4 Pigs, Poo & Pixels
Sue Dudley
10
24
57
Guild Awards - 2023
Introduction to the Awards Night
Top Ten Photographers
Guild Awards 2023
Photographers’ Bar Guild Awards - 2023
64 Spotlight On
Jess McGovern
78
84
Review: Fundy Designer Version 11
Peter Morgan
90 Photoshop Tutorial
Simon Newbury
New Panel Member
Emma Campbell
Anne-Marie Visser
Silver Award - October 2023
“ I joined the Guild in 2016 as an aspiring photographer with a Small Dog Photography Business, needing more confidence and experience and being entirely self-taught. My husband, Stephen, and I were living in a rented house in Great Malvern whilst dreaming of buying a smallholding in Wales. Seven years later, I find myself a Guild Master Craftsman with a steadily growing round photography business that now involves more weddings than dogs and an award-winning pig and pork business. It has been quite a journey, and Steve Thirsk was kind enough to suggest that other members of the Guild might find it interesting.
Stephen and I met in the Royal Navy, but we had always dreamed of having a small farm and breeding pigs. As a lifelong rider and former horse owner, I also dreamt of having horses at home. It took eight years of disasters (deaths, a house fire, redundancies, you name it) until our luck suddenly changed, and we finally moved to our smallholding in March of 2019.
We have 27 acres in south Carmarthenshire with traditional wildflower hay meadows, rare lowland rhôs pasture and ancient woodland, just 20 minutes from the beach, and we are now very settled in our new life of pigs and horses. I have learned many skills I had never imagined, from doing all our tractor work through plumbing to injecting pigs.
When we moved, I envisioned wandering the land with my Canon 1DX2 and 100-400 lens, capturing our abundant wildlife. Still, I very soon realised how impractical a large camera is when driving a tractor, shovelling poo (a primary occupation these days) or doing most of the other numerous jobs around the farm. Before we moved, I used to carry the camera pretty much everywhere, but suddenly, I had to learn to use the camera on my phone, which was a bit of a shock. As the old saying goes, the best camera is the one you have on you! I have also found one distinct advantage of the phone over my Canons - I am not quite as lithe as I used to be, and putting the phone on our “piglet stick” (I believe others might call it a selfie stick) means I can quickly get eye-level photos of them without constantly getting up and down. It is also much safer to be on one’s feet with a potentially defensive sow.
In May 2019, shortly after moving, I made the (now much longer) journey up to Stoke, where I presented my Craftsman panel of photographs of British wildlife, which, much to my amazement and delight, not only passed but was upgraded to Master Craftsman. I continued to enter IOM with wildlife photos from on the farm (from the odd occasion I got “the big camera” out) and with photos from the two grass track Motorcycle Racing Clubs in the Midlands for which I am the official photographer. Covering them now means a five-hour round trip plus at least seven hours on the track, so very long days but very much worth it, and in 2020 I was lucky enough to win Image of the Year in the Events, Sport & Action category with one of my grass track racing photos.
After a couple of months on the farm, our first livestock arrived - five hens, two of which we still have now; then, in the summer, our pigs arrived: a pair of very rare Large Blacks, a sow and a gilt (a gilt is a female pig who has not yet had a litter), both supposedly in pig, and we were instantly besotted. Ramona, the gilt, turned out to be barren and was sold to a lovely pet home, but Twiggy gave us our first piglets on 1 September 2019. Very sadly, we had to have her euthanised last year following an infection. She was the herd’s matriarch and had given us over fifty piglets.
Pigs bring much mud, hard work, heartache, joy and laughter, but their beautiful personalities and sweet piglets compensate for pretty much every negative.
We adore our pigs and never realised how far they would take us. We currently have two sows, Blodeuwedd and Cerridwen, a gilt, Gloriana, Bran the boar who weighs in at around 400kg, plus four growers for pork, ten older piglets about to be weaned and another nine piglets who were born a couple of days ago. We have bred around 140 piglets, those of whom are good enough to help preserve this wonderful breed by having their own piglets and those who aren’t sold to good homes to be raised for pork or kept to bring on ourselves.
We have a business selling very high welfare, freerange, rare breed, soy-free pork across the UK, regularly reaching venues such as Wimbledon and Royal Ascot.
After a couple of years of pig keeping, we realised that there is a vast amount of bad advice on the internet, advice that is often both contrary to animal welfare and illegal, so we started running pig-keeping and breeding courses, which have proven very popular, and then smallholding courses. After being asked by a group of vets to join in their project, we recently had a pig-keeping book published in collaboration with them, and we were finalists for the British Pig Association New Pedigree Pig Breeder of the Year 2023 award. It is fair to say that pigs have taken over our lives, and, of course, they make fine photographic subjects, especially piglets, and so have given me some awards in IOM.
In the spring of 2020, I was asked by KC Horse Rescue in Herefordshire to foster two rescue horses. Bear eventually returned to his owner, but Jack, a 24 (now 27) year-old hunter type who was skin and bones when he arrived, was signed over to me permanently at the end of the year. He is now retired from riding but loves being driven, so we have a cart and a carriage for him. He has been joined by Ulla, a rare French Comtois draught horse whom I ride Western and also training to do farm work.
My “proper” cameras (I now have an R5 alongside the 1DX2) get considerably less use than formerly - I struggle to find enough time for processing. Poor Stephen has to cover the farm during and after every shoot, although at least our more Westerly location means that it is now very easy to have an annual day trip to Skomer for the puffins. I even took this year off IOM after gaining my Gold Bar last year.
Will I enter again next year?
I honestly don’t know - it is a lot of time and stress, but also a great way to keep in practice and keep my skills at a good level. I have a website for my photography business, but I don’t advertise otherwise as we are so busy with the pigs and horses. Even without advertising, however, the business ticks along nicely by recommendation and word of mouth, and recently, I have had commissions ranging from kickboxing and weddings through to circus and equestrian shoots, and have just this week taken bookings for another wedding and a family shoot. And, of course, the pig-keeping book is full of my photos, including the main shots on the front and back covers.
Before our move, I lived and breathed photography. Now, the cameras are work tools other than on odd special occasions, and the pigs and horses are now our primary focus.
I cannot live without photography, so I use my camera phone constantly (and get laughed at by Stephen as I insist on editing every single image!). The photos are invaluable on our Facebook blog, the farm website and our annual charity calendar (although I always manage to feature a few non-phone photos). Indeed, many of the images in the book are from my phone - yes, I am pretty horrified, too, but at least the cover images are from the R5!
Over the last few years, my photography has completely changed, from photographing almost exclusively dogs and wildlife with a professional camera on a daily basis, barely using my phone’s camera to covering a much broader range of subjects professionally and the constant use of my phone.
In addition, I have become much more focused and professional in my photography business, thanks in no small part to the Guild.
Pigs and their associated poo might now be my principal preoccupations, but pixels run in my blood and will always be there.
Sue Dudley, Master Craftsman
Sue & Stephen’s website: www.black-orchard.co.uk
Welcome to our first issue of 2024, Creative Light – the Guild of Photographers’ Online Magazine. We’re excited to share a bunch of cool articles and features that capture the heart of photography and the creative vibes behind it.
Can you believe it’s been 10 years since the first publication of Creative Light Magazine in April 2014? The Guild’s goal is simple: provide a space for pros, newbies, and photo lovers to connect, learn, and get inspired by the awesome members photography and to ways in which photography impacts our lives.
Creative Light Magazine is to celebrate the winners of the recent Annual Awards which was held at Double Tree by Hilton, Stoke on Trent at the beginning of February. Check out all the winners throughout this edition. With something for everyone in this issue, I hope you enjoy reading it as much as I enjoyed putting it together. Guild Master Craftsman Sue Dudley shares with Creative Light her photography story, Pigs, Poo & Pixels, which is such a great read. Jess McGovern shares a really interesting article on photographing dogs, her top tips and direction. Simon Newbury has a tutorial on creating speed with cars. The Guild welcomes Emma Campbell to the Panel of Judges who brings a wealth of knowledge for the Equine genre. Peter Morgan from Tech for Togs has written a review on the latest update with Fundy Designer 11.
Finally, last but not least, a big thank-you to Samantha Jayne Sadler for taking all the images on the evening of the Guild’s Awards, which Guild Members can access free of charge.
Contact Sam via her website - https://www.samanthajaynephoto.co.uk
Enjoy!
- Julie Oswin, Editor & Creator of Creative Light Magazine
The Front Cover for this edition is a beautiful image and one of many Gold Awards captured by Magda Bright. Magda’s image was one of many entered by her, and among thousands, she entered the Guild’s annual Image of the Month Competition 2023. This image was entered into the Newborn Category and awarded a Gold.
Congratulations to Magda Bright who is the Guild’s Photographer of the Year 2023.
When we started the Image of the Month, all those years ago, we never imagined how important it would become to so many people, including us, and the Awards Night on Saturday 3rd February 2024 showcased everything we could have wished for and more!
A big thank you to the Guild’s amazing Judges who commit their time to judging the Image of the Month each month and ‘pay it forward’ through the Guild’s feedback and mentoring programme.
Also a special thank you to our fabulous Trade partners who sponsor the Event each year with incredible prizes and the Year Book of course- What they do for our Community is so important and greatly appreciated.
Finally, we can’t forget our lovely Carly who works so hard on the IOM each month as well as finalising the end of the Year results.
The IOM isn’t all about achieving the Photographers Bar, or winning an Award of course, as fabulous as that is - it is the personal journey everyone has when pushing themselves, learning new skills, embracing feedback on your images, and letting these things influence our next images.
And as Nelson Mandela said “It always seems impossible until it’s done”.
Whether you enter our competitions or not, we are sure you will enjoy the inspirational competition images in this exciting edition of Creative Light, edited by Julie Oswin of course, along with those taken on the evening itself by the amazing Samantha Jayne Sadler.
We are thrilled to introduce the newest addition to our tray frames. The Fine Art Tray Frame combines our Fine Art Pearl paper, and our popular tray frame mouldings, creating the perfect luxurious product. The Fine Art Pearl paper, featured with the tray frame, has a textured surface which is preserved and enhanced with a protective coating. With 7 tray frame mouldings to choose from, you can find something for everyone.
Create the perfect sized product for your clients! From as small as an 8 × 8" to an impressive 60 × 40" display, our products can be custom made to the exact size you need!
The Fine Art Pearl paper has a textured surface which is preserved and enhanced with a protective coating.
With only a 5 working day turnaround time on our tray frames, you won’t have to wait long to see your artwork come to life!
We’re Europe’s leading photo printing company, dedicated to showcasing photographers’ work to the highest a blend of artisanal techniques and cutting-edge technology to ensure exceptional results every time. We recently Service’ category at the 2023 TIPA World Awards for our CEWE PHOTOBOOK with Recycled Paper, winning seventh time in our history.
Our 100% Recycled Paper is kind to the environment without compromising on quality. It is a bright white semi-matte paper that allows your photos to come into their own, with rich colors and balanced contrast. from £ 18.99
• Bright-white, 100%
• Silky, semi-matte finish
• Environmentally-friendly
• Same colours and Classic paper
highest standards. Our highly skilled team use recently won the prestigious ‘Best Photo winning for the sixth consecutive year and
100% recycled FSC® certified paper finish with a light texture to touch Environmentally-friendly digital printing and well-balanced contrast as our
In 2013, CEWE proudly attained certification from the Forest Stewardship Council® (FSC), an esteemed international nonprofit organisation dedicated to promoting responsible forest management worldwide. This certification stands as a testament to our unwavering commitment to maintaining the highest social and environmental standards in the market.
By adhering to FSC principles, we ensure that the paper we use in our products originates from responsibly managed forests. This not only safeguards the world’s forests and their natural ecosystems but also guarantees that our customers receive products that align with their own sustainable values.
We understand the significance of resource conservation and reducing carbon dioxide emissions. To this end, we have implemented various measures to minimise our environmental impact throughout our printing processes. By employing advanced technologies and efficient production methods, we strive to optimise resource usage and energy consumption.
Moreover, we actively engage in compensation projects such as reforestation programs and wind farms. These initiatives help offset our carbon emissions and contribute to the preservation of our planet’s delicate balance. By investing in sustainable practices and supporting renewable energy resources, CEWE aims to play a vital role in safeguarding the environment for future generations.
The Guild of Photographers started life as the Guild of Wedding Photographers in 1988 and it’s founders were Roy Doorbar and Ian Gee. They both sadly passed away in late 2016, and the ‘Founders’ Cup’ is a prestigious Photography Award which acknowledges what they started, and their aims of supporting photographers and raising standards in the industry by encouraging personal development.
Entry comprises of a three image themed body of work, which is initially entered digitally. Following initial judging those selected as finalists then resubmit their work in a printed format for final assessment.
The competition is restricted to those who have not won a National Competition before and have not attained the level of Craftsman with the Guild (or equivalent elsewhere).
WINNER: Helen Simon
RUNNER-UP: Jenny Higgs
The Winner of the Founders’ Cup 2023 -Helen Simon receives an amazing SpyderX2 Print Studio worth over £500 courtesy of Datacolor.
The Runner-Up of the Founders’ Cup - Jenny Higgs receives a fantastic Spyder Checkr Photo & Spyder Checkr Video worth £250 courtesy of Datacolor.
SPONSORED BY OneVision & Digitalab
Categories - £200 Print Voucher for the winner, a £100 voucher for the runner up
1. Winner: Molly Hollman
2. Runner-Up: Gary Neville
3. Jayne Bond
4. Helen Otton
5. Gavin Duncan
6. Dawn Westwood & Helen Simon
7. -
8. Steven Lambert
9. Jo Tresidder & Rosalie Smith
10. -
1. Winner: Ian Knaggs
2. Runner-Up: Morag Forbes
3. Molly Hollman
4. Helen Trust
5. Peter Benson & Gaille Gray
6. -
7. Jo Tresidder
8. Sarah Dowdall & Graham Hazlegreaves
9. -
10. Sian Shipley
1. Winner: Jodie Painter
2. Runner-Up: Claire Osborne
3. Emma Finch
4. Magdalena Bartnicka
5. Martin Clark
6. Karen Nicolson
7. Eleanor Whibley & Lucy Baines
8. -
9. Lizzie Worley, Tina Frances & Nikki Goodeve
10. -
1. Winner: Magda Bright
2. Runner-Up: Clare Perry
3. Katherine Evans
4. Hayley Harraden
5. Vicky Glenvill & Rachel Sloan
6. -
7. Debbie Longmore
8. Laura Spence
9. Marietta Balassa
10. Sarah Walton
1. Winner: Emma Pope
2. Runner-Up: Nika Kuplenk
3. Renate Zuidema
4. Jo Tresidder
5. Julia Healey
6. Amie Barron
7. Ekaterina De Laet
8. Gina Soule
9. Grace Fieselman
10. Steve Jones & Elis Brown
1. Winner: David Conway
2. Runner-Up: Robert Carter
3. Jaine Briscoe-Price
4. Stacey Oliver
5. Jaye Adams & Andrew Baines
WINNER - Katie Hughes
RUNNER-UP - Graham Hazlegreaves
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Jodie Painter
RUNNER-UP - Julie Herbert Adams
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Jenny Higgs
RUNNER-UP - Laura Spence
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Katie Brockman
RUNNER-UP - Katie Brockman
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Jodie Painter
RUNNER-UP - Eva White
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Ian Knaggs
RUNNER-UP - Ian Knaggs
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Ian Knaggs
RUNNER-UP - Ian Knaggs
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Nigel Proctor
RUNNER-UP - Jo Tresidder
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Sarah Dowdall
RUNNER-UP - Helen Otton
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Marietta Balassa
RUNNER-UP - Magda Bright
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Jodie Painter
RUNNER-UP - Amie Barron
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Gavin Duncan
RUNNER-UP - Gavin Duncan
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Morag Forbes
RUNNER-UP - Steve Collins
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - David Conway
RUNNER-UP - Jaine Briscoe-Price
Sponsored by One Vision Imaging, Loxley Colour & Infocus Insurance
WINNER - Jodie Painter
RUNNERS-UP -Morag Forbes & Jodie Painter
Sponsored by Loxley Colour
You, too, could be the next great success story to be featured in the Guild of Photographers magazine, Creative Light. Join us today!
Sponsored by One Vision Imaging
Pics4schools Plus is the only solution developed by a dedicated Schools Processing Laboratory, thus ensuring the whole quality control process is maintained under one roof. It’s also one of the most cost-effective solutions for Schools and Nursery photographers in the industry.
This goes to the person with the highest combined score from any two sections of our competition which is something incredibly difficult to achieve when you consider most photographers specialise or concentrate on one genre! Molly will be receiving a VIP Pass to Click Live to be held in Coventry June 23-25th, 2024.
Photo: Gaille Gray
This title goes to the person with the highest combined score from the Guild’s IOM Competition. Magda will be receiving the Surecolor SC-900 - an amazing Professional Printer from Trade Sponsor Epson.
The Epson SureColor SC-P700 and SC-P900 photo printers are as pleasing to the eye as the prints they produce. These professional-level, compact A3+ and A2+ printers produce sharper detail and smoother gradations using the deepest blacks and superb blue tones.
For more information on how Epson has redefined the design and output of professional photo printers, visit www.epson.co.uk/professional-photography
Katie Anderson-Palmer – Andrea Aseby – Andrew Baines – Marietta Balassa –
Amie Barron – Magdalena Bartnicka – Peter Benson – Jayne Bond – Andrea Aseby – Magda Bright – Graham Brough – Elis Brown – Joanne Bullas – Laurie Campbell – Paul Campbell – Robert Carter – Martin Clark – Jade Collier – Steve Collins –
David Conway – Julie Cowdy – Catherine Davies – Gary Davis – Ekaterina De Laet – Gavin Duncan – Karen Dunkason – Paul Dunmall – Josh East – Katherine Evans – Lauren Fairman – Sonia Fairs – Louise Farrell – Emma Finch – Morag Forbes –
Tina Frances – Mandy Fraser – Pauline Gibbs – Camilla Gore – Gaille Gray – Ieva
Gudziunaite – Hayley Harraden – Sonya Harrap – Graham Hazlegreaves – Julia
Healey – Jenny Higgs – Tommy Hill – Fruzsina Jonas – Andrew Jones – Steve
Jones – Ian Knaggs – Michelle Lawrence – Crissy Lister – Debbie Longmore –
Lorraine Lucas – Jenny McDonnell – Lucy McGrath – Mandy Newby – Jessie Nian
Liu – Karen Nicholson – Ryan Nicol – Vicky Norton – Claire Osborne – Jodie
Painter – Clare Perry – Andy Pollard – Emma Pope – Steve Reid – Rob Ryan
– Marie Sampson – Louise Sayers – Melanie Sharp – Monima Simpson-Smith –
Rachel Sloan – Rosalie Smith – Gina Soule – Laura Spence – Stu Stretton – David
Thomas – Estelle Thompson – Colin Tresidder – Helen Trust – Bregitte van Haaren – Sarah Walton – Nicky Wearmouth – Eleanor Whibley – Peter Woods – Gwen
Yates – Renate Zuidema
Ali Asplin – Tim Burgess – Joanne Eastope – Vicky Glanvill – Nikki Goodeve –Molly Hollman – Ryan Hutton – Michelle Jackson – Steven Lambert – Beverley
Matthews – Gary Neville – Trevor Partridge – Nigel Proctor – Sian Shipley –Helen Simon – Dawn Westwood – Tim Wilde – Lizzie Worley – Philip Yale
Lucy Baines — Sarah Dowdall – Mary McClymont – Helen Otton – Malgorzata
Pulman – Jo Tresidder
Ali Asplin – Lucy Baines – Martin Clark – Katherine Evans – Morag Forbes –Vicky Glanvill – Molly Hollman – Clare Perry – Helen Simon – Jo Tresidder
Magda Bright – Nikki Goodeve – Gary Neville – Vicky Norton – Sian Shipley
“Rob Hill has been a photography enthusiast all of his life, and while most of his work today is studio-based, it wasn’t originally as he enjoys the diversity of shooting many genres.
Rob Hill had a long career in the Electronics Industry with leadership roles in Marketing, Sales, Engineering, and managing businesses in the USA, Europe, and the UK.
Despite his background in technology, Rob is often happiest working with old mechanical cameras to create images. While in the USA, he began shooting many things, including classic cars, supplying Mirco stock agencies and selling thousands of images.
On returning to the UK, he heard about the Guild. He joined, entering the IOM in the People category initially, which expanded to learn the basics of Product Photography, which ultimately led to starting his Product Photography business. He quickly won numerous awards, including ‘Fashion Photographer of the Year’ with the Societies, ‘Commercial Image of the Year winner’ and ‘All-round Photographer of the Year’ with the Guild. He is a Master Craftsman, has been published many times, has had his work exhibited, and more. It’s fair to say that Rob is naturally competitive, so it was hard for him to give up the IOM to join the Panel BUT (and it’s a big BUT); he knows how important it is for those who can pay it forward! His desire to learn was supported by mentoring (including by the much-missed Andrew Appleton). He has said that ‘to be able to speak to someone who knows what is required for success and can view your work dispassionately is invaluable’.
Helping was his future role! Since 2017, Rob has been generous with his time and knowledge sharing – whether through mentoring, contributing ideas or writing regular articles for Creative Light Magazine helping photographers.
Bowling has satisfied his competitive side, which he excels at, too, but I suspect a further Panel is on the horizon.
Twelve years ago, following an inspiring conversation with a friend who was a photographer, Heather Burns bought her first camera. She threw herself into photography, and because of her passion for music, she honed her rapidly developing skills as a gig photographer.
While engaged in this challenging form of art, Heather immersed herself in online tutorials. With the encouragement of friends made within the photographic community, she joined and sought Professional Mentorship from the Guild.
Gig photography led to an interest in layering images for albums, a skill she later went on to combine with her love for storytelling and influences including HG Wells, Bram Stoker, Mary Shelley, and others with their tales of shadowy darkness, brilliant detectives and more, to create the singularly recognisable style she is known for.
Through her remarkable vision, creativity and skills, she quickly accrued several accolades, including multiple Image & Photographer of the Year awards… she is only one of 2 people to have submitted three successful Master Craftsman Panels! Heather then trained to be a Judge and Mentor and joined the Guild’s Panel – a role she gives everything to. She cannot do enough for others! Whether webinars, inperson and online mentoring, workshops, or support at events - If we, or others, ask – Heather is always there!
She loves to share her journey, learning, and expertise with other photographers keen to learn and develop their own skill sets within the creative genre of our craft. Outside the Guild, it is no different - Heather is in constant demand to visit photography clubs and lecture about how to achieve excellence in creative photography.
She is also a volunteer digital image re-toucher for the ‘Remember My Baby’ Charity. This remarkable organisation produces treasured images for bereaved parents of deceased infants before, during or after birth, a role she is happy to dedicate a fair portion of her time and expertise towards, the results of which offer the absolute best and lasting image to the bereaved parents of a dear departed loved one. Heather is not just an asset to the Guild but to the photographic community – she is a beautiful, giving, and inspiring human being.
We have just mentioned the ‘Remember my Baby’ charity, which is a remarkable organisation. (If you were one of those lucky ones today who had their headshots taken by Gary Hill, the money raised will pay for 80 families to be gifted images of their sleeping child)
“ The ’Remember my Baby’ charity is something very personal to me as I lost one of my twin babies Martin, at 2 days old in 1980 and at that time there was only the instant Polaroid camera that the nurses very kindly used to take a quick snap of their still baby with mum and dad, for them to take home
with them. With this in mind, it gave me great personal pleasure at the Guild Awards to give our next Special Congribution Award to Nicky Heppenstall, one of the charities founders! “
Nicky is married to Mark, and they have two adult children but sadly, on 6th April 2001, Nicky’s and Mark’s first daughter Kim was born still. If you don’t know, the footprints on the RMB logo are those of Mark and Nicky’s daughter. Kim remains very much part of the family and is the reason for Nicky’s evident passion for Remembrance Photography.
Nicky has been a keen photographer since her teens, and she turned professional in 2010 – at the same time becoming a volunteer Baby Remembrance Photographer. She attended a workshop led by Chicago bereavement photographer Todd Hochberg.
Following this she started to deliver training to small groups of midwives to improve their confidence with cameras on the ward so parents could get that one precious image!
Nicky had previous experience volunteering for charities and became increasingly determined to see baby Remembrance Photography offered as a choice to bereaved parents as widely as possible in the UK. Hence why, in August 2014, Nicky, along with six other like-minded professional photographers, plus a volunteer with the same passion, co-founded the ‘Remember My Baby’ charity here in the UK, offering a complimentary gift of baby remembrance photography to all UK parents experiencing the loss of their baby before, during or shortly after birth.
Nicky believed then, as she does now, that the images she (and others provide), can make a real difference to the families who have lost a lifetime of capturing memories in photographs.
Nicky recently stepped down from her role as Trustee of Remember My Baby, but continues to volunteer as a photographer for them…what she, and her fellow volunteers, have done for so many parents is priceless!
- Lesley Thirsk
Stephen Radley grew up in the Lake District, where he developed a love of the outdoors and photography. He is a keen sailor and accredited buddy sailor with Sailability, a charity which makes sailing accessible to people of different abilities.
Stephen Radley joined the RAF as a Chaplain in 2000. He had personal experience of mental health issues, having suffered from depression, anxiety and moral injury - the latter following his last deployment to Afghanistan when there were obviously lots of civilian and military deaths, and he was the sole UK chaplain in the area to support
everyone. It’s hard to conceive what he saw and experienced!
In his words – “although I was keeping physically fit, and probably spiritually fit, I wasn’t keeping mentally fit.” In short, he experienced first-hand just how debilitating depression and anxiety are.
Just before leaving the military, he threw himself into studies where the concept of ‘mindfulness’ was introduced.
As a result of his studies, he now has an Honours degree in Theology, an MSc in Psychiatry & War, and Certificates in Counselling and Mental Health First Aid. I could go on! His war experience left him passionate about helping people find their peace by ‘seeing’ in new ways.
While studying, he realised that photography was so much about how we see life…and is very mindful. In 2018, a few years after leaving the RAF, Steven founded ‘Soulful Vision’, bringing together his studies, personal experience, and love for photography. Soulful Vision aims to help people, especially those who are struggling, to see with renewed vision and imagination, discovering the wonder and beauty in each of us and the places we inhabit.
He firmly believes contemplative photography can promote better mental health for everyone –something I’m sure we all agree with!
Over the past five years, he has run a community of ‘quiet days’, led retreats and workshops, plus has written and published books about these subjects – all because of his desire to help others.
Steven has had quite a journey, to say the least, and he has used it to pay it forward in bucketloads.
Through photography, he has touched many lives in a very positive way - May that continue!
Refresh your samples and showcase your latest work with unmissable sample discounts on frames, books, USB’s and more. Samples are available with up to 40% off retail price, register now and claim your sample discount .
Images courtesy of Lorraine Lucas - Mad Hatters Studio Visit our website
simimaging.co.uk
Jessica McGovern is a Creative working at the highest level in business, marketing and photography through her multiple successful businesses surrounded by an epic hand-picked team. As a CIM Level 6 qualified multi-channel strategic marketer, established graphic designer and multi-award-winning photographer across a number of different genres, Jess is skilled in a wide variety of mediums.
She has achieved two Fellowships to date, had over 190 image recognitions in international competition, and launched and developed the renowned online photography tuition platform “That Tog Spot”, as well as having work published in a number of different online and offline publications, Jess is also a petrent to the dogs Pippi, Bryt and Finn, along with her horse, Tuna.
A non-stop whirlwind of quick wit and a fierce desire for students to develop and grow, she’s helped over 500,000 photographers to improve (and counting). You can find out more about Jess’ speaking, teaching & judging here:
https://thattogspot.com, and her client facing photography website is www.jessicamcgovern.co.uk
Q: What initially drew you to pet photography and training?
I photographed my first animal on the first day I had an entry-level DSLR camera - Christmas Day at 14 years old. Back then, I was a bit of a mess after a turbulent childhood, and I was already living with anxiety and depression. The animals were always safe, far safer than humans, and I had the company of a Labrador called Tess and three or four horses at home. I’d spend hours outside with them anyway, but with my camera to work out, too, the time increased. When the weather was bad or when it got too dark, I’d often be found hiding in my bedroom, trying to work out how to use Photoshop Elements. I learned through trial and error and with some critique from strangers on online forums, I put together my first Microstock Library at 15.
Training happened after I’d worked it all out and knew what I was doing. I was already helping others online for free, just like those forum contributors did years beforehand. I was asked to teach a one-to-one, which led to many more in-person workshops. Around the same time, I popped a couple of explainer videos on YouTube to help the students who had been with me in person. Five years later, I was deleting my old
internet footprint and found those videos. They had amassed many views, and I decided to add more. That was just before Covid-19, and at this point, the channel “blew up” quite quickly. For three years straight, I didn’t miss a weekly upload, and the rest, as they say, is history.
People asked for more resources with more structure, so the online courses, the online oneto-ones, the online membership and the a podcast all followed organically - all asked for, therefore made.
Q: Balancing multiple roles in pet photography, business, marketing, and training can be challenging. How do you manage your time and energy effectively?
People say I’m a wizard for time management and efficiency, but I grew up in a home with an entrepreneur as the head of the family who had a very strong drive and an insane work-ethic. Work always came first, with pros and cons, but that value sunk deep. I used to run two or three businesses concurrently, often working for at least ten other businesses in some capacity simultaneously, and with dedication, it can be done. The sacrifices, though, are huge. Social life, personal care, hobbies, down time, and, to a certain extent, relationships are all kicked to the side, so it’s essential that I find fulfilment and joy in what I’m doing day to day. I have some chronic health conditions, too, which limit what I can do and when, so it’s also important to plan effectively and thoroughly, including rest days where required. Otherwise, if I get sick, everything stops.
I now focus almost entirely on That Tog Spot, picking up a client shoot and IPS once a month or so and assisting with the marketing agency when they need complex technical or strategic support. My diary is sacred and rammed; it consists of eleven different calendars that are managed holistically, and I have ring-fenced time from 2 pm every day to either do things I enjoy or to pick up things that are not scheduled, such as replying to direct messages or interview requests, sending talk titles and descriptions, or judging for other organisations. The team knows what can and can’t go in and how to protect my time when it is appropriate, which is very handy!
I also learnt to delegate. I wasn’t good at this, but hiring staff and having a team takes some of the weight off and allows me to do what I do best. We either hire for the core team or outsource things as needed to maintain equilibrium. One thing is always true: if it is in the diary, it will be done and never pushed back or delayed.
Everything is of equal importance, so nothing gets priority treatment, and everyone always maintains this understanding. If something runs over its time, the days run later. It makes accurate scheduling important and something we do pretty well here.
Q: What is your creative process like when photographing pets? How do you capture their unique personalities?
It starts with the client consultation, where I aim to know the dog’s size, often via the breed if it is known, their likes and dislikes, their general behaviour and their personality. From this, have the personal touches that a client will often say, such as “he’s goofy and loves to run”, whilst chuckling, so I know that happy, bright, action photos are on the list of things to shoot. That then feeds into location choices, which I, not the client, decide.
Then, I ask about the client’s home and style preferences to ensure the colour palette of the final images will suit the spaces I’m hoping they’ll go. That seals a location and time of day, resulting in different tones in final photographs. The wall art starts to be sold before the client enquires via literature and imagery. Still, this call is key for ensuring I can deliver what is required to maintain my sales average of £2000, which keeps portrait sessions worthwhile for the time involved.
Capturing the personality they’ve highlighted is just a case of setting up the right situations and controlling the session with some structure; the rest happens organically and without much input from me or the client. The right location, style, subject and motivators always equal the right result. The weather is the only bit that can make the session go a bit wrong!
Q: Do you use specific techniques or approaches to ensure a successful pet photography session?
What I do and teach is more about client management and shoot management than the photography itself, which I know seems a bit strange. Outdoors this is vital, especially in woodlands or cities. Free-roaming dogs in woodland usually will result in a really difficult and stressful session, so knowing you’re working from back to front before you start is important. The scene, or the background, is the start, and then the subject is placed into that without any stress or pressure from humans, using motivators such as food, toys, praise or movement to get to the right spot. Then, all you need is attention from the direction you want the subject to look, and the images are simple.
In reality, the entire process isn’t superficial; it’s a lot to think about and is complex, with different factors all happening simultaneously. It takes a long time to master and train your brain to work in this way, but with a framework, which I have in the past made into a checklist for students, and practice, it becomes second nature; you don’t need to think about any of it any more - it’s just clockwork.
The hardest part for me was to work out how to explain it all in a way that others could implement themselves, and that’s where the Online Advanced Outdoor Canine Portrait Course came from - the longest name ever! It broke the whole process down into bite-sized chunks that, when put together with commitment, dedication and flair, have produced some of our favourite Guild members, like Emma Pope, Katie Brockman, Nika Kuplenk, Amie Barron, Gina Soule, Frankie Adamson, and many more.
These fantastic individuals took the core constructs, frameworks and workflows and then fed in their secret sauces, resulting in stunning work instantly recognisable as their own.
Q: How do you integrate your marketing expertise into your pet photography business? Are there specific strategies proven to be particularly effective?
I’ve always firmly believed in exceeding expectations and putting the customer first. What do they want? What would delight them?
Then, do that. When you do that repeatedly, word of mouth does the rest. It has been done for all
of my businesses, and I do zero marketing for my portraiture or the marketing agency, which seems ironic. I was once told by a CEO who believes that only some clients need my 100%. Sometimes, 80% of my effort will be enough to make them happy, but if I’m not giving 100%, I’m genuinely disappointed because I could have tried harder.
For most people, though, most photographers, the issue is that they think a photography business is 90% photography and 10% business, but it isn’t. It’s the other way around. The time spent on their business, even if they know this, is usually 10% photography and 90% business. And then added to that, there’s usually some self-doubt, which means they don’t tell anyone what they do. They may share their images on Instagram or re-market them to their previous clients, but it dries up there.
How many people are in your target market within a 20 or 30 mile radius? Then, with that idea in your head, as a percentage, how many of those people know you exist? After that, how many of them know what you offer? Usually, the answer is scarily low, so it’s no surprise that no people who don’t know you book you for services they don’t know exist, right?
The progress part, knowing that number is just a bit demoralising, is where the marketing comes in because marketing is telling people who didn’t know you that you exist and what you do if we boil it down to the basics. Think customer first, always - who are these people that you just put a number on, what do they do, where do they live, what do they buy, where do they socialise or spend time online? Then, target each of those things, one by one, with branding that resonates with them.
Always go to the end user to return to the plan’s start. Remember, nobody cares about you; they care about themselves, so start there and work backwards. (It’s sad, but true.)
Q: What advice do you have for aspiring pet photographers looking to establish themselves in the industry?
Think long and hard about whether you want to do this or not. Self-employment is incredibly lonely, always has big highs and very low lows, is stressful and puts a considerable amount of pressure on your self-confidence and self-belief. It’s OK not to want to do photography as a business; you are no less of a photographer if you choose not to make it a primary income source. I wish the industry itself were less split on this point because it doesn’t help anyone, and it’s damaging to the confidence of really damn good photographers who just don’t want to have the selfemployment part weighing on them all the time.
If you still think you’re up for it, prepare adequately. You don’t need to buy all the expensive training programs, but if you’ve never run a business before, it might be worth taking some pricing and in-person sales classes. The foundations here save a lot of issues later on. I recommend working towards a base-level panel qualification or certification from the Guild of Photographers to ensure your work meets basic professional practice standards. It gives you peace of mind (and often some confidence!), which you can use to build trust with your market.
Next, stop looking at what everyone else is doing, including on social media. Most people don’t know what they’re doing, and they’re just doing their best trying to muddle through. For this niche specifically, the clients need to learn about the other pet photographers in the next city or that amazing one that crushes your dreams with untouchable skill in every image on Instagram. They want great photos of their dogs and saw you. They’re not doing price comparisons or even comparing websites. And even if they are, are they your ideal client?
Then, tell people you exist. And stop procrastinating about it if you’re already at this point. If you lack the confidence, fake it. There is no otherway, this is business, and you need to tell people you exist in some way, shape or form.
Tough love, maybe; sorry about that, but it’s true! Nobody is going to come and help you; you have to help yourself, so go for it because the results are often truly incredible.
Q: How do you ensure each pet photography session feels unique and tailored to the individual pet?
In all fairness and honesty, the session isn’t unique or particularly tailored to the subject aside from the consultation points noted at the start. This is because the client has seen the portfolio and liked it enough to book a session, so they wanted to achieve something like that; we can only go so far off-piste if we want to risk a mismatch between expectations and results. Sometimes, we’ll do something different, but often not. To meet their expectation, we deliver what they want, and then to exceed it, I’ll do something a little special in or after the session itself. As long as the initial consultation is effective, specific things will be tailored to them personally, be it location, “style”, or expressions. Still, the general session format is relatively standard.
I should put something more profound than that, but it is the truth! There is some personalisation in the main ingredients, but the recipe stays the same, so the outcome is relatively predictable and, therefore, replicable. And if it works and I can replicate it, then we’re all good businesswise.
Q: What camera equipment and gear are essential for capturing the best pet photos?
This truly depends on what style of work and what location you’re going for. Studio vs outdoor is entirely different, and outdoor with off-camera flash vs natural light is completely different. For my typical outdoor, natural light images, a good mirrorless camera with reliable eye-tracking autofocus and a fast, sharp 70-200 f2.8 lens are the foundations for everything else. They can usually get you out of a jam if you’re stuck! However, a DSLR with a secondhand off-brand 70-200 f4 lens can produce the same work. The main thing is that you know how to use the equipment to get the results you’d like to get.
Other than the actual kit, some attention items like sound makers, squeakers and a thin, easy-to-editout lead for the dogs help, too!
Q: Do you have a favourite lens?
I love all my lenses for different reasons, but for the most versatility, the one that is usually on my camera outdoors is the 70-200 f2.8
GM MKII from Sony. Its predecessor is what most of my popular images are shot with, always above 100mm, though!
Q: Best photography equipment buy have you made costing less than £50?
That’s actually a really tough question because almost everything I use is more than the budget, so I’d have to go with three things that add up to below £50, which are a rain cover for the camera and lens, squeaky tennis ball from Kong, and a show leash from Amazon for easy retouching.
Q: Are there any specific challenges or considerations regarding equipment when working with animals?
Outdoors, there are only so many specifics other than you need to be more precious because your lens will end up with mud on it at some point! Indoors in the studio, there are a few considerations for your lighting, such as the flash duration, ensuring you can be as cordless as possible for safety, and ensuring that you’re using pet-safe detergents to clean the space.
Safety is essential indoors and outdoors because many of the pet dogs you’ll work with have little basic training and often have poor self-control and self-regulation skills. Ensuring your dog’s behaviour knowledge is solid and practising it regularly can help a lot and allow you to make good choices for everyone involved in more stressful situations.
Q: Are there common mistakes you see pet owners make when trying to photograph their pets?
Yes, the above usually! They also expect their dog to
stay in a flaky stay that they’ve only ever done in the training hall with the human in a standing position. That behaviour is rarely proofed to a human making strange noises 10 metres away lying on the floor, so it’s not fair to expect the dog to have the same patience or self control without training it first. That’s why having a helper and a lead removes the pressure and frustration of the dog “not doing the right thing”, and with your own dogs, you can train a solid wait yourself for self-shooting if you put your mind to it and learn to work with your dog as an equal. We even have a YouTube video on it if you want a free tutorial in Bryt Diaries from her puppy training journey.
Q: Post-processing, do you prefer Lightroom or Photoshop, and why?
I use both Lightroom Classic and Photoshop CC in my workflows. Occasionally, I’ll only use Lightroom, but that is usually for off camera flash work outdoors or silhouettes and similar. Usually, everything starts in Lightroom as my file management and culling home. The shoot has base edits applied for just simple global adjustments, and then the picked images move into Photoshop for finishing. For client shoots, they go back into Lightroom for exporting, but for one-off pieces or for competition, we stay in Photoshop until the very end.
Q: As an Ambassador for Digitalab, do you have your favourite product they produce that you use for your clients?
My clients and I really like the Camden Tray Frame because it is the perfect choice for wall galleries. It has a thin frame and a nice shadow gap, and it can be impactful on its own, too, because of how simple it is. We also all love the Primo Folio Boxes, which I usually sell as add-ons to wall galleries. In all fairness, there is nothing from Digitalab that I don’t love so that I could make a huge list, but those two are the best sellers in their designated positions of centrepiece and supporting act.
Q: How important is printing photographs and providing wall art, framed images and products for your client alongside digital files?
In all honesty, any photographer can decide what they’d like to sell, and if that’s high-profit digitals, only then, so be it. However, I’m creating artwork that will stand the test of time and be remembered in a drawer for the next decade until it’s obsolete. I am aware, though, that it isn’t 1993, and I purchase digital files of my animals at competitions, too, so I would only remove them partially.
With any printed image, the client gets a small-ish digital copy of the same image for sharing online or personal storage, and I don’t have standalone gift prints on my price list either. This means they will
only get a digital file “for free” if they first purchased wall art or a print box.
I have digital files in my pricing guide, but they’ve never been purchased as a standalone item. The way everything is presented makes wall art the right choice, and digitals are an afterthought. They’re priced aggressively to support the artwork-first philosophy, and it’s not let me down yet. Each to their own, but I love the artwork, and my clients do too!
Q: Do you have any upcoming projects or goals for your pet photography and training endeavours?
There’s always something cooking in the background! At the time of writing, we’ve just finished a year of travelling internationally to teach, and we’re still in the middle of Studio Bootcamp, our part-live, part-recorded online course, so it is non-stop here. I must finish this first and ensure the students are happy before it becomes a self-learning option when the recordings are all compiled for release at the beginning of 2024.
We have some additional mini-courses planned for the next year and some events to work at with the dogs, like The Photography Show and Click Live. Still, the bulk of the year will likely be spent creating more membership content and working on personal goals we’ve been putting off for a while. I might do some photography projects, but they may not be dog-led in nature; we’ll see!
Q: For beginners entering the world of pet photography, what essential tips or techniques can help them start on the right track?
Learn to use your camera properly, learn composition and light, and then get critique. And get critique again. And again. And keep getting critiques but only from people who know what they’re talking about and who know what you want to achieve. It might be challenging and sting a bit at times, but keep getting it and implementing the feedback.
Learn as much as possible about and around your niche. If you can, save up for proper training. Free stuff like YouTube is fine, but it can only get you so far before you might need some extra support, but that’s usually a little way in, so you can work towards that if finances don’t allow it immediately. Then, practice it as often as possible, even if it means sacrificing other things.
People tend to run to Photoshop/Lightroom to fix mistakes made in shooting. Yes, it would help if you learned how to use the software and learned the skills that will never leave you. But, focus on shooting first, dive deep into it, head first, and get great at straight out of the camera. Then, when you retouch, you’re improving what was already there instead of fixing what went wrong.
And finally, don’t crop. Ever. You can straighten stuff if you are a bit drunk (not literally, hopefully), but no cropping is allowed. That forces you to construct the scene in camera, and it will help you no end. When you’ve nailed not-cropping, you can crop again, but you’ll probably find it rarely used after this exercise because you’re smashing it in the camera so often.
Q: YouTube is a trendy platform for learning. How do you approach creating content for your YouTube Channel, and what type of content tends to resonate most with your audience?
The content that does well on YouTube, in general, is different from the content I create, so I don’t tend to create videos for views or subscriber gain as I know I wouldn’t enjoy the process, and it wouldn’t be authentic. Made what I wanted to learn five years ago and found helpful, and I pair that with the main pain points I see in others’ work. My favourite YouTube videos to make are dog training ones and progress vlogs, which might seem completely fine. Still, they’re not really great crowd-pleasers, and a small portion of our subscribers actually like them, so I do some retouching tips, which a lot of people appreciate, and I also do some things that I think will be interesting and hope they land well.
It’s tough because, as a marketer, I can give you the correct answer, but it wouldn’t be true because we have no goal to grow the channel; it’s just there to help those who find it, and I can’t find joy in creating the videos if we tailor it to the marketing answer.
At that point, if there is no joy in it, for the huge amount of time it takes to create the images, there is zero point in keeping it going because it isn’t profitproducing in any way. Yes, we’re monetised and have been since mid-2020, and yes, we gain ad revenue from it, but the videos cost far more to make than they bring back to the business, so I really am just giving the tips out for free, just like the people in the forum did for me back when I first started.
In 2023, I took a break from YouTube because I knew I couldn’t keep up with it, and the international travel and my faith in humanity were running out after years of trolls in the comments. The break was great because, being out of the platform, I had room to think about what I was actually doing all of this for, which let me make some decisions I wouldn’t have made.
It’s strange how you can get to the point where every decision you make, personal or professional, is backed up with a question of, “how will people on the internet see this? Will they take it wrong?”. I’m back on YouTube most weeks but without the pressure of true weekly content. I don’t second guess every decision with optics; I do what’s right for me and my family first, our membership community second, and then everyone else third. I feel much more centred and less anxious in general, thankfully.
Q: Three words that describe you?
Crazy dog lady, probably!
Seriously though, “Driven”, “Productive”, and “Honest”, I think, but I could be wrong.
Q: What is your favourite food?
Pizza, always!
Q: What is your favourite place/location in the world?
I love Scotland, and I always have. The rugged beauty and the wildness draw me in, and I feel somehow safe.
- Thank you Jessica for sharing such valuable information for the readers of Creative Light.
Julie Oswin , Editor
D i g i t a l a b a r e p r o u d t o l a u n c h t h e i r n e w i n d u s t r y
l e a d i n g a n d n o w c o m p l e t e l y d i g i t a l L o y a l t y R e w a r d s c h e m e . C o l l e c t p o i n t s o n q u a l i f y i n g o r d e r s t o e a r n
£ 1 5 0 i n l a b c r e d i t e v e r y 1 2 p o i n t s !
Is it just an update to a tried and tested formula or does it have some new surprises in store for us? Here’s the full scoop on what’s new and improved. So Fundy Designer has been around for a while. It continues to be a robust tool in the arsenal of wedding, portrait, newborn and family photographers, offering an array of features to simplify the album, cards, wall art, and magazine design process. If you are a studio owner then it’s an essential part of IPS (In-person sales for those not down with the lingo). If you’re a photographer and are not an Adobe InDesign expert, then this is going to be something you’ll want to implement into your workflow.
HERE’S THE OFFICIAL LIST OF WHAT HAS BEEN UPDATED
• New Design Wizard workflow
• New auto design functionality for Gallery Designer
• New auto-design functionality for Card Designer
• 10 new stock rooms are now included ($300 value)
• 12 new card designs are also now included ($200 value)
• 1 new album design set is now included ($50 value)
Enhanced Native Apple Silicon support on MacOS for improved speed (this has also been added to v10 via a free update)
Importing was always reasonably quick but this version feels much quicker and gives me the option of retouching the imported photos on their way in, along with a list of extensive presets. It only retouches the photos with people’s faces in and leaves the others alone.
It also now gives you the option of saving even more time with the all-in-one design wizard. This is just genius, as even if your client has not requested it, it’s going to be easier to upsell them into a bigger, more comprehensive package by just showing them what potential products would look like. Thank you cards and save the dates can be created like this at the same time, too. A toggle switch at the top of the design wizard makes it easy to include just the products you want, customised before it even does the design for you.
Fundy Designer maintains its reputation for user-friendly design. The interface is intuitive, making it accessible for both beginners and experienced users. The drag-and-drop functionality makes changing photos around easy, and dragging the lines between the images to resize is genius. I love the presets, though, and it’s always a good place to start when designing an album. Sorting images is as simple as clicking a button and selecting sort by date, name, rating, custom order, or story.
One of the standout features of Fundy Designer has been, since V10, its intelligent album design “drop zone” capabilities. The software automates the album layout process, integrating with almost all of the major album design companies, allowing you to download all the different-sized albums they do, saving time for photographers while providing creative suggestions and differing layout options. Users still have the ability to manually control the design at any point, striking a balance between A.I. automation and personalised customisation.
Fundy Designer 11 includes a diverse range of templates suitable for various photography genres and styles. Whether you are creating wedding albums, portfolios, collages, gallery walls or thank you cards, users can find the right template that perfectly complements their artistic vision. The template library is quite extensive, catering to different tastes and preferences and has been updated with additional designs in this version.
Photographers who deliver and proof work for their clients will appreciate the built-in proofing tools that make collaboration with clients easy. Clients can review and provide feedback on the designs with a simple click-and-type interface, making the change adjustment process a seamless experience. This is the easiest way to do things and stops the relentless back and forth between a photographer and their clients, and the client can see exactly what their product will look like and approve the design when changes are completed.
One of the best things about this new version is the ability to design your gallery wall. This version comes with several pre-made lounge design rooms with the ability to select different Gallery Wall layouts and swap them around just as you’d do within the album design software.
After importing, you can select to retouch and open your wall art design studio.
You can choose from the preselected backdrops, or you can even import your own. So if the customer decides they want to see what their images would look like in their front room, you can ask them to take a picture (and provide measurements), and they can choose the wall art suitable for them). You can even calibrate your screen using the built-in measuring tool, allowing for accurate size-to-wall reproduction.
This makes In-Person sales easy as you can also add product pricing, meaning the client can see everything they need to make their own decision, and with the myriad of provided templates, you’ll have lots of ways to sell and upsell your products. If you’re like me and find designing gallery walls a bit stressful, this is a godsend.
Fundy Designer seamlessly integrates with popular photo editing software, allowing users to incorporate their edited images directly into the design. This integration enhances the overall editing and design process, creating a cohesive and polished final product.
So, whilst this was an inevitable (and much-needed) update as programs continue to offer enhanced capabilities and performance since the introduction of Apple silicon, it’s nice to see that this has been retroactively also applied to V10 for those who wish to continue using the previous version.
The Fundy software team have demonstrated a commitment over the years to improvement through regular updates, and I feel that this update is only adding to what was already a great product.
I may be biased because I love this product already, but the snappiness of it has just been improved, the ingestion process is quicker, the bonus of extra templates is great, and the auto design wizard is wonderfully well thought out. I also have a Macbook Pro with an M1 processor, and the speed increase on that is noticeable compared with that of my Intel iMac.
I would love to see a marketplace for templates or a way to create and share templates with other users. It could generate extra revenue for Fundy, too, as this has worked for Aftershoot. I’d like to see the ability to be able to save the text going out to the client in the proofing section into a template in the design wizard to save me from copying and pasting from another application (although I’m told that this is coming in the future update), but these are minor things that bother me very little.
Fundy Designer 11 stands as a reliable and efficient tool for photographers selling their work. If you’re seeking to streamline your album or wall art design process. Its user-friendly interface, intelligent design capabilities, and robust features mean it remains the most popular choice in the photography community.
- Peter Morgan
“ My memories are of the Lake District fells, the sound of the skylarks. Through the mist, the thoroughbreds taking to their morning gallops. This is my home.”
Emma is a full-time Equine Portrait Photographer based in the North of England and Southern Scotland. Her work focuses on capturing the unique relationship each of her clients has with the horses in their lives; in an environment that’s very special to them.
One of the first photographers to be awarded a Master Craftsman by the Guild of Photographers for Equine Photography, in 2020 Emma also won Equine Image of the Year, as well as taking Overall Photograph of the Year (Judges Choice.)
Her work has been exhibited in the Design Museum in London and featured in Horse and Hound, Country Life, Your Horse, Cumbria and Lancashire Life and The Field Magazines.
A former Horse Riding School Instructor, Emma has a 2:1 BSC (Hons) in Equine Science and Business and a postgrad in Photojournalism. She also won a Award for her Business skills after completing the Guild’s Business Course run by Ronan Ryle from the 3XM and Business Success Academy.
A fell pony owner, Emma is also a keen gardener in her spare time.
website: www.horse-portrait-photographer.uk
Photography: Emma Campbell MCrGPP
“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
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 can order a FREE Exclusive Partner Pack and receive a 20% Voucher Code on all CEWE photo products.
15% Discount off all (non-sale) Backdrops. www.clickprops.co.uk
Computer display colour calibration solutions. Guild members receive 20% savings. www.spyder.datacolor.com
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
Hand made wedding albums, books and prints. www.graphistudio.com
Suppliers of stunning bespoke made backdrops, discounted for members. www.handpaintedbackdrops.co.uk
One of the oldest paper companies in Europe that live and breathes paper. 10% discount for Guild members. www.hahnemuehle.com
No.1 provider of online courses in the UK, offering a real course experience with tutor feedback. www.institute-of-photography.com
Unique savings for members with this respected insurance company. www.infocusinsurance.co.uk
Members get an exclusive and significant dicount of this award-winning travel magazine.
www.jrnymag.com
£100 off your new website or re-design exclusively for Guild members. - www.julieoswin.com
10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com
Scottish professional imaging lab with a worldwide reputation. www.loxleycolour.com
30% OFF your first order. Special offers for Guild members. www.onevisionimaging.com
Special Guild member offer worth £350 per year. www.pixsy.com
Guild members only discount 10% www.simlab.co.uk
The online accounting option for photographers with a 20% discount for The Guild.
Members get their first two months free with this monthly based insurance policy.
www.gosuperscript.com
Special discount for Guild members of 20% www.ukprintedpens.co.uk
Large range of photographic equipment and Guild members exclusive retail offers.
www.wilkinson.co.uk
