Creative Light - Issue 57

EDITOR’S CHOICE

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Julie Oswin EDITOR

Welcome to the latest issue of Creative Light, the Guild of Photographers’ Online Magazine. We are thrilled to bring you a collection of articles and features that encapsulate the essence of photography and the creative process that fuels it. This issue is a celebration of the art of photography, providing a platform for seasoned professionals, budding photographers, and enthusiasts alike to share,

learn, and be inspired. We’re delighted to showcase Newborn & Baby Master Craftsman Panels from Clare Perry and Magda Bright, spotlighting their innovative work in the industry.

Creative Light aims to inspire your own creative journey, regardless of whether you’re a seasoned pro or just starting out in photography. With something for everyone in this issue, we hope you enjoy reading it as much as we enjoyed curating it 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 57

Jayne

Bond

Superb image captured by Guild Photographer and Guild Ambassador Jayne Bond. Jayne received a Gold Award for this image in the Guild’s Image of the Month competition - August 2023. Judges Top Four Choice.

The Tulips in Holland

Tulips Reimagined - Charlotte Bellamy

The first time I saw a field of tulips in Holland, I was in awe. I was like a kid in a candy shop – I simply could not stop taking photos; I couldn’t bear to think I might miss something. My first visit to the world-famous Keukenhof bulb gardens was the same experience – I must have taken a thousand photos of absolutely everything. The colours, shapes, lines, contrasts, and beauty were just breathtaking. During the last ten years, I must have visited the tulip fields over forty times and Keukenhof on average twice a year.

Ten years on, I still find as much pleasure from tulip photography. So, how do I still enjoy my visits to the tulips every year and maintain a fresh approach to photographing this subject? In truth, I get bored quite quickly, making the same images of something. I like to challenge myself, which is why my photography of the tulips has developed and become quite experimental. I am now always looking for a new way to portray what I am seeing; I now look to try and immerse viewers of my images into the experience of seeing the flowers with me.

If you have ever wondered how to return to the same subject or location time after time and still create fresh and new images, I hope some of these ideas offer you inspiration.

THE BEAUTY, DETAIL AND AN EXACT REPRESENTATION - In my first couple of years, I was new to landscape photography. I was inspired and influenced by the Dutch masters. The land is open, and elements of farmsteads and trees within the landscape only just punctuate the skyline. So, this is what I tried to capture. I concentrated on the technical aspects of my image creation – balance, interest, leading lines, exposure and depicting what was in front of me.

ICM - However, over time, I felt that creating images that represented what I was seeing was offering me nothing new. I wanted to portray the feelings of what I saw as well. In a bed of multicolour, I wanted to portray the mayhem, energy and madness of how it all worked together. In the gardens, I wanted to depict what I saw as a tapestry of patches of colour, light, shade and design. I still find it exceptionally difficult to create ICM flower images that look like I have in my mind. There is no obvious direction to move the camera, so experimentation is essential. However, by identifying the ideas I want to try and portray before I start, I can better tailor my ICM movements and shutter speed.

A FORAY INTO MACRO - I have never owned a macro lens. So, I didn’t know what I was missing. However, on borrowing and experimenting with one, I suddenly found I was immersed in a world of petals and softness, and my eyes were focused on the tiniest detail. The need for precision was astounding, and the ability to focus on things you would probably never even notice was a wonderful experience. Backgrounds suddenly became of utmost importance, as did the decision regarding the depth of field. I even had to use a tripod.

BLACK AND WHITE - Last year, I arrived at the fields determined to push the boundaries and try something unconventional – photograph in black and white. I’d been studying black and white photography with my mentor and had developed a greater awareness of what made a good B&W image. So, I put my newfound knowledge into practice. I shot in B&W to help the visualisation process. I looked for lines, contrasts, light and shape. Colour was no longer important; rather, the tones within each colour I now noticed. I loved photographing the white tulips because they appeared iridescent at times as the light filtered through their delicate petals.

MULTIPLE EXPOSURES - I have this year been experimenting with multiple exposures and attempting to create a more impressionistic and slightly abstract result with my images. It’s all about representing the colour and shapes and, again, like the ICM – creating images that portray the feeling of movement, energy, vibrancy and beauty.

A DIFFERENT PERSPECTIVE - When a tulip field stretches out in front of you, as far as the eye can see, it seems logical and obvious to try and represent this. But I have found so many more interesting compositions to play with. Each one, I consider the story I want to tell. Laying between two lines of tulips and shooting along the tram lines, you see the fields as a tiny mouse might. I love to use a wide-angle lens and photograph upwards from under the tulips to represent their reach for the sky. I was lucky enough to take an air balloon trip over the tulips a few years ago and was captivated by the dynamic lines of the fields below.

THE ONE THAT STANDS OUT - After years of guiding guests to the tulip fields, I am always asked how to figure out where to put my point of focus. It is actually quite simple: I look for a point of difference or contrast.

I still love playing hunt the odd tulip out in the fields – that yellow in a sea of blue, the tulip that raises its head above the rest. These offer wonderful focus points within a sea of colour. I love to use a shallow depth of field around F4- F5.6 to throw the foreground and background out of focus and make the unique stand out.

CAPTURING A STORY - Last but not least. Tulip fields have a story. They are fields of beautiful flowers, but at the end of the day, they are a crop planted purely for the harvest of bulbs. As a result, in the 1st week of May, you see these beautiful flowers beheaded on mass. It’s a sad sight, but it offers more photographic opportunities to further show beauty, even in death and decay. Playing with ICM movements, I love photographing the fallen petals on the ground; with movement, they can look like an oil painting.

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Master Craftsman Magda Bright

The whole judging process was very stressful for me as I put so much love and attention and hard work into my panel, and I definitely felt the nerves on the day. To learn that not only did I pass my craftsman but was upgraded to Master Craftsman was SUCH an amazing moment. It has been a culmination of my journey and proved to me that going with my gut and staying true to my style is the right way. I feel very lucky to be a part of the Guild Family, and I am thankful to Claire and Jo, my mentors and also my photography friends Clare and Talissa, who were a brilliant sounding board whilst trying to get my panel together.

Thank you goes to the judges and to Steve and Lesley, too for all their hard work and care they show to all of us.” - Magda

MY JOURNEY

My newborn photography career started about eight years ago, and I joined the Guild of Photographers shortly after that. I have trained with Claire Elliott and had several mentoring sessions with her. Under Claire’s guidance, I applied for my Qualification panel, which I passed successfully in February 2017. I have been entering the Image of the Month competition since I joined the Guild with varying degrees of success and many tantrums on the 21st of each month until I eventually started to receive Bronze Awards in 2017 after passing my Qualification panel.

Claire encouraged me to work on my Craftsman panel then, but I felt I needed more time. As you can see, it has taken me another five years with a few false starts and many failed ideas.

I always felt I needed to produce dark, painterly-looking images to achieve Silvers and maybe even Gold awards. I was convinced that that was what The Guild judges liked. So I kept trying and managed to produce an image that received my first newborn Silver in 2021. The same year, I made it into the Top Ten Newborn Photographers, which surprised me and spurred me to work even harder. At the time, I felt I was still finding my style; during COVID-19, I watched all the available webinars and Zooms, took notes, and worked on my skills and in 2022, I finally felt that I had found what defined my images as mine. I feel confident shooting on light backgrounds, and the images I started producing and entering into the competition finally felt like they were “me”. I received 9 Silver Awards and consistent High Bronzes or Bronzes for others, resulting in another Top Ten place along with my 9th Photographer’s Bar. I finally felt ready to create a Craftsman Panel and started my mentoring with Jo Bradley, with whom I had a few feedback and mentoring sessions previously.

THE PANEL

It all started with the idea of creating an art gallery display of images. “Masterpieces” if you like. I feel that every baby is completely unique and a masterpiece in their parents’ eyes. I certainly felt that way about my children and could have looked at their gorgeous faces all day long when they were tiny and sleeping in my arms. I always strive to create images that reflect that every baby is special and flawless. I try to vary images, even if it is only a little bit, because I don’t want to produce the exact same Image for each parent who comes to my studio. I love creating and planning, and I do a little happy dance in my mind when I see an idea come to fruition on the back of the camera.

I started by sourcing golden gilded frames from local charity, antique shops, and eBay and started creating my dark panel. I shot a series of images on a dark background and placed them (very roughly, I might add) into the frames. It looked good, but it was not me. I had a niggling feeling that to stay true to myself; I needed to go back to light colours and light images. Part of my inspiration came from a wall my nan had in her house where she displayed various white frames with images in them, and I remember being intrigued by these as a child. There was a square, oval and rectangle frame formation, and I wanted my frames to look similar. I went back and forth on this decision, discussing it at length with my mentor Jo, who suggested I should try the light images and see how I felt.

To the delight of my husband, I got him a weekend job assisting me in re-spraying my frames white, I shot the whole set of frames again. I had to learn how to cut out and create layer masks and shadows in Photoshop and paid for a lesson to teach me to do just that. I am glad I did, as it furthered my editing skills, and I picked up many valuable tips. Ensuring the

frames were all aligned, similar in size and exposed correctly was a challenge, but I managed to make them all look right. The next step was working out a pattern layout that would work with the shapes of the frames and the images that would be placed inside the frames. I spent many sleepless nights arranging these in my mind and cursed myself for setting myself such a challenge.

As I was back to my style of light images, I could use several of my Silver and even my very first Gold Awarded images in the panel, and as soon as I created the first draft of the panel, I knew I made the right decision.

The decision to include an empty bowl image stems from my own and many of my customers and friends’ experiences that not all babies we carry are meant for this world, and including a little nod to all these babies in my panel felt important to me.

Creating my panel has been challenging, and I often felt I had pushed myself too far past my knowledge and boundaries of what I can do, but I am glad I decided to push myself outside of my comfort zone. I am so happy I started over and created a panel with white frames and light images, as it is a panel I am well and truly proud of and reflects my work and style. It has been a project that has puzzled my brain for months, and it helped me to learn new skills and finesse my photography even further.

Taking the plunge to create a Craftsman Panel has been the right decision at the right time for me. I do feel that creating my panel and taking part in the monthly competition is something that is challenging and rewarding. It has pushed me to refine my style and to look at finer details whilst I am shooting (and I do it for every single image I create, not just for the ones I am planning to enter into the competition or for my panel). I rarely shoot specifically for the competition; even the images shot for the panel are all customer images I would create during a newborn session. Being part of the Guild has made me become the best photographer I can be (and I am still pushing myself and learning to be better).

- Magda Bright

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Magda Bright

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Photo

Dérive – In celebration of … Free Play & Creativity

By Ania Rolińska (Glasgow)

Ania Rolińska is a self-taught fine art photographer and artist based in Glasgow, Scotland. Using a range of creative photography and editing techniques, such as ICM, multiple exposures, long exposures, textural effects, as well as combining photography with other media, she is interested in pushing the boundaries of the photographic medium. She is interested in the value of creativity and the creative process for self-growth and a more mindful, slower and fulfilled life, connected with self, nature and others.

Synopsis

‘Dérive – In celebration of …’ (‘Dérive’ for short) is a series of images and words birthed at the time of personal trouble. It takes the viewer on an introspective journey around urban spaces, reimagined through the combined use of literary quotes, psychogeographical approaches and a digital pinhole technique, which resulted in dreamlike multimodal work. For every image, there is a string of seemingly meaningless words, generated via the What3Words app to express the exact co-ordinates of the location; my own affirmation inspired by the sensory experience of the place and a quote from Italo Calvino’s book ‘Imaginary Cities’. The images have been further enhanced with additional creative photographing and editing techniques. In this article, I explain the reasons for conceiving this series, including my methods of conceptualising and producing the work. I talk the reader through the process, hoping they find some of it inspiring enough to start experimenting with any of the approaches or techniques in their own photographic practice.

Rationale

The ‘Dérive’ series is an attempt to marry images and language with a view to constructing a multi-layered story where visual and textual elements enhance each other - dance with each other, so to speak - hopefully creating a sense of communicative synergy. These conscious choices are closely entwined with my identities, values and belief systems. As a linguist and a fan of narrative fiction, I believe words can also be images. As an education practitioner and researcher, I am interested in multimodality and how different modes of communication come to the fore depending on the circumstances. Language, as much as I love it, is ONE OF those communicative forms (my emphasis), not the privileged form. In my art practice, I often caption images – I feel playful and/or associative titles can often add an extra layer of meaning and thus expand the interpretative potential. In this series, the text was driving the narrative and exploration as much as the images themselves and the method I followed to make them. As a migrant, I have a fondness for liminal and in-between spaces, working across media and modes.

The Departure Point

Everything happens in some wider context; without going into too much detail, in autumn 2022, I was going through a personally challenging time – breakups are never easy to come to terms with! Whenever I struggle, I go walking – the rhythm, the movement, and the exertion create a space for clearing and cleansing, repositioning and recalibrating, in other words, healing. On that occasion, I first strolled around my neighbourhood, but that was bringing memories of the walks together, and so I found myself ruminating rather than regrouping. And so, I decided to venture into the areas of the city that I had not visited in a while or did not have much experience of. In my walks, I often challenged myself to go down paths completely unfamiliar to me. In a way, I was charting a new territory where I could expand my consciousness and rebuild myself. Usually, for my wanders, I take my camera with me – which photographer doesn’t? On those walks in autumn 2022, I decided to use a new technique - a digital pinhole; it created images that were slightly blurry and soft-focused, which seemed aligned with my then frame of mind.

Looking through the pinhole, suddenly, the shapes of the city became distorted; the familiar sights defamiliarised as if they could be anywhere – it felt like playing with identities, being in transit, dreamlike, where suddenly more options were opening up. I combined the pinhole with either multiple exposure or ICM techniques to further enhance this sense of mystery, ethereality and multipotentiality. I presume that is what I was looking for after all, internally, too, how to reinvent myself.

At the time, I learnt about What3Words (https://what3words.com/), an app which records the exact coordinates of a location using a string of arbitrary words, e.g. ///random.grace.needed. These frequently absurd phraseological combinations fed my imagination and often helped me reframe my feelings. For me, wandering is also closely associated with wondering (pun intended!), and when meandering around Glasgow last autumn, I got reminded of the book ‘Imaginary Cities’ as well as psychogeographical approaches, which I had studied in the past. I felt these were worth revisiting as guides in having my enchantment and curiosity rekindled during these autumnal urban escapades. ///rate.quiet.rescue

Dérive. In celebration of remembering and forgetting. Letting go of everyday identity.

Italo Calvino’s ‘Imaginary Cities’

Calvino’s book is a travelogue of sorts to places that do not exist. Through concise chapters of the most imaginative prose, the narrator explores the borders between reality and fiction, memory and desire, the past and the present, all of the motifs being very resonant with my mindset. While I was drifting through the city spaces ‘off my beaten track’, I was pondering my challenges, the clash between the reality and the unfulfilled imagination, between the past dreams and the current sad circumstances. Calvino’s imaginary use of language allowed me to expand my understanding of my situation – it enabled me to see it in a wider context of general human experience, learn from it and receive hope. Selected quotes from the book offered food for thought and feeling – I meditated on them, and their metaphysical messages provided me with signposts to process my experiences. These insights were distilled into celebratory affirmations that accompany the images and focus on letting go and letting be.

///weep.think.pizza

Dérive. In celebration of who we were, who we have become, who we have unbecome and who we are becoming. Letting go of everyday identity.

Psychogeography: Dérive

Dérive, on the other hand, comes from French and means ‘drifting’. As a concept related to psychogeography, it came about in the 1950s when Situationists International were looking for new ways in which to engage with the surrounding environments to comment on and question the status quo. In basic terms, drifting entails meandering, loafing, seemingly aimlessly and without any itinerary or preconceived direction or destination; but, in reality, it cannot be more mindful or infused with felt sense as, throughout the expedition, you remain alert, aware and open to potential opportunities, affordances as well as constraints and disturbances of the urban scape you drift through. Simply put, you let go of the usual reasons for walking while remaining acutely aware of moving through the space. For me, it is a way of paying attention, noticing, and trying to engage with the environment in phenomenological ways to uncover messages that can also unlock reappraisals of your internal world. In my drifts through Glasgow, interestingly, I often ended up in marginalised or boundary spaces, on the edges of the city and society, life and death, land and water: Easterhouse, Cathcart Cemetery, Glasgow Harbour, to name a few – this made me think of transience, impermanence and hybridity.

///rings.muddy.drives

Dérive. In celebration of alignment and synchronicity. Letting go of everyday identity.

Pinhole Technique

Traditionally and in very basic terms, a pinhole camera is a light-proof box with a tiny aperture (later in its development, a lens was added). The image passes through the hole and gets projected upside-down onto the opposite side of the box, an effect known as ‘camera obscura’, something that Leonardo da Vinci experimented with extensively in his endeavour to understand optics (the knowledge of the effect, however, goes back as far as 500 BC). If you place photosensitive material inside of the box, an image gets recorded, which got established in the early 19th century.

Pinhole cameras can be built from scratch, and instructions can be found on the internet. Having no easy access to darkroom facilities but also because I like playing at the boundary between the digital and the analogue, I experimented with making a digital pinhole in a low-tech, DIY way (specialist lenses that create a camera obscura effect are now available, e.g. Lensbaby Obscura 50 mm). In order to make my pinhole, I acquired an extra body cap for my Fujifilm X cameras (XPRO1 and XT4). I drilled a 5mm hole in it and sanded down the rough edge. Next, I cut a 2cm-square out of an aluminium can. Using a pin, I made a tiny hole in the metal (you can make two holes for a special double effect; if you are all about precision, there is a special formula to calculate the exact size of the pinhole). Again, I sanded it down to make it smooth. With a waterproof marker, I darkened the aluminium on the inside – the side that will be facing the cap. Then, I attached the metal cut-out to the cap with electrical tape, ensuring the pinhole was placed in the centre of the hole in the cap.

Since the pinhole is a relatively small aperture, you will need to increase your ISO and/or use a longer exposure time. This means using a tripod if you want sharpness. Since I was not interested in that, I made all the images handheld, adding ICM on occasion.

Using a pinhole is about embracing imperfections, free creative play and distorted optics (blur, soft focus, haziness, grain), which can be liberating if, for instance, you need to get your creative juices flowing again at a

time of stuckness. It makes you look at the world around you in a different way! It may also make passers-by look at you strangely, and they may point out to you that you’ve forgotten to attach a lens!

A word of caution, though! If you plan to do a longer shoot, think carefully about how to protect your camera. Covering the pinhole is possible, but it is not failproof, so there is little chance that dirt or moisture can enter your camera. This does not necessarily mean your camera will get damaged, but you may find that you need to clean your sensor more often. For this reason, I would start out with a backup camera if you have one.

Conclusion

Altogether, this has been an interesting project for me to work on, one that took me in unexpected directions emotionally, physically and creatively. It was a contemplative time but also a time of play and unbounded creativity, and I hope some of that comes through in my images and text. What I would like to leave the reader/viewer with is a short list of the main takeaways:

A digital pinhole is a fun way of injecting creativity and play (back) into your photographic practice, and creating one is simple and can be achieved in 15 minutes.

Psychogeography is a fun way of rediscovering a familiar place or getting to know a new place. Drifting can bring about surprises, insights, wonder and curiosity.

Marrying words and images can create a communicative synergy. Working closely with literary sources can reinvigorate your photographic practice and help you develop a coherent visual storytelling approach. Using new techniques and methods is helpful in remaining creatively agile.

Lastly, it is a worthy reminder that photography and art, in general, can help you process your life experiences and regain hope.

- Ania Rolińska

///memory.care.wiping

Dérive. In celebration of transience and spontaneity. Letting go of everyday identity.

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Indexing is the process of organising and categorising the content on your blog so that search engines and readers can easily find it. When you index your blog posts, you are essentially creating a roadmap for search engines to navigate and understand your content. This is important because it helps search engines determine the relevance and quality of your blog posts, which in turn affects your visibility in search engine results.

In the current era of technology and digital advancements, where there are millions of blogs and websites competing for attention, indexing your blog posts is crucial for standing out from the crowd. By properly indexing your blog posts, you can improve your visibility in search engines, increase traffic to your blog, better organise your content, and enhance the user experience for your readers.

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Once you have created a Sitemap for your blog, you need to submit it to search engines so that they can crawl and index your content. Most search engines provide a way for you to submit your Sitemap through their webmaster tools or search console. By submitting your Sitemap, you are essentially telling search engines that your blog exists and should be considered for inclusion in search engine results.

• Use of SEO best practices:

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continued on page 21

BEST PRACTICES FOR MAINTAINING AN INDEXED BLOG:

• Regularly updating your blog with fresh content:

Search engines love fresh and updated content. By regularly updating your blog with new posts, you can signal to search engines that your blog is active and relevant. This can help improve your visibility in search engine results and attract more organic traffic to your blog. Aim to publish new content at least once a week, but make sure to prioritise quality over quantity.

• Consistent use of Categories & Tags:

To maintain an indexed blog, it is important to use categories and tags for your blog posts consistently. This helps search engines and readers understand the structure and organisation of your content. Make sure to assign relevant categories and tags to each blog post and avoid using too many irrelevant ones. Regularly review and update your categories and tags to ensure they are still relevant and accurate.

• Regularly checking for broken links:

Broken links can negatively impact the user experience and SEO of your blog. They can lead to a poor user experience by frustrating readers who click on them, and they can also affect your search engine rankings. Regularly check for broken links on your blog and fix them promptly. There are various tools available that can help you identify and fix broken links on your blog.

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Taking everything into account, indexing your blog posts is crucial for improving the visibility, traffic, organisation, and user experience of your blog. By properly indexing your blog posts using categories, tags, sitemaps, and SEO best practices, you can increase your chances of being discovered by search engines and readers.

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Master Craftsman Clare Perry

“With every session, my goal is always to make images that parents treasure, and so regardless of the other elements I bring in, the baby is always the most important. In every image, lighting is carefully considered; props and foliage are used to add to a story to work with colours and skin tones. All these elements that I have learned to work with and incorporated into my business to the work I am known for. Whilst I suppose my photography career started way back at A-level, with a 35mm canon and a medium format Hasselblad, this panel has a more personal and emotional thread for me. So it’s idea and beginning are more recent. Four years ago, whilst the world was on the brink of a pandemic, my husband and I had to deal with the loss of what should have been our third baby as I suffered a ruptured ectopic pregnancy and emergency surgery. We were then plunged into the first lockdown, and the comfort of family and friends became purely digital. I found myself at home with my two beautiful children whilst my husband worked through the pandemic in London; my job, career, business, and passion were suddenly not allowed.

My slightly barmy husband had been set on an allotment for quite a while, and a year before the first lockdown, I had jokingly signed him up and paid the first year’s rent on what was essentially a field. Little did I know that this field would become a sanctuary and a provider for my business. After physically healing from surgery, I turned to gardening; I grew whatever I could to fill the gap of what I was not growing. Our family allotment turned from an abandoned field to a sanctuary from the craziness of the world around us and my deep sadness. I became fascinated by the other allotment holders’ stories, reasons for growing - everyone’s desire for a simpleness and escape where they can grow in whatever way worked for them.

Slowly, seeds germinated, and plants emerged, just like the world from lockdowns and isolation. I brought the allotment into the studio whenever I could. Foliage and florals have always been a feature of my work, the delicate buds of flowers mirroring the arrival of new life from seed, and the satisfaction of knowing that I was bringing something different to every session, seasonal, an anchor in time and creating something beautiful for the parents to display on their walls and in albums. I recalled reading about the Victorians and how they would send messages to friends and love interests through flowers. Then, how old masters used symbols in paintings and the fizz of an idea combining my work life and the allotment started.

Researching the meanings of flowers and foliage opened a whole new opportunity to create visually pleasing images and images with meaning. From the very start of their journey into parenthood, every parent has hopes, dreams and wishes for their baby and family, so each image today features a plant or plants with a message. From parent to baby - wishes of happiness and health - all the good things for their life, from myself to each of my clients, messages of encouragement, to be present and hope for their new family and future. Messages to my babies, all three, messages of pure love, gratitude and strength. The age-old saying states a picture is worth a thousand words. I don’t have a thousand words, but I do have heartfelt words and wishes for each and every baby that I photograph.

- Clare Perry

Frequency Separation

By Simon Newbury

There are many ways to retouch a portrait to get the best result. The simple spot removal tool is actually pretty good, but Photoshop’s new Removal tool is even better and can do an amazing job at clearing up skin. The best way to do it is with a dodging and burning technique where every pore and blemish has their shadows dodged and highlights burned leaving all skin texture intact but smoothing the look of the surface.This does yield amazing results but is painstaking and if you’re not getting paid a small wheelbarrow of loot, it isn’t the most efficient use of you time. This is where Frequency Separation comes in. It can yield just as good results if used as painstakingly, but can also deliver great results in a very short period of time for those who aren’t working for Vogue.

Did anyone read my article in the last issue about Actions? Well, this is a fantastic time to use your knowledge Create a new action, click record and follow these steps

But first, a little about frequency separation and how it works.

Basically, we are going to create two new layers. One will be all the soft colour and tones of the image and the other will be all the detail and texture. With these you can even-out skin tone easily without affecting the surface texture and on the other we can remove imperfections in the skin surface without damaging the tone of the area. It’s very effective, and once you’ve created this action, very easy to use on images for quick touch-ups. Some people go in very heavyhanded when editing portraits and blur skin texture, but it’s the texture that makes a portrait look realistic, we just want to even it out, remove the eye-catching distractions. If you happen to like your portraits looking like synthetic robo-people, feel free to hit surface blur!

Okay, so let’s get into it. First, open the image you want to edit, always a good place to start! Now let’s create two new layers by hitting ctrl/cmd+J twice to duplicate it (1). Now rename the layers for ease. The bottom one will be for tone and the top for detail. After that, hide the top layer by clicking the eye icon and blur the ‘tone’ layer by going to Filter > Blur > Gaussian Blur. You want to blur it just enough that you lose the texture but keep the tones (2). How much will depend on the size of the images you’re working on. If you’re using a 24Mp camera, something between 6 and 10 pixels radius will be fine, if you’re using medium format, or any of the latest 46Mp+ cameras, then it may need to be considerably more, just use the preview to check.

Next we are going to make the detail layer visible again. Click on it to make it active and then, using a filter, we are going to remove all the information from the tone layer, leaving just the detail. So, at the top, click Image > Apply Image. This brings up a box. In the top drop-down menu named ‘Layer’ (3) you will see the names of all the layers. Select the ‘Tone’ layer. In the bottom drop-down box named ‘blending’ (4) you need to select Subtract. This will now remove all the colour and tone from the image, and if you have preview turned on you will see what looks like a high-pass filter in the preview.

The last thing is to check (5) is that Scale is set to ‘2’ and Offset is set to ‘128’ Now in all honesty, I haven’t a clue what these mean but this is what they need to be set to! Click Okay. Lastly, go over to the layer blending (6) and change the detail layer’s blending mode to Linear Light. The image should now look like it did before you added any layers to it. If you want, you can now group the top two layers, but either way you’re done setting up. Click stop and you have your Action ready for future use.

So how do we use it? I’m going to give you a very brief overview. You really need to have a play as this doesn’t really translate well to the written page, but here goes. Pick a layer to start on. I usually go for the tonal layer, so click on that to make it active. Then click on the lasso tool. Change it’s feathering to 25 pixels or so. This is so any blurring has a lovely soft edge.

Do not make the feather so large however that it takes in more than you want it to, for example if you’re trying to smooth an area close to the background of the image you might find you bring in the tones of the background changing the colour of the skin (7) which is not good!

With your soft lasso, circle an area whose tone is uneven. Once selected, you want to go to Filter

> Blur > Gaussian Blur (8) and adjust the blur so the tone is even, I find 35-45 pixels radius is usually about right. From there, just proceed around the face lassoing bits of face that you feel needs evening out. I have one of my buttons on my Wacom tablet set to repeat last filter, which saves a lot of time when using blur may, many time in a row. At the end, the image should look a bit like this (9).

Next we move on to the textured areas. You can use any manner of removal tools for this, but I generally use the clone tool set at 20 pixels wide, give or take, and 80% hardness. I then go around the image cloning skin texture from as close to the blemish as possible (10).

By the end, you should have a greatly improved image much like the one at the head of this article. Don’t worry about getting every little imperfection. As I said, if it’s perfect, it won’t look natural. A little dodge and burn to brighten the eyes etc to finish and you’re good to go!

Simon Newbury

www.simonsart.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’s written an article on taking stunning landscape photography with a Drone.

Peter Morgan

10 Top Tips for Taking Stunning Landscape Photos with a Drone

Drone Photography

Drone photography is becoming increasingly popular for landscape photographers, and for good reason. Drones offer a unique perspective of the world we live in that can be used to capture stunning landscape imagery. If you’re new to drone photography or if you’re looking to improve your skills, here are ten tips to help you take stunning landscape photos with your drone alongside equipment and accessories to consider.

1. PLAN YOUR SHOTS

Before you take off, take some time to plan your shots. Check local laws and restrictions (you can use the app Airmap to check this information). Look for interesting angles and compositions, and think about how you want to use the landscape to create a visually appealing image. Also, look at images that have been taken before so as not to copy what’s already been done. There’s nothing worse than getting the same image as 20 or so other photographers when you can create something new and exciting.

2. USE THE RIGHT SETTINGS

Your drone’s camera has a number of configurable settings that can affect the quality of your photos. Make sure you understand how these settings work well before time so as to maximise the battery life and your time in the air and how to use them to your advantage to get the shot you want. Choose the right shutter speed, ISO, and f-stop. Also, DJI drones have several options that include HDR mode, Panoramic, etc. Use these to your advantage. Where possible, save your settings to a profile so you can load that in rather than changing every setting while the drone is in the air.

3. SHOOT IN RAW FORMAT

The raw file format gives you more control over the editing process, so it's a good idea to shoot in raw whenever possible. JPEG is a lossy format, so you're always going to get a compressed image, which is fine if the photos are going to stay on your phone, but if, like me, you want to print your images, then raw will give you the highest quality possible with the greatest and widest possibility for editing and adjustments.

4. BE PATIENT AND AWARE

Be patient, but also be aware of your time in the air and battery life. Don’t be afraid to experiment; take your time if you have spare batteries. The best drone photos often come from patience and perseverance. Sunset and sunrise shots are literally about turning up and waiting.

5. BE SAFE AND LEGAL

Always fly your drone in a safe and responsible manner. Follow all the rules and regulations for drone flying in your area. If you are planning on selling your images, make sure you have the correct license for your country. Basic information in the UK can be found on the CAA’s website here. You will need to register a flyer and a pilot ID.

It is against the law to fly a drone or model aircraft without having the required IDs. You can also be fined for breaking the law when flying. In the most serious cases, you could be sent to prison (although this very rarely happens unless it’s the most serious breach of regulations).

6. GET THE RIGHT EQUIPMENT

I own two drones. I have the DJI Mini 3 Pro with DJI RC Remote & Fly More Kit Plus, which is excellent for most situations, as you don’t need a commercial license to fly this in the UK, though it does need to be registered with the CAA. I also own a DJI Mavic 2 Pro Drone Quadcopter UAV with Smart Controller, which is still a lovely drone and, as a fully licensed pilot, I use it for most commercial jobs that require a better camera and more options for planning and in higher wind speeds.

I also have the DJI Neutral Density Filter Set for Mini 3 Pro and the DJI Mini 3 Pro Wide Angle Lens, plus extra batteries for everything.

7. SHOOT VIDEO, THEN GRAB STILLS

Shooting video with the camera can get you great shots that you might otherwise miss. Think about the time it takes to react to what’s going on and then take the shot versus having the drone in the air and filming and grabbing a still from the video. It’s also very easy in Adobe Lightroom. You just move the clip to the point you want, click to the right of the scrubbing bar, and choose Capture frame. continued...

8. SHARE YOUR PHOTOS

Once you’ve taken some great drone photos, don’t forget to share them with the world! Post them on your social media channels, enter them into photography contests, or even print them out and hang them on your wall. DJI’s app has a place where you can upload your favourite images for everyone to see, rate, and comment on, and most photography competitions have a drone or aerial category now.

9. REMEMBER TO HAVE FUN

Drone photography is a great way to get creative and explore the world from a new perspective. So, get out there and start flying! Try the goggles, too. It’s freaky and really exciting to be able to see the world as if you’re flying a plane or helicopter. Check out the DJI Avata Pro-View Combo with RC Motion 2. It’s an awesome way to get into FPV flying (first-person view).

10. LEARN FROM OTHERS

There are many great resources available to help you learn more about drone photography. Check out online tutorials, read photography magazines, and follow other drone photographers on social media. Mr. MPW is a great resource and can be found online here.

Following these tips, you can take stunning landscape photos with your drone. So, what are you waiting for? Get out there and start flying!

- Peter Morgan

Emma Dunham The Foodies Photographer

Emma is an award-winning photographer with over 17 years of experience as a Professional Photographer, specialising in food and drink products and all things peoplerelated. She loves bringing your food to life by delving into the

psychology of what makes customers want your food! She creates beautiful custom imagery that ties the emotion of your food and your team into gorgeous storytelling visuals that tie your entire business brand together.

Emma helps business owners and entrepreneurs increase their visibility through a beautiful bank of bespoke images to attract their ideal clients.

Website: emmadunham.co.uk

LinkedIn: Emma Dunham Food Photographer and Mentor

Instagram: emmadunham.foodphotography

Facebook: Emma Dunham Food Photography

Essential Props for Storytelling

Food photography needs context, so when we create mouthwatering and visually enticing food images, the right props play a major role in setting our scene.

You will need essential props and those that are just, well, lovely. So 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?

Hopefully, that should slow you down a bit!

What to consider when building up your props -

- PROPS SHOULD COMPLEMENT, NOT OVERPOWER THE FOOD – they should never distract from the dish and keep the hero away from the supporting cast.

- 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 YOU CAN MIX AND MATCH WELL –you want to use the items on their own or mix them with other props.

- PLATES, BOWLS & COLOUR

• Neutral plain plates/bowls – Can be white, beige, or 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 are great for pasta or a salad as they 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: Rustic matte surfaces photograph the best, so avoid plates with metallic finishes.

• 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 (backdrop, food & other props).

• Shooting a small piece of cake on a large plate makes the food look less inviting – go small.

• 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.

So, in summary: Small, Smooth plates with a matte finish and no rim or large lip.

BOWLS

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

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

• Small bowls are great for flatlays 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 accompanimentsEnsure the ingredients you add match the dish.

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

• Think of what you want your bowl to say when choosing a colour or terracotta, smooth, textured – many choices and so easy to pick up.

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

GLASSES

• If your hero is the drink – clear, 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 as background props but not the main event if you shoot through them.

• If you are shooting at 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 is needed, not the whole collection.

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

JUGS & SMALL PITCHERS

Small jugs, creamers, little bottles, and measuring cups are great for pouring shots.

Small pitchers can fill the image’s background with the liquid from the glass to add an element to the story.

PAPER STRAWS

Look cute in drinks and smoothies. Metal straws can also look good but have their limitations on colours. Bamboo straws are a good substitute, too.

Don’t let the colour overpower the shot; use complimentary or contrasting colours.

TEACUPS AND MUGS

Where to start…

There are many shapes, sizes, colours and ages of teacups and mugs, so choose wisely unless you want your space overtaken by them.

• Vintage tea cups are gorgeous and have great designs and extra embellishments.

• White tea cups/mugs are elegant, understated, and fit a bright, modern image.

• Coloured and black tea cups/mugs are cool and can help with a moody shot.

• Hand-painted mugs are in keeping with the look of now.

• There is a place for all varieties; you need to decide if it’s a chunky Manhattan hot chocolate or a delicate afternoon tea vibe you are creating.

Don’t-buy-too-many…. Unless you are a collector!

TEAPOTS

Can be the story’s main hero by pouring, brewing, and steeping the tea.

Or as the supporting cast in the background of the teacup or mug.

CAKE STANDS

A cake stand transforms a cake from ordinary into the look and feel of the cake stand.

Cake stands can be white adorned with frills, black no fuss, metallic, wooden or glass.

As they are quite expensive and take up quite a bit of room, decide if you will be photographing cake before investing in your own.

A cake stand doesn’t have to be just for cake either; it can be for cupcakes, meringues, biscuits, flans, quiches.

COOLING RACKS

It’s great to add to the fresh-out-of-the-oven story with a scatter of flour around it.

Shapes - round and rectangles are great if your food needs this.

Colours – be careful with shiny silver trays; any vintage or well-loved silver versions are better. Black cooling racks work well, too, and there are some cute pastel colours out there right now.

POTS, PANS, COOKING APPAREL

Using a pot, pan, or a cooking vessel can add to the story of what you are creating.

Just remember not to go too big on the pan if there isn’t much food in it– a milk pan is better than an industrial oversized pot, and a smaller frying pan shows the ingredients better.

PLANTS & FLOWERS

It’s not strictly a kitchen gadget, but it does help your foodie images. If you want a little greenery in your image, lie a plant down and have a few leaves and stems showing in the shot.

Fresh-cut flowers soften an image and give a more dreamy or vibrant look to the image.

If your flowers are slightly blurred in the background – fake flowers are a great way to spend once and use them many times; ensure you keep them looking good.

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 lots of 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 two or three of each knife and fork as you would rarely have anymore than that in one in a 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 to your shot or can produce an image from another era.

• 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.

UTENSILS

If you specialise in a certain type of food or photograph a food type a lot, you will need utensils to fit this. However, don’t buy them just because you think they look nice; ensure you use them repeatedly.

Such as cake forks, cake knives, cheese knives, pizza cutters, soup spoons, salt spoons, hand whisks, garlic presses, honey drizzler, rolling pins, pestle & mortar.

WHERE TO FIND THEM

Trawl the charity shops for vintage or different types of crockery, utensils and props; you will find new interesting items that others don’t have. Other great places to buy from are charity shops, car boot sales, TK Maxx, Dunelm, Flying Tiger, H&M Home, Zara Home, Nom Living and local potteries. And remember: you need space to store these props, so buy the items that will help you and not just gather dust.

To find out more about food photography and join Emma’s FREE 5-Day Profitable Food Photography Challenges, scan the QR code or go to: https://tinyurl.com/profitablephotographer or find out more at https://emmadunham.co.uk

The Printing Revolution

Why is printing photos so important in the digital age?

In many ways, the digital era has made everyone a photographer. In a world dominated by smartphones and the ever-ambiguous ‘Cloud’, the art of photography has become an integral part of our day-to-day lives. The ease of use and convenience of our phones has meant that we’re taking more photos than ever – but research has revealed that 52% of Brits never look back at them.

The survey of more than 2,000 adults in the UK, carried out by Europe’s largest photo printing company, CEWE, has prompted conversations from experts in the industry about the importance of print photos when it comes to looking at and preserving our memories. The research further revealed that 56% percent of those surveyed have actually lost access to or accidentally deleted digital photos, resulting in the loss of significant memories.

Print versus digital

“Photography is the one thing we have in life that can actually stop time,” says music photographer Christie Goodwin.

“For that split second, we can capture a moment that we can keep with us, whether this is a birth, your wedding or first home, your child’s first day at school. In the moment you’re taking the photo, you do it with the intention of keeping that moment alive – yet all it takes is a computer crash or phone theft for it to be gone forever.”

CEWE’s campaign, The Printing Revolution, calls for a revival of the printed photo to ensure these treasured memories are not lost and to help us appreciate them in our day-to-day. For photographers like Christie, a digital photo simply doesn’t cut it.

“I created a photo album of my decade of work with Ed Sheeran, and I sat together with his father and looked through all of the pictures I had taken of Ed – from the age of 17 all the way until he was 27. In this, I saw the evolution of a boy that became a man, and looking at his journey in this way was quite spectacular. We both became quite emotional.”

The emotional benefit of printing

The emotional benefits of a printed photo cannot be understated. Chris Hall, documentary, wedding and portrait photographer, and Craftsman with The Guild of Photographers, insists upon the difference of a photo in printed form to remind us of a memory, a piece of history that might otherwise be forgotten in a digital file.

“I’m drawn to looking at old photographs of how our streets looked, how people looked. I’m drawn to the vintage ones and stylistically, I like the black and white look – but I also love the history that’s captured there. If we don’t have printed photographs of these things, of daily life in print, we’re in danger of losing that little piece of history,” argues Chris.

“There’s such power in seeing a printed photograph instead of scrolling by and spending two seconds looking at it. You spend more time looking at the printed version, and you understand the meaning and, more importantly, the emotion of the photograph. We can’t keep letting our phones and computers hide these moments away!”

“I see digital pictures as a cluster of zeroes and ones. I really don’t consider it a ‘photograph’ until it’s printed,”

Christie

This is a sentiment echoed by the British public, with 69 percent of people feeling joyful when looking at printed photos and 74 percent believing that there is an emotional benefit to doing so. A printed photo generates an emotional response because it often goes beyond the moment in the photo – reminding you of other memories in the process.

Memories unlocked

“I’ve got a print of a photo on holiday at Land’s End with my parents, partner and old dog – and it brings back so many more memories of that day, and indeed that whole holiday. It helps me remember things like seeing a basking shark, getting an ice cream, seeing a barn owl, visiting the Minack Theatre. It goes way beyond setting down the tripod and taking that shot of us together,” says Angela Nicholson, founder of SheClicks and co-found of Camera Jabber.

“Prints are incredibly powerful. You shoot so many digital images, and you go through them all and pick your absolute favourites for print – so in a way, those printed images are more cherished.”

Signifying a relationship

A printed photo of a loved family member to mark a special occasion can take us back to that exact moment, to recall the happy times and to trigger the many memories associated with the place and those people. That’s why Hannah Carter-Orton, Photographer and Educator, places particular emphasis on capturing and printing photographs of family members.

“Printed photographs have the power to validate our lives and say what’s really importance to us. By choosing to share those photographs with others, we in turn acknowledge the significance of those people in our lives.

“Some of my most printed images are of my little boy and his grandparents – which make a really beautiful gift and allow me to say, you are so important to me and so are these relationships. Having that physical copy allows me to communicate and display that.”

Preserving history

45 percent of those surveyed admitted that being able to take multiple digital photos has made them less appreciative of taking a single photo, resulting in masses of unacknowledged images being stored on devices. Rod Wheelans, ex pro and now enthusiastic amateur photographer, strongly believes that photographs are imperative to understanding and connecting with our family history.

“I look back at family archives of print photographs left by my parents and grandparents and worry that with many families just posting photographs to social media, that these memories will be gone by the time their children are grown up – and they won’t get to see them.

“My wife and I travel to many locations and photograph people and places. If we return to that destination, we often take those prints with us, in the hope of finding those people and giving them their photographs. We recently did just this in Turkey but were informed the gentleman we’d photographed had sadly passed away. A few hours later, we were introduced to his son, who had come to collect the only photographs of his father to exist.”

Digital photography absolutely has its place – but for Christie, Chris, Angela, Hannah and Rod a printed photograph helps you invest in the future of your memories. We have an opportunity to reconnect with the important moments in life by turning them into tangible, holdable treasures. Join the revolution, and let photo printing bring connection and a deeper appreciation back to the art of photography.

Google Algorithm Update Eradicates FAQs from Search Results

Google unexpectedly changed their algorithm by eliminating frequently asked questions (FAQs) from search results. This update was rolled out on August 8, 2023, and was fully implemented within seven days!

They now prioritise information from medical experts and government entities. Google’s most recent algorithmic change is intended to enhance user experience by giving them more precise and trustworthy information. This is accomplished by prioritising content from medical professionals and government sources. As a result of this update, the visibility of frequently asked questions (FAQs) in search results has been dramatically diminished, reducing their usefulness for search engine optimisation (SEO).

Before the August 2023 update, businesses and website owners used frequently asked questions (FAQs) to enhance their search engine rankings. Businesses accomplished this by optimising their web pages with pertinent questions and corresponding answers, which helped them obtain natural traffic and establish trustworthiness for their respective brands. This has all changed. Google’s update has shifted its attention towards providing information from reliable sources, specifically in the areas of medicine and government bodies. Search results now prioritise medical professionals, including doctors, healthcare providers, and medical organisations, when it comes to answering user queries.

Likewise, with the implementation of the new algorithm, government organisations and authorised websites have become more prominent. This shift aims to guarantee that users find precise and authenticated information when looking for answers regarding anything medical, legal, policy, and governmental topics.

In the ever-evolving landscape of website design, FAQs have long been a staple for photographers and businesses alike. They served a dual purpose, addressing common inquiries and showcasing expertise while contributing to search engine optimisation (SEO). However, this update from Google, particularly aimed at enhancing user experience (UX), led to removing FAQs from search results within 7 days. This swift change presents new challenges for photographers and businesses, requiring them to rethink their content strategy and SEO tactics.

Photographers now find themselves at a crossroads, compelled to reevaluate their web page content and the role of FAQs in serving their clients effectively. To adapt to Google’s evolving algorithms and ensure their online presence remains robust, photographers must transform their current content to prioritise client needs by enhancing existing content and incorporating FAQs that offer genuine value and usefulness to their website visitors.

Google’s Helpful Content updates can be seen as a covert strategy to combat low-quality content gradually. Alternatively, one could interpret them as endorsing high-quality, valuable content. Regardless of the perspective, it’s evident that Google is increasingly focused on ensuring that the content Google promotes serves users’ needs and expectations and will be looking to the promotion of high-quality, trustworthy content.

While FAQs may no longer be as effective for SEO purposes, they remain valuable for addressing common queries and assisting users. Photographers and businesses should view them as enhancing UX (user experience) and building trust with their audience. In this everchanging digital landscape, the key lies in adapting to new Google standards while maintaining a commitment to providing valuable, client-based content.

- Julie Oswin

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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- Nika Kuplenk

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