Emma
Simon
Julie
Charlotte
EDITOR’S CHOICE
Awarded Silver - August 2024
Scott Williams
Julie Oswin EDITOR
Welcome to Issue 63 of Creative Light, the Guild of Photographers’ Online Magazine! As Autumn settles in and the darker nights return, we’re excited to bring you a rich tapestry of content that mirrors the season’s transformative beauty. In this edition, we continue to celebrate the incredible talent within our community, offering a blend of inspiration, technique, and creative exploration that’s sure to ignite your passion for photography.
Whether you’re embracing the unique light of the changing season or perfecting your craft indoors, you’ll find something to inspire you here. From mastering low-light compositions to technical support from Peter Morgan, Instagram “how-to” tips, and fresh marketing insights, this issue is packed with practical advice to help you elevate your work and feel supported in your photography journey.
So, grab a warm drink, settle in, and join us as we explore the profound impact photography has on our world and our ever-growing creative journeys.
-
Julie Oswin, Editor & Creator of Creative Light Magazine
“ 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 63
The front cover of this edition of Creative Light, photographed by Dawn Westwood; the image received a High Bronze in the Image of the Month competition for July 2023.
This stunning image captures a Puffin in all its charm, showcasing both the beauty and the playful character of these beloved seabirds.
Puffins, with their vibrant colors and whimsical expressions, are one of the most endearing species, yet they are listed on the ‘Red List’ of Birds of Conservation Concern - they are at risk of global extinction. This image serves as a beautiful yet poignant reminder of the importance of conservation efforts to protect these remarkable creatures.
Photo: Eva White
Glasgow Streets to Equine Dreams: My Path
to Full-Time Photography
Emma Campbell MCrGPP
I remember strolling down a bustling Glasgow street one late evening, having just enjoyed a wonderful family get-together. The company was great, the food excellent, and let’s just say the wine was flowing freely. Feeling a little merry, I found myself enthusiastically telling anyone who would kindly lend an ear that I wanted to be a full-time equine photographer! This declaration came straight from the heart (and perhaps the wine, too). It felt like I was setting up my metaphorical stall, selling my dream to both my family and an unsuspecting Glasgow.
“Well, I’ve said it now,” I thought. “Guess I’ll have to go for it.” The year was 2014.
So, I joined The Guild. Having spent 20 years employed in the digital industry, I had no idea where to start, how I would get there, or what the process would look like. But I knew that if I surrounded myself with skilful, like-minded people willing to share their knowledge, I could take elements from what they taught me, tailor them to my needs, and focus on my goal.
Looking back, I didn’t set a specific timeline or many expectations. I thought improving my craft alone would lead to success, but I later realised this mindset was flawed. It was only through the guidance of The Guild and my business mentors that I found the way forward.
At the time, I was also carrying some former business baggage. I’d tried to go self-employed in the late 1990s. I’d taught myself HTML code, aiming to become a web designer for equine brands. But I lacked sales experience, financial skills, resilience, and, in an emerging internet market, confidence. I failed to secure enough clients and went on to work for others.
However, when I first started regularly entering The Guild’s Image of the Month (IOM) competition, I didn’t fully realise the extent of the skills I was developing and how they would help create some of the building blocks for my business today.
One of the most valuable lessons I learned was adopting a positive mindset and staying open-minded. The journey of learning through the IOM can be exhilarating but also tough at times, and The Guild encourages you to partner with a mentor. The process of receiving critique and feedback on your work can feel a little uncomfortable at first, but it often holds the key to breakthroughs when you’re stuck in a cycle of repetitive effort without progress. Feedback from someone who has your best interests at heart can provide fresh perspectives, spark “aha” moments, and help you see things in a new light. By welcoming their insights, you not only challenge yourself to think critically and stay accountable to your goals but also gain a supportive partner on your journey. You’re working together toward a shared and positive outcome.
Through this experience, The Guild’s competitions also taught me about stamina, patience, problemsolving, and risk-taking. They encouraged my creativity and drive—qualities that are invaluable in business, too.
Submitting to the IOM can be a rollercoaster, but in the middle of the pandemic, on a cold February night, with the wind howling and huddled around the log burner, glued to a small laptop—hoping the 4G signal wouldn’t fail— I achieved beyond one of my goals and won Overall Image of the Year (Judges’ Choice). Four years of trying and 201 submissions.
After the celebrations, I realised that awards alone don’t guarantee a successful business. The award brought me publicity and great media coverage—The Guild offers press release templates to help celebrate your successes, which are fabulous to use. But I needed to learn more.
From there, I pursued my Guild qualifications. I learned how to create a panel and explored the intricacies of paper choices and products. The process of printing was alien to me, but through experimentation, I discovered which fine art paper worked best for my work—a requirement for your Master/Craftsman submission. Again, more valuable transferable skills.
From there, I started exploring what additional business skills I needed to go full-time. The Guild offers several great business webinars available online, as well as a 10-week course and Business Qualification. It covers key essentials in building your business and touches on areas I hadn’t even considered the first time I went self-employed.
One of the first key elements of the course explores ‘What is Your Business, and Why?’ Why should your business exist? What is its purpose? Initially, I wrote – ‘I am an Equine Photographer – I take photographs of clients and their horses to capture memories.’ Although factually correct, as I went through the course, I realised it wasn’t the right answer. I had to delve deeper. Finding your business ‘why’ can be so hard to answer, but it’s crucial, and it provides clarity from the start. It encourages you to explore your personal experiences and see how you can relate to clients by offering what you do in a personal way. For me, this then became my mission statement.
My Business ‘Why’
“Through my personal experience of purchasing a Fell pony who hadn’t been handled much as a youngster—thanks to his early years spent doing conservation grazing on the Pennines—I learned something quite meaningful.
Over the years, I discovered how to show him that he was loved and how to communicate with him. It was this unique connection, forged over many years that I found incredible, and I realised that many horse owners would be in the same position. It’s this connection that makes each relationship special.
Today, I only photograph my clients in environments where their horses feel at ease to capture the unique personalities and relationships they share.”
This has become the cornerstone of my business.
From the realisation of your business why – you can then identify more easily who your ideal clients are and how best to communicate and reach out to them. Progressing through the course also shows you how to create a marketing strategy, goal setting, finance targets, website structure and sales. With the end goal of creating a business plan.
The business course and Guild webinars gave me a great framework and nurtured my progress towards going self-employed. Yet, despite winning an additional Guild of Photographer’s Business Plan award, I still wasn’t quite ready to commit to full-time selfemployment! I felt I lacked experience.
Just like with IOM, I decided to fully invest in having a mentor and felt I needed some hands-on experience to build my confidence. I reduced my digital employment hours and increased the time I spent as an equine photographer. I juggled the two roles, but I had the reassurance of guaranteed income.
In my first year, I only took on 12 clients. With each one, I tweaked my business plan to improve their experience. I worked on enhancing their customer journey—from the point of contact to them receiving their wall art collections. I set realistic goals that pushed me out of my comfort zone but didn’t overwhelm me.
A great saying from one of my business mentors that sticks with me is: “Be aware of the negative, but focus on the positive.” In 2022, I made the jump to full-time. Each year, I’m learning and building. At times, I’m petrified, and it’s another rollercoaster. But just like the IOM, I focus on what I can control and tweak. When times are tough, I take the initiative and problem-solve as best I can.
Do I regret it? It’s been hard work, but not one bit!
- Emma Campbell MCrGPP
Photography
© Emma Campbell MCrGPP
Photo: Sandra Vaskyte
Photo: Ryan Hutton
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Photo: Emma Campbell MCrGPP
S i m o n N e w b u r y
w w w s i m o n s a r t c o u k
Colour correction
A q u i c k t i p o r
t w o t o h e l p
w i t h t h o s e
u n w a n t e d
t o n e s . . .
Simon Newbury
Moiré & Colour Help Tips...
You know how the song goes:
“ When the colours are weird and some patterns appeared, that’s the moiré...”
I’m sure we’ve all had that moment when someone, usually in a suit with a very fine thread pattern which conflicts with the resolution of your camera..? No? If not, you’re probably shooting with the aperture fully open all the time or in low light with more grain than the Sahara. But, if you shoot weddings and portraits I’m certain it’s something you’ve come across.
From a distance, the moiré on the gentleman’s suit doesn’t look too bad but on close-up will look similar to the image below.
It’s all down to aliasing, and you can find an indepth article about it by Adobe. If you are interested in the technical description please check out the article here: [Adobe article]
So, what can we do about these unsightly patterns? Well, in the previous extreme example, not a lot, but generally there will always be a hint of the moiré, but there’s something we can do the really take the eyes away from it. Here is a close up from the Groom’s suit. It’s subtle but can you see some unwanted greens and purples intruding on his waistcoat? There’s a very simple way we can improve this dramatically...
First we want to do is create a new blank layer above the photo and change the blending mode to Colour (Or I should say ‘Color’ as the Americans refuse to make an English version of Photoshop). It’s the penultimate option in the blending options.
Now select the brush tool. You’ll want a fairly large brush with a soft edge, but it will all depend on the size of the area you’ll be painting, so I’ll leave that part up to your common sense. Do reduce the flow to about 30% though. Once you have the brush selected, hold ALT/CMD to bring up the colour picker and grab a colour that best represents the colour of -in this case - the waistcoat. Then you simply paint over the infected areas and all those horrible greens and erroneous colours will vanish into the night. Some patterning my remain, but it will look so much better.
This technique can also be used on skin tones.
Here is a close-up a lady’s chin. This image hasn’t yet been edited in any way. For skin retouching, have a look at my Frequency Separation article in Creative Light - Issue 57. Anyway, as you can see here, her skin tone is quite blotchy.
The aforementioned technique can be used here in just the same way, although I might be inclined to lower the opacity of the brush to about 30% as it’s very easy to over-apply on skin
A smaller brush is also suggested as you’ll need to colour-pick more frequently, but just by using a little more time, you can quickly remove blotchiness and redness from certain areas.
One last technique I’m going to show you, more for your interest or if you’re in dire straights with an image, as it won’t necessarily produce results you’ll want to hang on your wall. This technique can be quite handy for wedding first dance images where the DJ has thrown so hideous lights upon the couple. I used flash for the dances so don’t have any good wedding examples, so I’m going to use this image from a local amateur-dramatic production, just to give you an idea as the lighting is quite extreme.
Have you ever used Photoshops Neural Filters? Have you even heard of them? Neither had I until recently, but there are some very interesting things in there that are worth playing with when you have some spare time. They can be found near the top of the Filter drop-down menu. And these items aren’t including in the standard PS load, so if there’s one you want to try, you’ll have to download them as you need them.
What you’re looking for is Colorise, which I’m sure you’re aware is usually used for colourising black and white photos. However, when used on an image with bizarre or intrusive colours, it has the very handy effect of colouring the image like it thinks it should be.
Granted, it’s not perfect, but when faced with a beautiful wedding image that’s ruined by a rogue disco light, it could be very handy and maybe make for a much better black-and-white transfer.
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Photo: Natalie Taylor
Pigs, Poo & Pixels - Part II
Sue Dudley
Most outdoor photographers look forward to autumn with its beautiful colours and golden light. Here on the farm, although we appreciate the beauty of the season, it is viewed somewhat differently.
Autumn is the the last farewell before leaving a cosy fireside to go out into the dark and rain, the final hug of the departing light and warmth. It is a beautiful season with the trees turning to fiery shades and wonderful golden light at sunset; often mist or “Dragon’s Breath” creeps up the valley of the Aber Lledle below the farm, tendrils entwining the oaks along the edge of the Big Field. The land full of abundance as fruits and crops are harvested, but one always knows that very shortly will come the rain, the dark and the cold. Autumn is a time to be savoured, to be clung on to as long as possible, but always hanging over one is the visceral dread of the coming winter.
Autumn in West Wales is the precursor to six months of rain and mud. We love living here, but it is green for a reason, and that reason is rain, and with rain comes mud. Especially
when one has outdoor pigs and horses on clay soil.
Of course we do everything we can to mitigate it; the pig paddocks are regularly resown with a pig rooting seed mix which, as well as being delicious for the pigs, holds the soil together well, we rotate the paddocks regularly, the horses have a yard and open stables where they can get out of the wet. But whatever we do, by the end of winter we and the animals are all heartily sick of mud.
But although the spectre of Winter is looming, let’s try to think on the summer that has passed, wet though it was. We have just come through a particularly difficult six weeks. In June we bought a new gilt (a female pig who has not had piglets) who came from a very rare sow line with only 14 individuals, most of whom are aging and in the north of Scotland. Branwen and her sister were brought down to Wales to preserve the line, and we were delighted to help. She was in pig and due to have her first piglets at the start of August. We brought her in in good time and saw her start to produce milk and then build the smartest nest we have ever seen. Nest building is a very strong instinct in sows; they build a shallow bowl in which to farrow which will contain the piglets and stop them wandering, but, of course, the vast majority of sows farrow in crates and so are unable to follow this instinct.
All seemed to be going well, and the next morning we found her with three tiny piglets, born between her last check at 0600 and morning feeds. We were surprised as she had looked large for a gilt and three is an unusually small litter, but she passed both afterbirths (pigs have two uterine horns and so two afterbirths) so had obviously finished farrowing and all seemed well, even if she appeared to be very tired after the effort of giving birth.
The next morning, however, she was very definitely unwell; lethargic and off her food, plus not producing much milk, so we immediately called the vet. To cut a very long story short, we ended up having four vets and a student working on her for most of the day. It turned out that a previous unknown injury had caused one horn of her uterus to adhere to the body wall, and, unable to move, it had torn during farrowing. The four piglets it had contained were dead and floating in her body cavity.
Before they operated the vets thought it would be a simple Caesarean with a good chance of Branwen surviving, so, of course, we asked them to go ahead and give her a chance rather than euthanising her immediately.
The operation turned out to be much more complicated than envisaged and, with pigs being challenging to anaesthetise, was done entirely under local anaesthetic.
Although the operation went well, Branwen just didn’t recover from it and, despite our best efforts, died the next morning with apple in her mouth, leaving three orphaned piglets.
Lucky, Felix and Felicity, so named as the vets were astonished they had survived, had just us to rely on now for their every need, including, for the first few days, being fed every two hours night and day. Thankfully piglets can learn to drink very young so they didn’t need to be bottle fed, and they soon learned to associate us with milk. Cows’ milk is not good for them, but goats’ milk with added natural yoghurt can work as a substitute. Very quickly the piglets were getting through six litres a day, and we were clearing every shop in the area of their supply.
As they got older they went onto four hourly feeds, then, at long last, they could go through the night from 2200 to 0600, and we managed to find a supply of powdered pig milk formula so were free of the daily round of the local grocery stores.
Of course, life went on whilst we were raising the piglets. I had an anniversary shoot for a lovely couple whose wedding I had photographed last year, and who have become friends, and covered the local British Driving Society show, amongst others, all of which were done in a bit of a lack of sleep-induced haze. I tried to get some decent photographs of the piglets with the big camera as well, but it proved impossible as they were just SO friendly and, as soon as I sat down, came and jumped on me.
A fortnight ago the three orphans were weaned at last and the two boys went off to their new home with one of our vets. Little Felicity shows promise for breeding so will stay here and hopefully eventually help save the Warbler line as her mum should have. It is wonderful to see them happy and thriving after the awful start they had, and we are almost back to normal now after the effort of hand-raising them, but the vet bill, goats’ milk and formula has wiped out most of the year’s profits. It was, of course, worth it, however.
With the orphans weaned we have now moved on to Cerridwen’s latest litter, six piglets born with no difficulties at all just a fortnight ago and thriving under her watchful eye, plus the ‘cheepers’, five chicks which Caramel the hen hatched and has raised. Farming has deep lows when animals are lost, but the joy of new life and happy animals has to outweigh the sad times, and photographing them is a joy in itself. More information about the farm and our rather special pork can be found at www.black-orchard. co.uk”
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, free-range, 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 pigkeeping 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 the Guild’s 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
Photography
©: Sue Dudley MCr
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Clare Perry
Marketing a Photography Business: The Art of Selling the Invisible
In the current economic climate, photography businesses, especially those specialising in portrait and wedding photography, face significant challenges. With inflation rising and disposable income shrinking, many potential clients now view Professional Photography as a luxury.
Photographers are struggling to stand out in a crowded marketplace where everyone has access to high-quality cameras and editing software, and photographers are more prevalent than ever. How do you convince clients to invest in something as intangible as a photograph in this environment?
The key to navigating this landscape lies in understanding a fundamental principle of marketing photographic services and “Selling the Invisible!”
Unlike physical products, photography services are based on trust, expertise, and emotional value— none of which are visible at the time of purchase.
Customers cannot touch or see the final product in advance, meaning the photographer’s task is to sell an experience, a promise, and a result that meets their emotional and aesthetic needs. This marketing approach helps photographers focus on the emotional and experiential aspects of their work, ensuring that they connect with clients in ways that go beyond offering beautiful images. For photographers, it is essential to shift focus from images to experience, especially photographers
working in the highly emotional fields of portrait and wedding photography; your value goes far beyond the photographs themselves. Clients are not simply buying images—they are investing in memories, emotions, and experiences they want captured. When a couple hires a wedding photographer or a family to book a portrait session, they’re not just paying for time, materials, or the paper the image is printed on. They’re seeking a trustworthy photographer to preserve some of the most important moments in their lives.
Understanding this emotional component is critical to differentiating your business. Instead of focusing purely on the technical aspects of your photography, your marketing should highlight the experience and the feelings your clients will gain from working with you. Share the stories behind the photos, the personal connections you build with clients, and how you make them feel at ease during the shoot.
For example, a bride and groom might be anxious on their wedding day, and your ability to make them feel comfortable and relaxed could be why they smile naturally in their photos. Your empathy and ability to connect with people in emotionally charged situations make your service far more valuable than just another “photography package.”
Trust becomes one of your most important assets when selling an intangible service like photography, where clients can’t see the final product before committing. They need to feel confident that you will deliver on your promise to capture their memories in a way that reflects their personal story and style. The foundation of this trust is authenticity. Being genuine in your marketing, interactions, and storytelling allows potential clients to connect with you deeper, making them more likely to trust you with their most important moments.
One of the most effective ways to build trust is by being open and genuine in your marketing. Let potential clients see the person behind the camera. Share your story, passion for photography, and commitment to capturing meaningful moments. Use testimonials and real client stories to show not just the results of your work but the process of working with you.
Photo: Julie Oswin
For instance, you can highlight behind-the-scenes moments, such as how you help a shy child feel at ease during a family photo session or navigating unexpected challenges, like weather disruptions during a wedding shoot. Sharing these personal experiences helps potential clients see that you’re not just another photographer—they see you as someone they can trust to handle the unexpected and still deliver something beautiful.
Authenticity also means staying true to your unique style. There’s no need to appeal to every type of client; instead, focus on the people who truly resonate with your approach. Clients who connect with your specific aesthetic or storytelling style are more likely to value what you offer and recommend you to others, further building your reputation.
Photography demands both technical and creative skills. While it’s essential to convey your expertise in your marketing, clients are more focused on the final result than the technical details. Striking a balance between demonstrating your skill and avoiding overwhelming potential clients with jargon is key.
Photo: Julie Oswin
A great way to showcase your expertise is by highlighting your ability to deliver in challenging situations. For instance, in wedding photography, adverse conditions like rain or poor natural lighting—especially in winter— can make shooting difficult, and moments cannot be recreated.
Clients want to feel confident that you can easily handle these challenges and still deliver stunning images. Rather than emphasising technical specifics such as aperture or lens choices, focus on your ability to create perfect moments in imperfect conditions.
Another way to convey expertise is by offering educational content that helps potential clients understand the process without delving too deep into technicalities. Write blog posts or create social media content that educates clients on what to expect from a shoot, how to prepare, or how to choose the right photographer; this positions you as an expert in your field while still keeping the focus on their needs and experiences. Adapting to financial realities has become essential for photographers in today’s economic climate. Many potential clients are tightening their budgets, but this doesn’t mean they no longer value professional photography. Instead, they are seeking options that align with their financial limitations. Photographers who can respond to these changing circumstances flexibly and creatively will be better positioned to maintain their client base while continuing to offer high-quality services.
One approach to adapting is offering more flexible packages catering to different budget levels. For example, creating a “four-hour coverage” photography package for couples having small, intimate ceremonies can provide a cost-effective alternative to traditional full-day packages. Similarly, offering mini-family sessions at specific times of the year, such as Christmas minis, can appeal to clients who still want professional photographs but cannot commit to a full session, especially for Christmas gifts. By maintaining creativity in your offerings, you can meet clients where they are financially without sacrificing the value of your service. It is important to promote these options not as discounts but as tailored solutions that meet clients’ specific needs. Clients should feel they are getting a valuable experience, not a cut-rate service. Even with a smaller package, emphasise the personal attention, expertise, and emotional connection that you bring to every shoot.
Building long-term client relationships is one of the most powerful strategies for securing repeat business and valuable referrals. While wedding photography may seem like a one-time service, nurturing these connections can lead to opportunities from the couple’s family, future children, and friends, with word-of-mouth driving your business forward. Rather than offering a typical framed print, consider creative ways to express your gratitude.
Thoughtful gift vouchers, such as a meal at a local restaurant or popular retailers like John Lewis, Marks & Spencer, or Next, can make a memorable impact and strengthen client loyalty. By staying engaged through thankyou notes, future discounts, or simply checking in during key life moments, you pave the way for clients to return for maternity or family portraits, ensuring your relationship continues to grow.
- Julie Oswin
Photo: Natasha Ince
More Than Just What You See
– It’s a Feeling
Have you ever wondered why it is that you pause in front of some images, whether they are photographs or paintings or, in fact, any other form of art at a gallery and not others?
Have you ever read a book and not been able to put it down because you feel like you have become part of the story? Do you know what every one of these pieces has in common? They will have touched you with emotion, and you will have identified with the artist – that’s what has happened. And if you manage this in any form of art you create, you should be justifiably proud. When we all learn photography, we are taught technical information on how to use depth of field, shutter speed, exposure, and ISO. We then graduate to understanding how a ‘correct’ composition can be achieved, looking for balance and learning rules that we are told create an image that reads well. Now, don’t get me wrong, as a photographer tuning your craft, it is essential you understand how all these elements work and how to use your camera. But, as a mentor, you would not believe the number of individuals I work with who feel they are ticking every box of everything technical that they have learnt but feel something is still missing. Something that I believe is taught woefully late, if at all, during the process of learning how to take photos. That thing I am talking about is bringing emotion and feeling to an image. When I teach, the basis I work from, regardless of subject matter, is the need to know ‘why’ you might want to do something. I promise you that if you ask yourself this simple question next time you pick your camera up, you will be able to direct the end result with greater meaning and feeling. Let’s look at two images here. I love both these images, but they were taken some seven years apart
from each other. In that time, my use of the ‘why’ in my photographic process is standard. When I made the first image, it did not exist.
How - Making the first image I was still learning the ICM technique. My thoughts moved around how I could move the camera around to create blur. How I should I put the horizon in the middle or on a 3rds line, and how I needed and could create a leading line. Of course, I noticed the colours and the beauty, but they were probably subconscious.
Why - Making the second image, I no longer needed to think about technical questions. I knew the ‘how’ settings of my camera to work with and had moved past making technically correct images. When I made this second image, I stood on the edge of the loch and asked myself ‘why’ I wanted to take the photo and what it was that I wanted to show. It was all about translating the landscape in front of me using the ICM technique to share the feeling with others. Standing there, I gave myself the time to figure out why I felt the desire to make the photo. At that time, I recognised the rounded and rolling shapes of the mountains and the flat water edged by water reeds. I noticed the way the light travelled across the water as the clouds above moved in the sky. Standing on the side of the loch, it was silent; I felt in awe of the landscape. I wanted to share all this in an image.
Interestingly, as I am writing this, I am noticing how similar these two compositions are! Ten years of learning techniques and compositions and how they help an image are never forgotten! They become something I do without thinking, freeing me up to bring feeling and emotion to my images as well. When I started on my craftsman journey some ten years ago, my mentor actually set me an exercise on bringing ‘soul’ into my images. For those of you thinking about embarking on a qualification, I can’t tell you how valuable an extra pair of eyes is to look at your work as an outsider.
Lesley identified that there was little to improve technically, but there was much room for improvement in the ‘feeling’ department. So, I was to make images purely for feeling, not composition! That was hard, but I embraced the challenge.
You are probably reading this and thinking ‘how on earth do I do this with my images’. So let’s have a look at a couple of exercises you can try to give it a jump start.
Exercise One. Forget the Camera –Leave your camera in the bag and sit in front of your subject or in the location you want to take images. Take a moment to look around you and recognise what you are experiencing with all your senses.
Then, get a notebook out. Record absolutely anything you are noticing – this could be colour, light, shapes, textures, or physical or emotional feelings. What do you hear? Can you smell anything?
If you are photographing food, tasting it can be really beneficial (bring on the cakes). This does not need to take more than five minutes, but I promise you that if all of this information fills your head before you start taking photos, it will be released into the images you create.
If you are photographing a flower, what specifically do you notice – colour, form, feel, beauty? A landscape – has something in the landscape caught your eye, or is it the lines or the way the light is falling? Dogs – is it the character or softness of fur or energy that exudes?
I love it in workshops when I encourage this exercise to start. I never have six photographers lined up facing the same direction! I always offer ten minutes, and I always have to call the group back.
They disperse and explore ways to make the location their own. They are not after recording what they see. They are after crafting an image that shows others what they are experiencing.
I want to give you an example of how this can change how you photograph. The following three images are from South Africa. The first picture is the type of landscape image I would always have taken to record the location and show what it was like. However, the following two photos show you what I actually noticed. When I took the time to become aware, I saw the tiny green shoots among the burnt black and charred ground next to the path. It was the slightly smoky smell that hung in the air. And it was that everything else was dead except for the grass shoots. These were the elements that I brought out in my two ICM images.
In the sand dunes on a Norfolk beach, I went specially to photograph the beach huts. Looking for that classic beach huts at sunset shot. But it was the colour of the beach huts that matched the sky and a tiny clump of white flowers in the dune grass that caught my eye. I wanted to bring the feelings of being amongst the huts, in the dunes and the elements of wild and human combining.
The sand seems to shiver and shimmer in silver slithers, like tarnished antique glass, rippled, imperfect but mesmerising.
These were the few words I noted on my phone when I made this image, trying to depict how the sand flats stretched as far as the eye could see and seemed to shiver silver in the bright sunshine.
Exercise Two. Ignore the End Image
– if I remove expectations from image-making, I get far more reactive images. Too much overthinking can kill my creativity. Using your mobile phone is great for this exercise, as most of us don’t assign mobile phone photos as important or valuable as those made with our ‘proper’ cameras. This is a follow-on exercise from the 1st. Once you have an idea of what you are noticing, try to translate that into your image. Don’t get hung up about composition. If you notice colour and texture – make your image about that. If you noticed the light, make it about that, but don’t worry how much more. Treat these images as little sketches. Make the images for this exercise with absolutely no plans to share them. The most important thing here is to make images with an awareness of why and what you noticed, not who might like them on social media.
I see blue skies, clouds, gaps between the ropes, billowing, wind, flapping, high, curves, and natural materials. I feel like I’m looking up at eternity and space. I hear the wind in the rigging and sail—energy and power. My sketches try to capture all of this.
I see an old log I have visited for ten years gradually decaying. I notice the intricate patterns, the beautiful colours, and the detail. As I trace my finger over the ridges, it seems to dance and wiggle. The bark itself is hard, but the lines are soft, flowing, and rippling. My images aim to capture the intricate beauty and colour of something you could so easily miss.
The next time you go out with your camera – leave it in its bag for the first ten minutes! Be brave and react to what you want to and how you want to.
Even if another soul never sees these images, your work is in progress and homework. When you put this into practice, it becomes second nature, and if you choose to share the connection that others will have with your images, it will be accentuated.
- Charlotte Bellamy www.charlottebellamy.com
Find out more about Charlotte’s book - [Charlotte Bellamy]
Charlotte Bellamy
If the Woods Whispered Would You Hear Them
“Creative Light Magazine is thrilled to highlight a deeply personal and innovative project from one of our own. Charlotte Bellamy, a respected Panel Member, Judge, and regular contributor to Creative Light, has recently completed a journey of artistic exploration that culminated in the release of her first book “If The Woods Whispered, Would You Hear Them?”
Charlotte’s connection with the natural world, especially the trees and woodlands surrounding her home in the Netherlands, has been a constant source of inspiration. Since moving there in 2012, she has used photography to express these landscapes’ profound influence on her life. In her book, Charlotte combines her stunning photography with poetic reflections, journaling the insights and emotions these woodlands evoke.
This body of work feels particularly poignant in our current times, as it showcases the beauty of the natural world and reminds us of its importance.
Charlotte’s journey encourages us all to pause and reflect on the stories whispered by nature and our role in protecting them.”
- Julie Oswin Editor
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With Peter Morgan
Please feel free to reach out and tell me about the problems you’re having. I’d love to be able to help. Find me @techfortogs on socials or drop me an email at info@techfortogs.co.uk
As photographers, one of the most essential commodities for us is time. We spend so much of it shooting and editing, on sales, marketing ourselves on multiple social media platforms as well as printing and posting, not to mention learning new techniques all in the name of our craft, producing our art and giving our clients unique, one-off slices of time.
It’s important to have a plan for the times when the worst happens—and yes, I’m talking about tech failure—and you SHOULD expect the worst to happen. Remember, hard drives are only considered in two states: failed or failing.
In this article, I’d like to offer some advice on best practices, good habits, and what to do next if the worst happens.
Using a camera with two card slots is a recommendation I shouldn’t need to tell you about. Most professional-level cameras have two card slots, and this should include your backup camera, too. Whether you shoot RAW/RAW, RAW/Jpeg or Jpeg/Jpeg, this is your first line of defence. Also don’t be tempted to buy cheaper cards. Lexar, Sandisk, and I tested a 1TB Exascend CFexpress Card at the beginning of the year, which has incredible write speeds but has yet to let me down. If you’re a working photographer, plan to change your cards at least once a year and buy them from
Get Home, Back up
The rules of a good backup are as follows:-
• Onsite backup (NAS, Multiple Drives etc.)
• Offsite Backup (Additional NAS in external location
• Cloud Backup (Backblaze, Carbonite, etc)
reputable sources. i.e. support your local camera store. I can’t tell you how many times I’ve bought “Sandisk” ones from a certain large online supplier only to find they are cheap copies, and I’ve had to send them back.
Suppose you’re a wedding photographer. Plan to back up your work halfway through the day (maybe when the bride and groom sit down for the wedding breakfast). Use a Lacie BOSS if you can find one anywhere or a similar device to back up your work to an SSD Drive or something similar.
Ideally, you should have all three, but any backup is better than no backup. Try and stay away from single drives with all your work on them, as if they fail, you’ve lost your data, and trust me. I’ve seen it a lot of times, and it is always a pain to recover stuff. People almost always end up losing something, and just planning for this will stop (or at least severely reduce the chance of) something happening.
A NAS (Network Attached Storage) is a good idea because it has built-in redundancy. This means that in a Raid 5 configuration (sorry for the jargon – I can explain more in detail if you get in touch), it spreads your data across multiple drives and allows for a single drive failure (i.e. one break and you can just replace it and let the system fix itself). The downside is they can be expensive, and whilst I don’t advocate trying to plug in multiple single hard drives and back up your data to those, remember the old adage: any backup is better than no backup.
Offsite Backup
Companies like Synology allow you to buy multiple NASs and connect them over the internet to each other, which means automation. The days of taking a drive over to your nan’s house to store in a cupboard in case the worst happens are over! Remember, an offsite backup is just a copy stored in a different location than where your primary data is kept. Nothing more.
Cloud Backup
Probably the most controversial of the three as there are so many companies that do this. Some were great, and some ... well, could have been better. Backblaze is my company of choice as they are reasonably cost-effective (notice I didn’t say cheap!), the App is good, it’s reasonably easy to set up, and they have multiple options for getting your data back to you. Only back up what you need, have a retention policy and give your clients options to buy a backup of all the data after the required time which is seven years for me, and when I’m clearing down the content that’s no longer required.
- Peter Morgan
Feel free to reach out and share any issues you’re facing—Peter would love to help. You can find him on social media @techfortogs, his website techfortogs.co.uk or send an email to info@techfortogs.co.uk.
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Three Key Starts for Instagram
Adam Lowndes, Wedding Photographer
I think something that often crosses my mind is that there are wedding photographers out there who don’t have a website or even a very minimal website, but they have a thriving Instagram and use it religiously.
The platform has become so closely tied to photography that many people assume becoming a wedding photographer is as simple as taking pictures. It’s often the first place they turn when they get the wild idea that “... maybe I could do this for a living.”
I strongly imagine this stems from the fact the platform was started exclusively to be a photosharing platform, and that mantle is one it’ll carry to its grave despite the overlords at Meta wanting to make it anything but that now. Wherever you are in your Instagram journey, just remember this platform, in my opinion, is the most oversaturated place on the internet for Wedding Photographers, so the competition is fierce.
So, how do you build a successful photography brand on Instagram?
The golden question which every single person thinks will be their key to unimaginable marketing happiness. The truth is, the answer is long-winded and the challenge is tough. It’s not somewhere you can pop on tomorrow and make a quick buck. Still, I’m going to try and share a few pearls of wisdom which will help anyone make a strong start on the platform.
First though, I thought it important to note a few facts about me and Instagram. I find it incredibly important to set the scene so if you come to compare yourself with me and my work you know although we both use Instagram we’re both running completely different businesses. In recent years, it’s been responsible for a quarter of my wedding photography bookings. My pricing starts at £2,000 and goes right up to £3,500 depending on the day, at an estimate that’s a minimum of £24,000 worth of work through a platform which is free to use. I generally work in
and around my home county of Staffordshire and have lent more to moving my business to this in recent years. I still travel quite far for some work, but as a whole, it doesn’t interest me as much anymore, and I love being closer to home. In 2023, I received 104 enquiries through Instagram and managed to book 12 of them. I’ve been fulltime since 2018 but have been photographing weddings since 2010.
Stop Being A User, You’re A Creator
This was an epiphany I had all too late. I realised that half the time I was spending on Instagram, I was being a user and not a creator. What I mean by this is that I was wasting valuable time using the platform for entertainment. I’m not a massive fan of social media, truth be told. I’m just really good at using it because I come from the generation who grew up with it.
You, as much as me, know it’s incredibly tough not to get wrapped up in watching Reels or suggested content. That stuff just sucks you in whether you like it or not. I have a few simple tips to help you stay in creator mode, though.
1. Close Your Personal Account - who are you keeping updated when you add photographs to your personal account? Is there anyone more than those you speak with on other platforms like Facebook, WhatsApp Groups, etc?
Removing this account will remove a vital distraction. You don’t need to delete it. Just make it private and log out.
• Think of Instagram as Portable Work - It’s work that can be done anywhere at any time. I know for me to edit.
• Wedding Photographs - I need to be in the zone at my desk whereas with Instagram I can do it whilst waiting at the doctor’s, being a passenger in a car or any other dead time in my life.
Basically time when you’d just be scrolling Facebook to see what some person you don’t know is having for lunch.
• Unfollow Everyone - News Flash! You don’t need to follow anyone on Instagram. It’s a distraction and takes you out of Creator mode. There’s nothing more liberating than opening the app and seeing the “You’re all up to date” message that Instagram shows its users once they’re done scrolling through their followers’ content. It stops you from getting distracted.
I personally used to follow loads of wedding photographers who I admired, but to be honest; it made me feel terrible about my own work. The unfollow has solved that, and if I want to catch up with them, then there is nothing stopping me from doing so. I just don’t need to be fed their content on a daily basis.
Use All the Tools
There’s nothing worse than when someone attends a workshop or has me mentor them and says, “I want to be better at Instagram, but I don’t want to do X”. It’s usually Reels, but I’ve heard it about everything. You do you; if you don’t want to use a part of a free marketing platform to help transform your business fortunes, then there’s no problem; don’t do it.
I think you then definitely withdraw your right to complain about the platform, though. You see, you’re handicapping yourself straight away and removing one possible route to someone finding your work. I’ve quickly listed below some of the tools I use all the time.
Carousel - Upload more than one photograph at a time to gain more interaction/engagement. One person can consume the basic details of a photograph in seconds so as soon as they’re done they will scroll away and the quicker they do that the worse this post will do.
Tags - Tag every single supplier involved in the wedding whenever necessary. Photograph of a bride in a dress, tag the dressmaker and boutique for starters. Then the make-up artist, hair stylist, shoe supplier, jewellery supplier, florist but most importantly the venue and the person in the photograph.
Collaboration - Add a supplier/client as a collaborator. If they accept, it appears on their page too and immediately has an impact to the reach of the post. Perfect for those people who get upset about suppliers sharing bad crops or B&W versions of their photographs.
Mentions - Don’t forget to shout out the suppliers in the caption too. I use a copy-and-paste list I keep in the client’s notes which have all the supplier’s Instagram tags on it. Great when I want to do a quick post I can just copy and paste them all in.
Caption - Tell people what’s happening in the photograph, why you love it, what the day was like, and if you’re really struggling, you could tell them what the weather was like.
Location - Simple win. Where was the photograph taken? Hashtags - Not as powerful as they used to be but make sure to use them and aim for hashtags with 100,000k uses or less. #Bride is useless as anyone anywhere could be a Bride. Something like
#StaffordshireWedding is so much better. Not only does it target weddings but it also targets the area I work resulting in the post being more likely to attract couples I can accommodate.
Reels - Share the same photographs as part of a behind-the-scenes Reel.
Story - Share the post directly to your story to increase the footfall of the post. Comments - Respond to every single person who comments and engages in a conversation.
Build A Routine & Stick To It
This is my biggest piece of advice. So many people I mentor suffer from the fear of “what do I post”. They sit for hours examining all their best photographs, wondering what to post next. When they finally choose a photograph, they head to the platform and post it, only to see it perform badly.
The best thing I ever did was build a routine into my schedule. If you head over to @AdamLowndesPhotography on Instagram when you next get time, then you’ll notice my grid consists of rows of three posts from each wedding I’ve shot this year.
If you were even more observant and had access to my diary, you’d notice that each of these posts drops within five days of the couple featured’s wedding day.
Other than January, which is its own beast, I post chronologically on my Instagram. I’m never more excited for a photograph than when I’ve just captured it. My excitement always wanes the longer the passage of time between the photograph being taken and me posting it. Speaking of excitement, this also peaks at the same time for the couples, guests, and suppliers, so you will always get more lift by sharing it so close to the wedding day. The photographs I post are always my sneak peeks, so the frustration of “what do I post?” is, in theory, done for me with this part of my usual process. Make Instagram a part of your business, intertwine it within your process or you will never hold yourself accountable to post anything.
I get asked time and time again about the ins and outs of building a wedding photography business on Instagram. So much so I’m surprised there are still people who want to hear me talk about it. Still, I’ve been asked to write this article, and I have to say, I’ve loved it.
I usually deliver training on Instagram through online video courses and mentoring, but this was the first time for me, so I hope you enjoy it and if you want to chat more. My DMs are always open. You can find a full workshop on all of my Instagram knowledge on the Education page of my website.
- Adam Lowndnes www.adamlowndes.co.uk
Lee Frost
Does Your Photo Content Show Your True Colours?
Photographers and digital creatives need to be certain that the images and footage they capture, create, edit, and view on their monitors are displayed accurately. Monitor calibration is the essential first step to achieving this, ensuring a colour-accurate foundation for editing. For
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Colorimeter
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Calibration of Photo/Video/Projector x | – | – x | x | x
Advanced Calibration Settings
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