that the image is an accurate representation of reality.

AI photography raises a number of challenges for photojournalism. One challenge is that it can be difficult to distinguish between AI-generated images and real photographs. This could lead to the spread of misinformation. Another challenge is that AI tools can be used to create images that are more visually appealing than real photographs. This could lead to a decline in the quality of photojournalism and the rise of the Instagram generation’s idea that social media is more attractive than real life having much more far-reaching and widespread effects.

My Thoughts

AI photography is a powerful new tool that has the potential to revolutionise the way we create and consume images. As a tech geek, I love that technology is being used to create new art and images that appeal to our senses and show us things we have never seen before. However, it is crucial to be aware of the ethical issues raised by AI photography. We need to ensure that AI photography is used responsibly and does not undermine photography’s authenticity or photojournalism’s integrity. We also need to nail down the legal side of things so that created art is credited where it is due and real creatives don’t leave the profession because of the dilution of the quality of work coming from this AI-powered movement. Here are my thoughts on using AI photography ethically:

• Be transparent about the fact that you are using AI photography.

• Don’t enter competitions with work that isn’t 100% yours.

• Do not use AI photography to create fake news or propaganda.

• Be aware of the limitations of AI photography.

• Use AI photography to complement your creativity rather than to replace it.

- Peter Morgan

Spyder X2 Ultra review.

As a professional photographer with over a decade of experience, I've always emphasised the importance of colour management. When Datacolor provided me with an exclusive pre-launch preview of their brand new Spyder X2 Ultra, I was thrilled. Having collaborated with Datacolor since last year educating people about colour management, I couldn’t wait for the opportunity to get my hands on this new monitor calibration tool. As an award-winning portrait photographer with a reputation for delivering stunning images to a diverse range of clients, accurate colours are essential to

my work. Additionally, as an International Photographic Competition Judge and educator, I strive to instil this same mindset in those I teach.

Before receiving the Spyder X2 Ultra, I relied on other calibration devices from Datacolor, along with my trusty Spyder Checkr Photo, to ensure colour accuracy. With my camera set to capture in sRGB, in alignment with the lab's preferred format, and using Spyder Checkr Photo for accurate white balance, I meticulously fine-tuned my images in Lightroom or Capture One before finalising them in Photoshop. Maintaining colour accuracy throughout this workflow was crucial. But what good is meticulous attention to detail if my screen is not properly calibrated?

The lab that I use for printing uses sRBG as their preferred format so my camera is set to capture in that to start my workflow that way.

Working on a Mac Mini and a MacBook Pro, with a BENQ monitor boasting a full 100% sRGB gamut, I was ready to put the Spyder X2 Ultra to the test. Calibration, with a reliable device, is typically a straightforward process. However, the Spyder Software accompanying the X2 Ultra exceeded my expectations. The user-friendly interface guided me seamlessly through the calibration process. The improved software, different from its predecessor, proved to be the most intuitive and easy-to-use calibration software I've ever encountered.

One standout feature of the Spyder X2 Ultra is its ability to ensure colour accuracy across multiple screens. As a frequent traveller, this is a game-changer for me. Whether I'm editing on my MacBook or my desktop, I can trust that the colours I see will be consistent and, most importantly, accurate. This level of precision is vital for my work. Imagine the challenges I would face if I were unable to achieve colour consistency while working on different computers for the same project. Fortunately, with the Spyder X2 Ultra, these worries are a thing of the past.

Furthermore, the software's capability to facilitate colour matching between video and stills has greatly benefited our content team at ClickBackdrops. Ensuring accurate calibration has made the process of harmonising colours across different media seamless and efficient.

Personally, I can't imagine working without it. The Spyder X2 Ultra has truly unleashed the power of perfect colours and delivering unparalleled results.

• Available for Wall Display products •

• Sizes range from 16x12” to 44x32” •

• Two styles; cord handles on smaller boxes •

• Made to measure for a perfect fit •

• Elegant and fully recyclable •

Our most popular album is still available for under £100 and now includes a luxury presentation box as standard. Available for all sizes of album in your choice of black, blue or grey finish. Our most affordable album has never looked so good!

E-E-A-T and Beyond: The Latest Trends in Google’s Search Algorithm

Google’s Search Algorithm Determines the Ranking of Websites

Understanding Google’s latest Search Algorithm. A complex system that determines the ranking of websites in Search Engine Results Pages (better known as SERPs). It considers various factors to provide users with the most relevant and high-quality content. One of the key factors that the latest Google Algorithm prioritises is ‘E-E-A-T’.

• EXPERIENCE: Is the content shared indicative of being created by someone who has personal experience in this particular subject?

• EXPERTISE: Knowledge and expertise of the content creator or website owner.

• AUTHORITY: Credibility and reputation of the website or content creator.

• TRUSTWORTHINESS: Reliability and trustworthiness of the information provided.

E-E-A-T is an essential concept in Google’s latest algorithm because it helps ensure that the content displayed in search results is reliable and accurate.

The Impact of User Experience on Google’s Search Algorithm

User Experience plays a crucial role in Google’s search algorithm. Google wants to provide its users with the best possible experience by delivering high-quality and relevant content. A website must provide a better ‘User Experience’ to rank well in search results.

Several factors can affect user experience on a website. One of the most important factors is page load speed. If a website takes too long to load, users will likely leave and look for another website that loads faster. Website owners can optimise images, minify CSS and JavaScript files, and use caching techniques to improve page load speed.

The Significance of Mobile Optimisation in Google’s Search Algorithm

Mobile optimisation is a crucial factor in Google’s search algorithm. With the rise of mobile internet usage, Google has made mobile-friendliness a high-ranking factor.

There are several ways to optimise a website for mobile devices. One of the most important steps is to use responsive design. Responsive design ensures a website adapts to different screen sizes and resolutions, providing a seamless user experience across devices. Website owners should also optimise images for mobile devices by compressing them and using the appropriate file formats.

Another important aspect of mobile optimisation is ensuring your website is easy to navigate on small devices and screens, using clear and concise navigation menus, large and legible fonts and provide buttons, tabs and links that are easy to tap with a finger.

The Importance of Local SEO in Google’s Search Algorithm

Local SEO is a crucial factor in Google’s search algorithm, especially for businesses that target a specific geographic area. Local SEO refers to optimising a website to appear in local search results.

One of the key factors in local SEO is the consistency of NAP (Name, Address, Phone Number) information across different online directories and platforms. Google uses NAP information to determine the relevance and credibility of a business in a specific location. Website owners should ensure their name, address and contact numbers are consistent and up-to-date across all online directories and platforms.

Another important aspect of local SEO is the optimisation of Google My Business (GMB) listings. Google provides this free tool allowing businesses to manage their online presence. Website owners should claim and verify their GMB listing, provide accurate and detailed information, and encourage customers to leave reviews.

In Conclusion

The ever-evolving landscape of Google’s Search Algorithm is a testament to the dynamic nature of the digital world. The E-E-A-T (Experience, Expertise, Authoritativeness, Trustworthiness) principle is a significant part of this algorithm, serving as a guiding light for content creators and website owners. It underscores the importance of providing high-quality, reliable content that not only meets the users’ needs but also establishes the website as a credible source of information.

The impact of E-E-A-T on Google’s Search Algorithm cannot be overstated. It has fundamentally reshaped how websites are ranked, placing a premium on experience, expertise, authoritativeness, and trustworthiness. This shift has necessitated a reevaluation of content strategies, with an emphasis on creating content that demonstrates deep knowledge and understanding of the subject matter. Moreover, it has highlighted the importance of building trust with users through transparency and honesty. In this digital age where misinformation can spread like wildfire, E-E-A.T serves as a beacon of trustworthiness that guides users to reliable and accurate information.

However, it’s not just about E-E-A.T. The rise of voice search has also had a profound impact on Google’s Search Algorithm. With more people using virtual assistants like Google Assistant, Siri, and Amazon Alexa to conduct searches, there has been a shift towards more natural language use in search queries. This trend towards voice search presents both challenges and opportunities for website owners. On one hand, it requires adapting to new ways of searching - with longer, more conversational queries becoming the norm. On the other hand, it opens up new avenues for reaching users by optimizing content for voice search. To thrive in this new landscape, website owners need to embrace these changes and adapt their strategies accordingly. This means incorporating natural language into their content and providing clear, concise answers to common questions that can be easily understood by virtual assistants.

In essence, staying ahead in today’s digital world requires an understanding and adaptation to these evolving trends in Google’s Search Algorithm. By embracing E-E-A-T principles and optimizing for voice search, website owners can ensure they remain competitive in this ever-changing landscape. Remember that at the heart of all these changes is the user experience. Whether it’s through demonstrating expertise in your field or making your content easily accessible through voice search, always strive to provide your users with the best possible experience. After all, a satisfied user is more likely to return to your site and recommend it to others - which ultimately boosts your ranking in Google’s Search Algorithm.

So keep learning, keep adapting and most importantly - keep prioritising your users’ needs above all else. Because at the end of the day, they are what truly matters in this digital world we navigate.

- Julie Oswin Creative Design Agency UK

Business insurance that’s not set

Flexible, customisable cover — Pay monthly

— Adjust or cancel any time — Quote and cover online — 2 months free for Guild members*

*Offer terms and conditions

The “2 months free” offer is available to any The Guild of Photographers member taking out a new business policy with Superscript online; it will not be granted in conjunction with any other offer, voucher or discount, excluding unique referral codes from our Refer-A-Friend programme which can be used in conjunction with The Guild of Photographers offer. The “2 months free” offer applies for 2 months only from the inception date of the initial policy. Subject to eligibility requirements.

Authorised and regulated by the Financial Conduct Authority.

insurance set to auto.

Paul Wilkinson

“Photography has been in my blood since I was 8 or 9 when my grandfather first let me use his Kodak Brownie. He was an oil painter and product designer and enthusiastically encouraged me to play with his camera. My parents were less excited about it as they had to fund this new-found passion! I still have one or two images I shot back thenthey’re not great, but I was hooked. Having left university with a degree in Industrial Design and a PhD. in Artificial Intelligence (in Neural Networks for the geeks amongst you), I landed a job with Accenture - one of the biggest IT consultancies on the planet. As a Systems Architect and Project Manager, the job was incredible - and well-paid, which helps when you have an expensive hobby!

But, the job took me around the world, and I hated being away from Sarah and our kids. At that moment, someone spotted some of our photographs on the wall and asked Sarah who the photographer was. That someone happened to own a marketing company, and the rest, as they say, is history. We engineered our way out of our jobs (Sarah had an incredible career in marketing) and built our photography business.”

- Paul Wilkinson

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

Any customer-facing business will tell you the same thing: your clients are your energy and the reason you get up in the morning. Every day I cannot wait to get into the studio, whether, for a portrait session, a client reveal or to retouch some images. I don’t need motivation - if anything, Sarah has to stop me from going in on my days off!

Q: What have you found most challenging with your photography business?

Having clients means there are always going to be things out of our control - not everyone we talk to is going to book, and not everyone who books is going to choose the ‘right’ pictures or spend what we hoped. The vast majority of our clients do, but there will inevitably be one or two who need help understanding why we charge what we do or value the experience and quality we provide.

It is all too easy to be distracted by the one or two that don’t go to plan; instead of celebrating the 99.9% of successes. But, of course, it will never be perfect 100% of the time (though we strive for it), so we have made a conscious decision not to dwell on the times we don’t win a job or don’t get the sales we would have liked.

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

The obvious answer to this question would (obviously) be my Nikon Z9 with the Z-Series 70200mm f2.8 on the front, but that is a given. Beyond the camera, I wouldn’t be without my team: Sarah and Michelle are both meticulous planners and gentle with our clients, whereas I am all about energy and creativity. It takes all of us to provide the images, the products and the experience our clients have come to expect! I am not sure they count as ‘equipment’, but they are the most essential thing in the business, after the camera!

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

The Nikon 70-200 is an incredible lens; I use it for everything from portraits and headshots to family groups and weddings. It is pin-sharp across its entire range, wide open or stopped down. I love the flexibility of it being (more or less) a natural view at 70mm to something more cinematic at 200mm. I couldn’t be without it.

Q: How important is it for you to build relationships with other businesses?

We have used the same suppliers from the start. We picked them carefully, and we are fiercely loyal. It is too easy to be tempted by a show offer or Black Friday deal to jump ship or maybe order one product from here and another from there. But trust and loyalty take time to develop.

Q: Photographing dogs which do you prefer, studio or locations to shoot dogs? And why?

For every award I have won for canine portraits, I created the image in the studio, so you might think I’d prefer working inside rather than on location. However, I much prefer being out in the woods or on a hilltop - I love the thrill of available light (not just for dogs but for people too!)

Q: When working on weddings, what additional lighting equipment do you take along with you?

My kit bag has quite a lot of lighting in it: a Nikon SB900 Speedlight, two Godox V1n’s and two Godox AD200 Pros. These give me many options, from simple on-camera flash to multi-light setups around the dance floor. More recently, I also carry an Aputure 60x LED light. This is still a work in progress, but I love the control and flexibility of continuous light.

Q: What advice would you give members of The Guild of Photographers starting their photographic journey?

My parents gave me a million gifts and taught me countless lessons, the greatest of which was self-belief. They believed I could do whatever I wanted if I put my mind (and effort) to it.

I’ve always dreaded the idea of getting to the end of my time and wondering, “what if..?”

When an opportunity arises, I have always said “yes!” and figured out how later! So the best advice is to believe in what you’re doing and give it everything you’ve got. Listen to only those you trust (and no one else), and do not let anyone talk you down.

Q: Branding - how important is it for photographers to build upon?

Your brand is crucial but needs to be more understood: it is not your logo or website colours (though they are a part of it). Your brand is you. Everything about you: the images you show, the clothes you wear, the language you use, the car you turn up in, your logo and your products. If your clients see it, hear it, interact with it, taste it, smell it or feel it, then it’s your brand. And it takes work!

Some of it is organic - you are who you are - but most of it can be defined and developed over time, just as your creativity is.

People buy what they see, so instead of thinking, “what do I want my brand to be?” believe, “who do I want my prospective clients to be?” Create avatars of your customer and work from there. Create logos, colours, image selections, language and products that appeal to those clients.

My signature is at the heart of our brand: on the top of every box, on the back of every album, and at the bottom of every image. I wouldn’t put it there if I wasn’t 100% proud of what we give to our clients. The signature is not the brand but the mark that signifies the quality we provide.

We keep our supplier list small so that each company receives a significant order volume from us. If we ever have a problem or need something unique, we have a relationship such that we can pick up the phone and sort it out. The service we provide our clients is second to none, and that is because the customer service we receive from our suppliers is second to none too!

Q: Graphistudio is one of your favourite suppliers. How long have you been using their products? Can you expand on why and which ones etc.?

Graphistudio has been at the heart of our service for a decade or more, and this year, Sarah and I were thrilled when asked if we’d be Ambassadors for them. This is a tremendous honour for us after so many years of working alongside the best album company in the world!

Graphistudio offers a wealth of products and finishes, from the traditional matted album to gloriously eccentric finishes and ennoblements. However, the incredible quality of the print and the stunning finished product keeps us (and our clients) returning for more.

We can add little touches like my signature and our own branded satin ribbon inside each box, adding so much to the impact.

Every time our clients lift the lid and ease their new album out, we see their reaction; it is always the samesheer and utter joy.

And we know that will be the same reaction for a lifetime.

Q: How do you balance the business side of photography with your creative side?

Firstly, I am lucky that over the years, my clients have let me get creative whenever I want: they trust me and enjoy the process as we try things out. When we’re maxed out in the busiest parts of the year, it is easy to get bogged down and forget that creativity is part of the job. Those ‘experiments’ don’t always sell, of course, but at least I had the opportunity to try things.

Secondly, running a business is creative in its own right. You are piecing everything together, developing your brand, finding ways to sell and talk about your company, and designing logos and websites. All these are incredibly creative things to do. So thinking about your business with this mindset makes everything creative!

Q: What software do you use to design your album?

We use Pixellu Smart Albums. It is incredibly fast and wonderfully creative, especially when designing pages with numerous images, such as those of a wedding speech.

Smart Albums has templates for Graphistudio’s entire catalogue, so we can effortlessly guarantee the correct size, bleed and gutter is set with a single click!

We use it in conjunction with Adobe Indesign for the final production, where I have written a series of scripts to double-check everything is pixel-perfect.

Q: Post-processing of your images. Preference for Photoshop or Lightroom and how important is it to your finished work?

Each of our images starts in Lightroom for exposure/ colouring. If any pixel-level retouching is needed (removing skin blemishes or a beauty retouch), then I use Photoshop. Although Lightroom is getting more sophisticated with each release, it is still not a pixel editor (and probably never will be). But have you tried the new AI selection tools? Genius!

Q: Tripods? Love or hate them?

When it comes to portraits, I rarely use a tripod - they slow me down too much, and I have built a reputation for being quick and candid.

But I still use one - there is always one in the Land Rover for those evening scenes when the exposure time creeps over the half-second mark.

Q: The lighting of images. What do you look for and your key elements when creating your shots?

Given I am primarily a portrait photographer, you won’t be surprised to hear that it is all about the lighting on the face - everything else will fall in behind it. There must always be a spark of light in the eyes (unless you have a creative reason not to).

If you have those catchlights, you are going in the right direction.

Although I own (at the last count) 17 different strobes, nearly all of my work is lit with just one light, making it simple to set up and create incredible results.

I love that light shapes a subject and gives it dimensionality, so I am constantly looking for both light and shade - it is rare for me to stick the light over the top of the camera unless I am shooting specifically for a beauty image.

Q: Where do you get the inspiration for an image? What attracts you?

I am always excited about things I see - whether it’s a music video, a film, a magazine cover or even the lighting on Strictly Come Dancing (yes, I know, don’t judge me!) Everywhere you look, there is inspiration. Sometimes I read a book and an idea crashes into my head, sometimes the lyric from a song will do the same. Often, these concepts go nowhere until a particular client walks into the studio. Then, there may be something about how they look or talk that conjures up an idea I may have had a year or more ago.

Fill your life with as many experiences as you can, watching movies, reading, travelling, and noticing the world around you. Be excited about all of it; some of that excitement will trigger a thought or an idea in the future.

Q: Interesting facts about you?

Hmmm, well, who’s to say what’s interesting?

I have a PhD in Artificial Intelligence; I worked as a professional percussionist and received a university bursary to play with bands and orchestras.

I once knocked Prince Charles’ (now the King of England) cup of tea out of his hand as I crashed through him to take a photograph of one of his aides.

Thankfully he laughed, but I am half expecting a call from the high executioner now that he is King!

Oh, and Raymond Blanc OBE calls me “almost a genius”. Clearly, I have work to do!

Q: Three words that describe you?

Excitable, energetic, and talkative.

Q: What is your favourite meal?

Sarah’s homemade cottage pie - nothing to beat it!

Q: Favourite place in the world and why?

I adore mountain scenery! I grew up in North Wales and have never lost the exhilaration of being up in high peaks around the world - it always knocks the breath out of me. So whether it’s the Alps, The Rockies, the Chilean Fjords or Eryri (historically known by its English name of Snowdonia), I love being anywhere that is high and dramatic!

Q: As the creator and host of “The Mastering of Portrait Photography Podcast”, can you let the members know a little about what it is about and how they can listen to future podcasts?

Well, it was originally started just for the fun of it. I tinkered with sound recording while playing with bands and have always loved audio. Given I love to talk, bringing those two worlds together into a podcast was entirely logical.

It began as the diary of a working pro - and that is still the core - but over time, I have met and interviewed some fascinating people from the photography industry and beyond. Essentially, anyone who is intriguing!

It is available on all the major platforms, including iTunes and Spotify. Just search for “Mastering Portrait Photography Podcast”, and you can subscribe wherever you usually listen!

Q: And finally, last question! Where next?

Today we have the business we always dreamt of, full of laughter and incredible clients. We have an iconic studio and garden in Haddenham, nestled at the foot of the Chilterns - a 35-minute train ride to London and just 20 minutes to Oxford. Sarah and I head-hunted Michelle a decade ago from Colorworld. It is still the three of us, specialising in portraits, headshots and weddings - though we limit these to 25 a year - and incredible customer service.

Even though we have been hugely successful, we are not the kind of team to kick back. Fifteen years ago, we could not have imagined where we would be now. I have co-written a book (Mastering Portrait Photography) and now write monthly for N-Photo and Professional Photo magazines. I have achieved my Fellowships and won numerous awards with the MPA, BIPP and SWPP. We have a podcast that regularly appears in the charts, and we have not only survived the COVID-19 restrictions but have come hurtling out of them more energetic and optimistic than ever!

Next year we plan to focus on building our workshops and mentoring specifically for portrait photographers, not just on the creative side but also for business and workflow. Who knows where that will take us, but whatever happens, I know it’s going to be one hell of a ride!

“ Thank you to Paul and Sarah for such a fabulous article on your photography business. We look forward to following your journey in 2023”.

- Julie Oswin Editor, Creative Light Magazine

From Clicks to Clients: Using Google Analytics 4 to Boost Your Photography Business

Understanding the Importance of Analytics in your Photography Business

Analytics has become an essential tool for businesses to understand their customers and improve their strategies. The photography industry is no exception. With the rise of online platforms and social media, photographers must have a strong online presence and understand their audience’s behaviour to succeed. This is where Google Analytics 4 comes in. Google Analytics 4 is the latest version of Google’s web analytics service, designed to help businesses gain insights into their website traffic and user behaviour. In this article, we will explore the importance of analytics in the photography business and how Google Analytics 4 can help photographers grow their businesses.

By analysing website traffic and user behaviour, photographers can gain valuable insights into their audience’s preferences and needs. This information can help photographers tailor their services and marketing strategies to meet their clients’ expectations better. Analytics can also help photographers identify areas for improvement on their website, such as slow loading times or confusing navigation, which can negatively impact user experience and lead to lost business.

Using analytics can also help photographers track the success of their marketing campaigns. By analysing metrics such as bounce rate, time on page, and conversion rate, photographers can determine which campaigns are driving the most traffic and conversions. This information can help photographers optimise their marketing efforts and allocate resources more effectively.

Setting Up Google Analytics 4 for Your Photography Website

Setting up Google Analytics 4 for your photography website is a straightforward process. First, you need to create a Google Analytics account and set up a property for your website. Once you have done this, you will receive a tracking code that you need to add to your website’s header. This code will allow Google Analytics to track your website’s traffic and user behaviour.

To ensure accurate tracking of website traffic and user behaviour, it is essential to set up goals and events in Google Analytics. Goals are specific actions you want users to take on your website, such as filling out a contact form or purchasing. Events are user interactions with your website, such as clicking on a link or watching a video. By setting up goals and events, you can track user behaviour and measure the success of your website and marketing campaigns.

Analysing Your Website Traffic and User Behaviour with Google Analytics 4 to Identify Your Ideal Photography Clients

Google Analytics 4 provides a wealth of metrics and reports to help photographers analyse their website traffic and user behaviour.

Some of the key metrics include:

- Sessions: the number of times users have visited your website

- Pageviews: the number of pages users have viewed on your website

- Bounce rate: the percentage of users who leave your website after viewing only one page

- Average session duration: the average amount of time users spend on your website

- Conversion rate: the percentage of users who complete a specific goal on your website

To interpret and analyse website traffic and user behaviour data, photographers need to understand their audience’s behaviour and preferences. For example, if a photographer notices that a particular blog post is getting a lot of traffic, they can create more content on that topic to attract more visitors. Similarly, if a photographer notices that users are spending a lot of time on a particular page, they can optimise that page to improve user experience and encourage conversions.

One of the most powerful features of Google Analytics 4 is its ability to help photographers identify their ideal clients. By analysing website traffic and user behaviour data, photographers can create user personas that represent their target audience. User personas are fictional representations of your ideal clients, based on their demographics, interests, and behaviour.

To create user personas, photographers can use Google Analytics 4 to analyse metrics such as age, gender, location, and interests. They can also look at user behaviour data, such as the pages users visit and the actions, they take on the website. By creating user personas, photographers can tailor their services and marketing strategies to better meet their clients’ needs and preferences.

Optimising Your Photography Business Strategy with Google Analytics 4 Insights

Google Analytics 4 insights can help photographers optimise their business strategy in several ways. For example, by analysing website traffic and user behaviour data, photographers can improve their website content and user experience. They can also optimise their marketing campaigns by targeting their ideal clients more effectively and allocating their resources more efficiently.

Another way to optimise your photography business strategy with Google Analytics 4 is to use data insights to improve your pricing strategy. By analysing metrics such as conversion rate and average order value, photographers can determine the optimal pricing for their services. They can also identify which services are the most profitable and adjust their pricing accordingly.

In conclusion: Google Analytics 4 is a powerful tool that can help photographers grow their business by providing valuable insights into their website traffic and user behaviour. By setting up Google Analytics 4 and analysing the data, photographers can identify their ideal clients, optimise their website and marketing strategies, and improve their pricing strategy.

With the right insights and strategies, photographers can attract more clients, increase their revenue, and grow their business.

- Sarah Mann

Certified

Google Analytics 4

Email: sarah@smtechsolutions.co.uk

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. 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

CLICK PROP BACKDROPS

15% Discount off all (non-sale) Backdrops. www.clickprops.co.uk

CREATIVE DESIGN AGENCY UK

Guild Members - SAVE £95 off your new website or re-design. www.creativedesignagency.uk

DATACOLOR SPYDER

Computer display colour calibration solutions. Guild members receive 20% savings. www.spyder.datacolor.com

DIGITALAB

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

EPSON

One of the largest manufacturers of printers, projectors, and much more. www.epson.co.uk

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.

www.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

INFOCUS

PHOTOGRAPHY INSURANCE

Unique savings for members with this 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

JRNY - TRAVEL MAGAZINE

Members get an exclusive and significant dicount of this award-winning travel magazine. www.jrnymag.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

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

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.

SUPERSCRIPT INSURANCE

Members get their first two months free with this monthly based insurance policy. www.gosuperscript.com

UK PRINTED PENS

Special discount for Guild members of 20% www.ukprintedpens.co.uk

WILKINSON CAMERAS

Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk

3XM

Guild Members receive double points on every product order. www.3XMsolutions.com

( Trade discounts/offers are subject to change )

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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- Helen Otten -