Creative Light - Issue 31 by Guild of Photographers

THE ROYAL WEDDING - DAVE THOMPSON NEW PANEL MEMBER - JO BRADLEY PHOTOSHOP - GLYN DEWIS MENTORING - ABI MOORE GOLD AWARDS

Issue 31 - Creative Light Magazine :

Digital FineArt Collection Turning Images into Art

Making paper since 1584 The Digital FineArt Collection is a comprehensive assortment of high-quality, unique FineArt inkjet papers created for customers who are looking for something special and want to get the best out of their images. Trial packs available in A4 & A3+. Discover more at: www.hahnemuehle.co.uk

01603 hello@hahnemuehle.com | 2 : 759266 Creative |Light Magazine - Issue 31

Steve & Lesley Thirsk The Guild of Photographers As ever we’ve been very busy at the Guild in the 2 months since the last edition of Creative Light was released, and at one of the meetings we were at (with a very well known photographer and trainer), that person said “I can ask around all I want but no-one ever has a bad word to say about the Guild”. That comment made our month as it’s a clear reflection on what a special community the Guild is, all down to it’s members, panel judges and our fabulous team in the office! We wanted to start this introduction by saying a sincere thank-you to everyone playing a part in this! In the past couple of weeks we’ve been at numerous events including the Newborn and Portrait Show in Birmingham and the Northern Photography and Video Show at the amazing Rheged Centre in Penrith. If you’ve never been there it’s well worth a visit. Imagine a conference and exhibition centre with shops all built into a hill with fabulous restaurants too (along with an incredible cinema and children’s play area). Thanks to everyone who popped by to say ‘Hi’! In the next few weeks we are at the Click Conference in Milton Keynes and the Northern Retreat run by Digitalab in Beamish. Hopefully we will see some of you at these 2 events as well! It would also be fabulous if you could join us at some of our regional events, ranging from photowalks and social events through to actual training. Also, don’t forget to put the 6th/ 7th November 2019 in your Diary too ready for the Coventry PhotoHubs event with its amazing 10 speaker line up and great social side! We all know how the use of Drones for photography is on the increase, so the Guild has wanted to link in with a respected Drone training company. Our research revealed that ‘PhantomFlightSchool’ was not only the UK’s longest established and most popular drone flying school, but it also has an incredible reputation, as well as comparable ethics to the Guild. We are therefore delighted to announce that we have formed a partnership with this amazing drone flying school which offers opportunities all around the UK and overseas. Members will now get a discount when booking their high quality training or drone holidays. This is an exciting new partnership based around high standards, which also reflects how forward thinking the Guild and Phantom are! Full details are on the Guild website. As ever, the Guild will only partner with businesses with great reputations so we are also delighted to announce that along with ‘Phantom Flight School’, ‘Colorworld Imaging’ has also become a Trade Partner. Colorworld is family based printing business with over 50 years experience! During that time they have constantly invested in the latest technology to ensure the highest quality products. That combined with with an incredible desire to deliver the best products and service to their customers, explains their popularity for over half a decade. Do take a look in this edition for their amazing offer for Creative Light readers. Every day we support our members where needed and our legal helpline is there 24/7. For obvious reasons, we never disclose the details of issues but it’s fair to say that members are supported every week (in fact we were delighted to hear a member won their case today)! If you are in business and find yourself in a situation where your ‘standards’ are questioned please remember that it’s vital that you contact your PL/PI insurance provider from the outset. You don’t have to make a claim – just advise them. They may tell you how to respond BUT if you don’t tell them until things escalate, insurers are often within their rights to say they will not support you as you hadn’t informed them when the situation first arose. This week we saw a couple celebrating their wedding anniversary share images we took of them 15 years ago. Moments like this make you reflect that as a photographer you create something very special and pieces of history. As photographers, we know the power and importance of what we do. However, all too often people don’t often realise the value of photographers and photography until ‘something’ happens. At that point they realise the true value of an image and how it uniquely holds memories, emotion and so much more like nothing else can! Photographs are priceless.. With that in mind, do think about taking advantage of our mentoring programme if you haven’t already as it can help you develop your skills further and create those extra special images that become part of history! Creative Light is a celebration of photography and photographers, and has some great articles this month. Enjoy the read.. Issue 31 - Creative Light Magazine :

Front Cover Maryna Halton Congratulations to Maryna Haltonâ&#x20AC;&#x2122;s beautiful image of a Romany Gypsy Caravan which has been chosen as the winning entry for the front cover of Creative Light, marking the fifth anniversary since the first magazine was published. Would you like to see your image on future editions of Creative Light? We are always looking for great images to feature on the front cover. Please be aware that you should also consider text and the title of the magazine when submitting. Kindly send your images to the Editor, Julie Oswin - julie@julieoswin.co.uk

: Creative Light Magazine - Issue 31

Contents 14 28 50 54 68

Dave Thompson Press Photographer Jo Bradley New Panel Member

Eugene Li Guest Judge Guru Shots Guru Shots Top Picks Abi Moore Importance of Mentoring

Gold Awards March & April 2019

Glyn Dewis Frequency Separation

Editor Julie Oswin The month of June and the longest day is only a few short weeks away. Where does the time go? Days, weeks and months seem to fly by at an astounding rate. A great ‘behind the scenes’ story by Guild member Dave Thompson on the royal wedding of Prince William and Kate Middleton is featured on page 14. Dave was one of the photographers working for the Press Association inside Westminster Abbey during the historic event. On a recent trip to New Zealand I was delighted to see Mount Cook without cloud cover. With Autumn fast approaching the colours were amazing. I couldn’t resist capturing the stunning view of the lake and the mountain. If you have a photography story to share with Creative Light Magazine readers, please get in touch with head office or me. Lake Pukaki and Mount Cook Maori of the Ngāi Tahu tribe, Aoraki represents the most sacred of ancestors, from whom they descend. The ancestor embodied in the mountain remains the physical manifestation of Aoraki the link between the supernatural and the natural world.” - Tourism New Zealand

Julie Oswin

The turquoise watercolour of Lake Pukaki is created by glacial flour made from extremely fine rock particles that have been washed down from the two surrounding glaciers, the Hooker and the Tasman Glacier. Sunlight reflecting off the glacier flour creates the shimmering turquoise colour. Film-maker, Sir Peter Jackson, chose this part of New Zealand’s Southern Alps as the perfect location for ‘Lake-town’ in The Hobbit: The Desolation of Smaug. The area so inspired him that he used this region three times to backdrop major location scenes in his The Lord of the Rings and The Hobbit Trilogies.

: Creative Light Magazine - Issue 31

PHOTOGRAPHERS TRUST WILKINSON CAMERAS.

Angi Wallace Digital Splash Awards Macro Winner 2018 For more information on our Digital Splash Awards visit: www.digitalsplash.tv

NEW LIVERPOOL STORE Bold Street L1 4DS

GOOD QUALITY PHOTO EQUIPMENT BOUGHT FOR CASH, PART EXCHANGE WELCOME AND FLEXIBLE FINANCE OPTIONS AVAILABLE.

01772 252188 WilkinsonCameras

Wilkicameras

wilkinsoncameras

Wilkicameras

+wilkinsoncameras

sales@wilkinson.co.uk

Issue 31 - Creative Light Magazine :

ÂŠ Sal Cincotta

: Creative Light Magazine - Issue 31

The world is my studio Profoto A1

We created the Profoto A1 with a round head that delivers light that’s both natural and beautiful both on camera and off. It’s also incredibly easy and to use, with superfast recycling and a longlasting battery, so you’ll never miss a shot. It might be the smallest light we’ve ever made, but the creative possibilities are enormous. Discover the world’s smallest studio light at profoto.com Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

EDITORS CHOICE Image of the Month

Paula Beaumont Awarded Silver - April 2019

Issue 31 - Creative Light Magazine :

THE UK’S LEADING PROFESSIONAL PHOTOGRAPHIC LABORATORY

• EXCEPTIONAL PHOTOGRAPHIC PRINTING • FINE ART (GICLEE) PRINTING – HAHNEMUHLE CERTIFIED STUDIO • WEDDING ALBUM & PHOTOBOOK MANUFACTURING • FRAMING SERVICES • COMPREHENSIVE RANGE OF ‘WALL DISPLAY’ PRODUCTS • SCHOOLS & NURSERY PRINTING SERVICES • PHOTOGRAPHIC PRESENTATION PRODUCTS AND SERVICES

“WE PARTNER MANY OF THE UK’S PROFESSIONALS DELIVERING EXCEPTIONAL QUALITY AT AFFORDABLE PRICES”

0845 862 0217 | 024 7644 0404 WWW.ONEVISIONIMAGING.COM : Creative Light Magazine - Issue 31

THE ULTIMATE IN ONLINE FRAMING Framing Beautiful, hand-made frames with a choice of over 100 styles, colours and profiles to choose from.

100 Over

Fram Moul e dings

Mounts With a choice of 28 mounts, including 10 textured options, you can add up to three mounts per frame for a stylish, layered effect.

Prints For over 40 years, we have been printing award-winning, gallery grade photos using only the finest Fuji professional papers and hand grading every image for the perfect print.

Create Your Own Layout Design your own print layouts. Include multiple images and text boxes.

om es fr Pric

1 9 . 9 ÂŁ Issue 31 - Creative Light Magazine :

â&#x20AC;&#x153;

: Creative Light Magazine - Issue 31

The Royal Wedding ‘My Office for the Day’ Dave Thompson, PA Photographer

In 2007 I got the job I had wanted for several years - a staff position as a press photographer with the Press Association, covering the North West. I worked for them for seven years before leaving in February 2014 to begin working freelance, as I had done before 2007. I photographed events across the world that I otherwise would have only seen on television. I covered International football in Spain, Switzerland and Austria; The Olympics in London 2012, Athletics in Daegu South Korea, Moscow and Finland; Premier League football, Champions League and Europa League finals; two of Ricky Hatton fights in Las Vegas as well as countless boxing events in the UK; England international cricket matches; The Grand National at Aintree and the Rugby Six Nations. I have also photographed many live news events; The Dale Cregan shootings in Manchester, Royal Visits with the Queen and Prince Charles, the Raoul Moat hunt in the North East, Margaret Thatcher’s funeral at St Paul’s in London, the visit of Pope Benedict to Edinburgh, Party Political Conferences, the funeral service of Bury soldier Lee Rigby and the G20 Summit in London. I was also at The Queen’s Golden Jubilee, working backstage to cover the moment she met the performers who had taken part and, of course, the Royal Wedding of Prince William and Kate Middleton in 2011. The Press Association have very close links with Buckingham Palace and regularly work closely with them during large scale Royal events. I remember standing in my kitchen when I got a call from the Picture Editor to say that he would like me to come to London to photograph the Royal Wedding. There were no plans yet for what role I would play, but none the less, I had to keep the date free. I had already shown an interest in being part of the event as I knew I’d rather be somewhere around London than photographing people watching it on a big screen in the middle of Manchester or another city centre. A week before the wedding, I received my instructions. I was to head down to London the day before the Royal Wedding, stay overnight, then travel home in the mid-afternoon. I was to be positioned in the Organ Loft inside Westminster Abbey. I can still remember the feeling of overwhelming excitement that I was actually going to be INSIDE Westminster Abbey for such a historical event. I phoned my parents straight after coming off the phone, and they reacted as if I had won the lottery! I didn’t even know where it was in relation to the altar but guessed it wouldn’t be too far when I got told I wouldn’t need anything longer than a 400mm lens. When I took up my position I was surrounded by every musical instrument you could think of and the organ. I was perched on the top step of the stairway that brings you into the organ loft, with very little room to manoeuvre. continued: page 18 Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

Guests began to arrive from David Cameron and many other members of Parliament to Mr & Mrs Beckham. Not long after, Prince William and his brother, Prince Harry arrived and began greeting guests. The rest of the Royal Family had gathered and began to take their seats. From my position, I was unable to see back down to the West Door, due to the tree-lined Nave. There was a small TV screen nearby, which allowed me to see when Kate Middleton was making her way into the Abbey. The musicians around me had begun playing, and I was taking pictures of Prince William standing next to Prince Harry, waiting. Suddenly, I felt a tap on my shoulder. ‘Your camera is TOO loud’. I had put it on the quietest shutter setting, but still, it was loud. There was nothing I could do. I did though control what I was shooting. It was like working on film again and not hammering the motor drive. When my Mum bought the CD a few weeks after, as the Bride reaches her groom, all you can hear is motor drives of photographers up by the altar. At least I wasn’t the only one! The one moment that shall stay with me forever was the moment as Kate walked beneath the Organ Loft. As you may know, the Bride walked into I Was Glad. I remember a build up of sound. A crescendo of the choir, strings and brass reaching a point where all three sounds came together. Imagine the most amazing music being played and the sound of it rising to the roof and then the feeling of it crashing down on top of you, that’s what it felt like. It was a phenomenal experience, one that still makes the hairs on the back of my neck stand up and my eyes well up. I have taken a lot of stick from my colleagues over the years for this and still do, but there’s no getting away from the fact that the Royal Wedding of the future King of England is one of the most memorable experiences of my working life and one I shall remember until my last breath. Throughout the Royal Wedding, I was photographing the moments and sending them live from the camera to the picture desk. Many of the images from the ceremony appeared online and in National and International newspapers and magazines over the next few days. The whole experience was and still is, one of the best events I covered in my time as a press photographer. It was an enormous privilege to be given the opportunity to photograph such a massive moment in English history. Of all the things listed in the jobs I have done above, this is the one event that I feel contains images that will still be looked at in 100 years! If you have made it this far, thank you for reading”. - Dave Thompson, Photographer

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

B E L L I S S I M O A L B U M S BY LOX L E Y CO LO U R

Discover the perfect Bellissimo

With seven gorgeous albums in this award-winning collection, discover all their features at a glance with the handy Bellissimo guide! 22

: Creative Light Magazine - Issue 31

Bellissimo Perfetto • Sizes 6×6” to 20×20” • Three print finishes • Six cover materials • UV print and laser etching personalisation

Bellissimo Fine Art • Sizes 8×8” to 16×12” • Cotton Smooth paper • Five cover materials • UV print, laser etching and debossing personalisation

Introducing

NEW

A new and contemporary way to showcase your photography. • • • • • •

Up to 80 pages Photographic Lustre or Velvet paper Four cover materials Image wrap book cover option Six ribbon colours UV personalisation

To find out more click here.

Issue 31 - Creative Light Magazine :

DISCOVER THE NEW BLACK

SureColor SC-P800 Discover the deepest blacks* and ultra-rich black density print capabilities. Allowing higher quality black and white A2 prints without colour being compromised. Epsonâ&#x20AC;&#x2122;s superior nine-colour printing sets a new standard for creating striking, dramatic colours. With fast output, wide media format and an option to include a unique roll paper unit, the SureColor SC-P800 will take high-quality professional photo printing to a new level. Discover your new black at www.epson.co.uk * Compared against competitorsâ&#x20AC;&#x2122; A2 photo printers with a 6-colour or greater ink-set available as of January 2015

: Creative Light Magazine - Issue 31

Chris Chambers

Issue 31 - Creative Light Magazine :

QUALITY HANDMADE PROFESSIONAL BESPOKE LAY FLAT DIGITAL PHOTO ALBUMS Creating beautiful bespoke wedding albums has been the pride of Sim Imaging for the past 15 years, offering a broad selection of high quality papers, materials and individual personalisation. With such a wonderful range to choose from, itâ&#x20AC;&#x2122;s no wonder weâ&#x20AC;&#x2122;ve fast become the supplier of choice for professional photographers looking for the finest handmade books & albums for their wedding couples and portrait clients. Our most versatile wedding album product, the Digital Album is a high quality, photographically printed, lay flat book with a choice of premium cover options including Genuine Leather or Linen. Due to the rigid quality of the pages, the images are printed right across the centre seam with minimal image interruption, making them perfect for panoramic or group shots. For their entire range of albums, Sim uses Fuji photographic paper to produce incredibly crisp prints showcasing accurate colour, sharpness and exceptional quality in each and every image. Choose from our beautiful range of linen colours to find the perfect match for each and every client.

ORDER ONLINE AT SIMIMAGING.CO.UK 26

: Creative Light Magazine - Issue 31

ALBUMS STANDING THE TEST OF TIME Sim Imagingâ&#x20AC;&#x2122;s album and book ranges have been developed using only premium materials with the highest quality printing methods available to the professional market. We pride ourselves on creating heirlooms, showcasing superior quality and treasured memories to be shared for generations to come. Each and every album is bound by hand by our skilled team of master bookbinders, using a compilation of only the highest quality materials and an expert blend of traditional and modern binding styles to create a truly timeless wedding album, made to last a lifetime. Our popular Fine Art Books are a perfect example of high grade ultra matt paper combined with archival inks for a tactile, colourful print, perfect for wedding, family and pet photography. If contemporary style printing isnâ&#x20AC;&#x2122;t for you, take a look at our Matted Album range, with traditional style overlay mounts on individual images to create a truly classic and timeless feel. Our popular embossing technique is created using individual brass lettering, handpicked and carefully aligned for each order we receive, meaning every album gets a truly hand-finished feel. From now until 31st August save up to 30% on albums and books with our SIM summer sale. Visit our website for more details.

info@sim2000imaging.com

+44 (0) 1707 27 37 47 Issue 31 - Creative Light Magazine :

New Panel Member Jo Bradley

Jo Bradley who is a specialist Newborn and Baby Photographer, capturing the first few weeks of a baby’s life through beautiful, natural photography at her home studio in Chelmsford, Essex. Inspired by her daughters, over the past eight years, Jo takes a relaxed and calm approach to all photo shoots and embraces each parent’s wishes and needs. She captures every unique and precious detail in bespoke images. Jo has won awards for her work with the Guild of Professional Photographers and trained with one of the leading newborn photographers in the UK. As a result, she has developed skills in newborn safety and posing, ensuring the babies are posed gently and naturally to capture the perfect photograph. Jo was awarded her Master Craftsman with the Guild of Newborn and Baby Photographers and named in the top ten photographers in the Newborn and Baby Category with the Guild for 2016 and 2017 Photographer of the Year competition, and became the Guild’s Newborn and Baby Photographer of the Year in 2018.

jo bradley

The Guild of Photographers welcomes Jo Bradley to the Judging Panel.

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

Creative Light talks to Jo Bradley

Q: What motivates you to get up in the morning to create your beautiful Newborn Baby photography?

Newborn photography is so unique, and I genuinely feel very privileged to be in a position to record this time for new parents. I love being creative, thinking of an idea and having clients that trust my vision. It is always such a great moment when a plan works, and you love the photo you have created. I also love the simple images that capture babies as they were in the first few weeks, the yawns and smiles and the features that change so quickly. I love the reactions from parents, and this certainly motivates me in each session. I guess I am a bit addicted to the emotion that goes with newborn photography!

One piece of equipment that you couldn’t do without and why?

I couldn’t be without my Elinchrom D-Lite One, combined with the Elinchrom Rotalux Octa 135cm Softbox. It produces such a beautiful soft light which is perfect for newborns.

What is your favourite go-to lens?

My Canon 24-70 f/2.8 L is the lens I use the most. It is very versatile in the studio great for blanket, prop and family photographs. I do also love my Canon 100mm f/2.8 L macro lens for detail shots.

Q: What have you found the most challenging with your photography? Time management is always tricky as well as maintaining a good work-life balance. A few years ago, I made the decision not to work at weekends, and this has helped. Photography is such an important part of my life; it is more than just a job, so it is easy to let it take over. Now I make sure I switch off and recharge and enjoy time with my family.

Q: Camera equipment is your preferred combinations of lens/camera and why? I use a Canon 5D Mark III usually with a 24-70 mm f/2.8 L lens. It’s a great combination giving me the flexibility to shoot close-ups as well as the broader angle in the limited space of a home studio.

What advice would you give to photographers about shooting Newborn and Baby Photography in today’s highly competitive marketplace? I think it is imperative to find your style and not worry too much about what other photographers are doing. If you are creating work that you love it will show in your photographs, and this will attract the type of client who loves it too. You need to be passionate and positive and work incredibly hard. There is always areas that you could improve in and something new to learn. So, invest in courses and mentoring to keep you inspired and moving forward. Sometimes you also need to accept that you can’t do everything yourself or be an expert in all aspects of your business. Paying for expert help can save you time and stress and can often yield better results. I now work with an accountant, a branding expert, a PR agency, web designers and SEO experts, freeing me up to concentrate on my photography. Finally, be kind to yourself, it really is tough being selfemployed, so celebrate your achievements and don’t be too self-critical when things don’t quite work out!

Developing your marketplace, how important was it to create your brand, Joanna Bradley Photography? I think branding is so important and something that I didn’t consider at the start of my career. Back in 2016, I was lucky enough to work with a really talented branding expert alongside a fantastic website design agency. I thought I just wanted a new logo and a new website, but the process forced me to look at my company, my style, my ideal client and focus my attention on creating a specific brand. The process was such a great experience and had a hugely positive impact on my business. It is so important to know what you want to achieve and to be able to present this to potential customers. Most clients are very clear about why they chose me as their photographer, and I think a lot of this is down to a clear and well-presented brand.

: Creative Light Magazine - Issue 31

Â© Jo Bradley Photography

Issue 31 - Creative Light Magazine :

Which is your preferred working environment for your photography, and what are you looking for when you create your set? I work from my home studio, a converted loft. I like to have several shooting areas so I can move quickly between setups and keep the flow of the session going. I want to keep it simple and also give parents the chance to choose props and accessories during the shoot. I don’t over plan my sessions but have a rough idea of the colours and styles the parents are looking for.

Who inspires you?

My dad is my main inspiration. He has always been a keen amateur photographer, and I have some fantastic photographs from my childhood that I will treasure. Now he focuses mainly on wildlife and travel photography. He continues to push himself to learn and improve his photography and often asks me to teach him something new in Photoshop! I love this passion for photography and education, and it inspires me to continue to work hard and improve myself. Ana Brandt and Kelly Brown inspired me to get into newborn photography. It was an area of photography I hadn’t known about before, but I quickly fell in love. Now there are so many amazing newborn photographers and so many inspiring images being created.

Apart from sheer hard work and dedication, what would you say is the main ingredient to your success? There have been several times in my photography career where I have hit a bit of a rut and struggled to see how I could continue to progress and drive my business forward. The key for me at these times has been turning to others for support and help. Business mentoring gave me direction and focus and mentoring with The Guild has improved my photography so much.

Q: Three individual words that describe you? Motivated. Positive. Creative.

Q: Your favourite food? Anything spicy!

Q: How would you describe your ‘style’ and approach to your work?

I love simplicity with a real focus on the baby. I don’t use a lot of additional props and accessories but instead, prefer to keep it simple. I aim to create timeless images that capture the real beauty and uniqueness of the newborn stage.

I’ve run the London Marathon, completed the Tour de Mont Blanc and climbed to Annapurna base camp. I used to be a teacher and spent three years living and working in Abu Dhabi. I’ve skydived over the Namibian desert and slept in a Bedouin tent in Oman. I used to be a county-level gymnast, and when I was in primary school, my favourite teacher used to call me ‘Flow Jo’ because I was a fast runner! I love to talk, and I am fascinated with other people and their life stories. I have two beautiful daughters and a long-suffering husband who thankfully likes to listen!

Favourite place in the world and why?

Lake Garda in Italy. My parents are both teachers, and when I was a child, we would spend the whole of the summer holiday in Lake Garda. We spent every summer for about ten years windsurfing, swimming and eating pizza and ice cream. It is a magical place for me with such great childhood memories. We are planning to visit again this summer, so hopefully, my girls will love it just as much.

As a new Panel Member and Judge with The Guild of Photographers, what advice would you give members about entering Image of the Month in the Newborn Baby category and what simple mistakes can be corrected before entering? I would say try to think outside the box. Try to be inspired not only by other newborn photographers but by things you love. Impact is so important, so don’t just try to replicate other images you have seen. If you are shooting a picture and think it has the potential for Image of the Month, spend a little longer refining the details as well as making sure that babies look comfortable and relaxed. If possible, try not to enter an image as soon as you have taken it. Often it is our most recent images we love the most, but this can stop you from looking at them objectively. Put them in a folder and come back to them in a couple of weeks. Finally check carefully for dust spots, cloning errors, blown highlights and other mistakes before submitting.

And finally, where next?

I have recently started 1-2-1 training and mentoring and absolutely love it. Mentors have had such a positive influence on me throughout my career, and it feels really great to be able to encourage and inspire other photographers. My dream is a barn conversion studio in the Essex countryside with several photographers working with me. I also plan on working towards qualifications with the Guild in other areas of photography; I just haven’t decided which areas yet.

Do you work with an assistant or a spotter?

No, I don’t have an assistant, but I always use parents as spotters. Parents love being part of the action and are often fascinated about how I create the final picture

Q: Interesting facts about you?

: Creative Light Magazine - Issue 31

Jo Bradley Photography - website: http://www.jobradley.co.uk

Â© Jo Bradley Photography

Issue 31 - Creative Light Magazine :

Â© Jo Bradley Photography 34

: Creative Light Magazine - Issue 31

Â© Jo Bradley Photography

Issue 31 - Creative Light Magazine :

Behind The Shot: Richard Peters’ wildlife photography Everyone appreciates a great photo, but only the photographer really knows what went into capturing that perfect image. In Datacolor’s Behind the Shot series, accomplished photographers share their stories of exactly what went into getting that perfect shot. And as UK-based wildlife photographer and former Nikon Ambassador alumni, Richard Peters, tells us, it’s almost always a balance of patience, preparedness and providence. Richard is a UK based wildlife photographer and Nikon Ambassador alumni best known for a style that often favours dramatic light. His work has received numerous accolades, including being one of the only British wildlife photographers to be named the European Wildlife Photographer of the Year, alongside winning several awards in the prestigious Wildlife Photographer of the Year.

‘Little owl’ Not pictured: A 1-month wait for the perfect shot A weekly hour and a half drive Lots of used batteries < 2 minutes to calibrate your monitor

“I had long wanted a more interesting perspective on a little owl photo, one of my favourite of the owl species. My opportunity came with a nesting pair in an old abandoned farmhouse I had access to. In order to capture this image I had to leave a camera trap in position for 1 month, around an hour and a half drive from home, checking in on it once a week to change batteries. During that month, the camera only recorded two photos that were usable. This one at sunrise was the most striking of the two.” 36

: Creative Light Magazine - Issue 31

‘When I grow up’ Not pictured: A once in a lifetime opportunity A chance taken with a 400mm lens A single lucky shot < 2 minutes to calibrate your monitor “Photographing giraffe, and showing their height, can often be tricky due to their awkward shape and size. To include the full height of the giraffe and something of scale can result in messy background elements. When I spotted these two at some distance from our jeep, I had time to only frame up and fire one single image before they parted ways. I didn’t even have time to look at or change my settings. I realised I had shot at f2.8 with my 400mm but thankfully this provided enough depth of field to render both mother and young sharp.”

‘Steve’ Not pictured: A cafe owner with an unlikely friend A few enticing crumbs A deceptive angle < 2 minutes to calibrate your monitor With wildlife photography, it’s important to take advantage of any opportunity you can. This Raven was actually photographed on top of a cafe in Montana, USA. The cheeky chap, named by the cafe owner as Steve, was frequently seen by locals as he hung around in the hope of a few crumbs left behind. The image was actually taken with Steve about 12 feet above me, so I stepped back a little in order to reduce and disguise the steep angle I needed to shoot at as he called out.” Richard Peters uses SpyderX to calibrate his monitor.

Meet SpyderX - our best Spyder ever With SpyderX, you can be sure that what you see on screen is the most accurate representation of the shot you took. When you start editing and you know the color on your monitor is accurate, you can confidently control every aspect of your image. And when it’s time to print, your output will match what you are seeing on screen and better reflect your creative vision. For more information: http://bit.ly/meetSpyderX

Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

congratulations Peter Woods QGP

Qualified Guild Photographer April 2019

Issue 31 - Creative Light Magazine :

20% off for members of the Guild: use Code GOP20

: Creative Light Magazine - Issue 31

Why add a drone to your camera equipment? A drone gives you a fresh, unique perspective from which to shoot incredible landscape photographs, Alan Proto of Phantom Flight School explains. “I do not think of myself as a drone photographer. I see myself as a photographer, who happens to have a drone in my bag”

Why have a Drone? Camera quality on the latest range of DJI drones is excellent. With drones getting more and more compact (the DJI Mavic range is no bigger than a zoom lens) it is easy to always have one with you. Once you understand the legislation, you will be surprised at the vast range of places you can fly completely legally, no question You will get that “great photo buzz” with a drone. A drone is the perfect tool to step into videography, from photography. The technology is now good enough that, provided you know the potential pitfalls, flying a drone is safe and easy.

Top Tips Choose your drone with care: we recommend budgeting £1,000 to £2,000 for the drone and accessories. Understand that there will be some places flying a drone is perfect, and accept that there will be others where it would not be a good idea. Develop a simple flying style. Because it isn’t about the flying, it is about the photography. Think like an aviator: process not judgement; plan the flight, fly the plan. Use the playback button to review your photos in-flight. Get out of your comfort zone; fly in new places, shoot different things. Take the time to understand the rules and regulations.

Profile PhantomFlightSchool is the longest established and most popular drone training organisation, in the UK.

We offer One-to-one training, essential to show you how to fly a drone safely and effectively, at fourteen locations around the UK (£120 for one hour, £200 for two hours). The PfCO Course, vital for those wishing to fly a drone commercially (£995). In-depth Drone Photography Masterclasses with leading landscape photographers and drone experts in the Yorkshire Dales, the Lake District, Snowdonia and the Jurassic Coast in Dorset (£249 for one day, £995 for four days including accommodation). Incredible, deeply-researched and brilliantly-guided Drone Holidays to: sunny Andalucia, Spain; the French Pyrenees; on a yacht in Corfu; and the mountain-top monasteries of Central Greece (from £995 - £1,575). We also sell the full range of DJI drones and accessories, can advise on which one will suit you best, set it up with you, and support you on your maiden flight. Website:

www.phantomflightschool.co.uk

Email:

info@phantomflightschool.co.uk Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

UNLEASH YOUR CREATIVE PORTENTIAL WITH LOUPEDECK+

MEET ALEKSANDAR JASON AUSTRALIAN PHOTOGRAPHER & INSTAGRAM SUCCESS Aleksandar Jason is a Melbourne based sports, wedding and lifestyle photographer and social influencer. His career took off during his early 20’s as an event photographer for Vice Magazine. Through Instagram, Aleksandar has been able to showcase his work to the world, which has resulted in over 124k devoted followers. His work has been widely recognized landing him opportunities with major commercial brands and becoming the official photographer of the Melbourne City Football Club. Read on to meet Aleksandar Jason and discover how Loupedeck+ has transformed his photo editing workflow in Adobe Lightroom Classic CC. When did your interest in Photography begin? Never really pinned a date to when it all began, but during my time studying I was always interested in creativity. I think photography just fell into place . I spent my early days documenting events and parties 44

: Creative Light Magazine - Issue 31

for Vice Magazine and various other music and lifestyle editorials. My parents gave me my first camera for me when I was about 4 years old, and yes I do have proof - but my career path as a photographer only became a reality in my early 20s. Your Instagram is very successful. How did you achieve such success and what advice would you offer to other photographers interested in marketing and growing their reach through Instagram? I was fortunate enough that my Instagram [@aleksandarjason] experienced success during the early days , before being a “Travel Influencer” was popular. I used to do many local road-trips, documenting my home town of Victoria, Australia - which got a lot of love from and here I am! The app has grown a lot and photographers today, there are not many creative individuals who praise their own work and style. So my best advice is, stop being influenced by the people you follow and go out there and push your personal creative style- because we want to see you and your work and not the work of someone who has influenced you. I love what I do, and I am honoured to be able to call myself a photographer - Instagram has allowed me to grow and has exposed

me to many people, who recognized my work and have even become clients.

various preset filters that I can apply to a game day, and having Loupedeck+ with me I can simply adjust and apply edits with a turn of the wheel, rate which images that will be sent to the

DISCOVER HOW LOUPEDECK TRANSFORMED ALEKSANDAR’S WORKFLOW

client and of course reduce/add grain in certain images using the

What were your very first impressions of the Loupedeck console?

can effect your process. When editing the images you often come

Within a few days of owning Loupedeck+ I was able to control everything from one console, which made my editing faster and helped me develop a new approach to editing. After using Loupedeck+ for almost a year now, I’ve created my own custom settings which has allowed me to add an extra element to my editing and has given me more creative control over my work. You shoot a variety of styles, sports, weddings and travel, how has the Loupedeck+ enhanced your workflow in these situations? I always say that my editing is influenced by my emotions, but also the job itself can motivate and inspire you to either want to edit or put them aside for another day. Some game weekends from Melbourne City I’ll have over 2000 images. I’ve created

custom dial modes. With weddings the ever changing lighting of outdoor cermemonis across a few that have been over exposed, but with a simple spin to the exposure wheel, the lighting will be quickly adjusted. We have many wedding and sports photographers like yourself, what are some key elements that ,Loupedeck+ has enhanced? When shooting weddings, you easily end up with about 500-3000 Images. Using the rateing tool allows me to quickly to cull my images and apply personal presets, adjust skin tones and crop, making the editing process more efficient. Loupedeck+ gives me full control of every image. Adjusting the exposure of the bride’ s white dress and making color edits to fit my style becomes easy. In situations where there are odd temp adjustments - a simple wheel spin make all necessary adjusments without ever haveing to click into various tabs.

...LOUPEDECK MADE MY EDITING FASTER & HELPED ME DEVELOP A NEW APPROACH TO EDITING

Loupedeck+is available for purchase on Loupedeck.com,

Check out Aleksandar Jason’s Instagram: @aleksandarjason to

Wex Photo Video, Amazon.co.uk.

Visit his website for more info: aleksandarjason.com

Issue 31 - Creative Light Magazine :

congratulations Stuart Waugh QGP

Qualified Guild Photographer April 2019

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

Make money from your photography with Alamy Whether itâ&#x20AC;&#x2122;s your full-time job or a weekend hobby; join our community who are already selling their imagery to over 100,000 customers worldwide

Sell your images on Alamy and get 100% commission for the first 6 months* Get started

* up to a value of ÂŁ500 - offer exclusive to members of The Guild of Photographers 48 : Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

Guest Judge Guru Shots

Eugene Li “

My name is Eugene. I’m an award-winning photographer and photo editor with an in-depth working knowledge of the Adobe Creative Suite. My works have been published in international magazines, and I proud that some of them were chosen for the covers (beau NU Magazine, IMIRAGE magazine, Beautivation Magazine, Philocaly Mag). I hve been passionate about photography for as long as I can remember. During 2018 I was very successful as a photographer winning two big photography competitions: 35 Awards (1st place - Fashion & Glamour nomination) and International Photography Awards - Russia (1st place - Special Effects). This year I have been involved as a guest Judge on Guru Shots, ViewBug, 35AWARDS and Excio. My primary skills as a photo editor are high-end in beauty and fashion retouching, photo manipulation and product photo editing. I work as a freelancer on UpWork, Guru and PeoplePerHour platforms” - Eugene Li On the next page, Eugene gives Creative Light Magazine readers an insight into what he was looking for as a Guest Judge for Guru Shots. The Category - Animal Portrait Principals.

Issue 31 - Creative Light Magazine :

Insight into how I Judged the Animal Classification Category ANIMAL PORTRAIT PRINCIPALS The main idea of the challenge was to get professional looking portraits with an animal as a subject. As a Guest Judge, I expected to see edited pictures with essential photography rules and guidelines. What I didn’t expect to see was wildlife photography presented as a portrait.

ANIMAL CLASSIFICATION According to the rules, all animals were allowed, but I understood the difference between shooting predators and home pets. I had three categories during evaluating photos: 1) Pets — the most accessible subject, a photographer or pet’s owner can communicate to a pet, move a pet or move around the pet and even use studio equipment. Most requirements were for that category; I expected to see an artistic component or mood of photography, not only good posing of the subject and but also good post editing. 2) Domestic animals — middle level, those animals do not fear humans, but they can ignore a photographer and do what they want, making shooting a long and trying process. 3) Wild animals — the hardest subject and sometimes even dangerous to shoot. The least requirements were for that category; it was acceptable to have not perfect light, cropping, and background on those photos.

The reasons why this photograph was chosen: 1) Special effects — this steam coming out of the nose is a killer feature of this portrait. It doesn’t matter if it real or added in as a Photoshop effect, it looks great! 2) Background — there is almost no background, but the photo was shot outside. In contrast to lots of entries with a distracting background. This photo has an almost classic black portrait background. 3) Light — backlight on the left of camera works well on this image. A small addition to an image of rimlighting separates the subject in the frame, which is very important for shooting black on black and creates separation. Catchlights in the eyes makes the animal come to life. 4) Cropping — close framing enhances this animal, even more, filling the entire frame and the animal looks majestic. Great shot.

THE WINNING PHOTOGRAPH It was hard to choose the best image, much harder than selecting the best portrait of a person or a landscape. The winning photograph was taken by wildlife photographer Tin Man Lee. Thanks for reading and be great in photography! - Eugene Li 52

: Creative Light Magazine - Issue 31

ÂŠ Photographer: Tin Man Lee

Issue 31 - Creative Light Magazine :

“Your Favourite Photo”

Tordai Ede - “Prayer”

Alexander Prokudin

Andra Cnej

Anna

~ Matterhorn and Riffelsee ~

~ Teardrop of Red Nature ~

~ Autum

: Creative Light Magazine - Issue 31

Krzysztof Sobolewski - “Waiting for the Sun”

Glegoła

Bajkó Tamás

Bart Buckalew

mn Road ~

~ Sunset in the city ~

~ Manhatten Beach Pier ~

Issue 31 - Creative Light Magazine :

Ben Furlong

Christopher A Flores

~ The early bird gets the fish ~

~ Sunset Seedling ~

Gal Meiri

Gerrit Hoogmartns

~ Hummingbird in flight~

~ Phantom Grey Lewis ~

Kasia Heinrich

Kuba Kachlickii

~ Snow Dog ~

~ Madagascar Fody ~

: Creative Light Magazine - Issue 31

Earl Ward

Francisco Coelho da Rocha

~ Burro Family ~

~ Storm Helena in Porto ~

Phil Green

Jodi Webber

~ Waterlogged ~

~ Blue Sunrise ~

Micha Mettier

Yair Tzur

~ Autumn Magic ~

~ The Race ~ Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

A Frame for all occasions!

Issue 31 - Creative Light Magazine :

“Your Outdoor Shots”

Bonny Art

Aaron Gray

Alessandro La Grotta

Danie

~ Burrinjuck Dam, NSW, Australia ~

~ Golden Hour Stroll ~

~ Togg

: Creative Light Magazine - Issue 31

Lucio Mancini

el Kazor

Edina Kabai

Francisco Coelho da Rocha

genburg ~

~ Calmness ~

~ Tomorrow is Another Day ~ Issue 31 - Creative Light Magazine :

Goher Ayoub Nayab

Jodi Webber

~ The City of Arts & Science ~

~ Blue Sunrise ~

Oleksii Sokun

PÃ©ter Brantzen

~ Through The Tree ~

~ Sunrise at Yacht Club, Barcelona ~

Stefan Lueger

Susan L. Chapman

~ Before the Storm ~

~ Evening at Bandon Beach ~

: Creative Light Magazine - Issue 31

Liudmilla Wagner

Michal Puffler

~ Where dreams come true ~

~ Dusk over Xinaliq ~

RenĂŠ Thommen

Ronnie Turner

~ Morteratsch Lake ~

~ Sunrise in San Diego ~

Torsten Rempt

Valeria Schmidt

~ Bridge over salty water ~

~ One Step from the Sky ~ Issue 31 - Creative Light Magazine :

HEATHER BURNS

: Creative Light Magazine - Issue 31

WATCH THE INTERVIEW Jo Buckley Photography

Jo and Luke live in a small community in Cornwall. They specialise in Newborn and Family Portraits. Since making one simple change to their sales process, theyâ&#x20AC;&#x2122;ve more than tripled their average order value. Be like Jo and Luke. WATCH THE INTERVIEW

3XM

Issue 31 - Creative Light Magazine :

65 3xmsolution.com

OFFER ENDS SOON Photo Book Pro is printed with the HP Indigo 12000 and made to fit from 20 to 120 pages. Choose from Mohawk Eggshell, Arctic Matte or Felix Schoeller paper. You can also upgrade to a Complete Set - which includes a matching box and USB option â&#x20AC;&#x201C; to offer your clients the complete package. T&C. The sample offer covers Photo Book Pro or Complete Photo Book Pro (with a box and optional USB) ordered in any size and any collection. Promo code is valid until June, 15

: Creative Light Magazine - Issue 31

GET A SAMPLE OF PHOTO BOOK PRO AT

90%OFF USE THE CODE: HAPPYDAYS

020 3409 4355 www.nphoto.com/uk nphoto.com/uk orders@nphoto.co.uk

Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

My Mentoring Journey

Abi Moore From Colour Casts to Craftsman: My Mentoring Journey I sat waiting for the phone to ring, my heartbeat racing, feeling nerves I’d not felt since I last attended a job interview. Here I was putting my work up to scrutiny. As a photographer your work is your art, you spend hours creating and perfecting it, so this felt personal! An hour later, after my first mentoring telephone call and receiving critique on ten of my images, I realised I had nothing to worry about. Yes, my work was scrutinised and I was given lots of feedback on developmental areas (mostly lighting and colour balance!). However, it felt OK, I’d also affirmed what I did well and came away with a renewed sense of focus and motivation. It gave me a really clear plan on how I could improve. That was four and a half years ago, and I’ve since had twenty mentoring sessions. I’ve achieved my Qualification, and more recently my Craftsman, as well as some IOM success along the way (I’m not a prolific award-winner but was delighted to achieve the Photographers Bar for 2018). A Guild Mentor can and will give you feedback on a variety of areas, including lighting, technical settings, composition, posing, and styling amongst many others. You’ll learn the rules that your images will be assessed against in competition and qualifications. It’s then your decision when to apply those rules and when to consciously break them. You may be wondering if mentoring is for you. The simple answer is that if you want to improve your photography then it’s definitely for you. Underlying that improvement, you may have any number of goals - to do better in IOM, to gain a qualification or simply to improve either for your clients or your own sense of achievement. Initially, my goal was to improve my family, child and baby photography. I was seeking to qualify in this genre as well as achieve more bronzes in IOM, which happened soon after my first few mentoring calls. I continued as I found what I learned for my child portraits could also be applied to other genres I shoot. Issue 31 - Creative Light Magazine :

The relationship grows and develops over time, particularly when you have regular sessions with the same mentor. You’ll find that you have a clear plan for items to discuss on each call - usually reflecting on feedback and goals set during the previous discussion. A new set of images will be critiqued, reflecting on improvements since the last call, and identifying new areas for growth. Early in 2017, I started to think about applying for Craftsman. When discussing progress with my mentors, I always described myself as a gradual learner - I’m not someone who has a meteoric rise to success, but I get there in my own steady way! So it’s no surprise that it took me two years from first thinking about Craftsman to actually achieving it. I attended the Guild’s ‘Preparing for Qualification’ course towards the end of 2017 and it was an eye-opener - I’d highly recommend it to anyone wanting to do better in IOM or go for any qualification level. I see it as the perfect partner to mentoring, going into the nitty gritty of what judges assess and explaining how the qualification process works. After the course and talking to Gavin Prest about my ideas we connected and my panel started to come together and I asked Gavin if he could work with me which he agreed to do. Gavin and I are both portrait photographers, his black and white story-telling portraits of adults are quite a contrast to the bright and colourful images I take of young children. This difference in style gave real objectivity to the feedback and Gavin was able to share expertise that I could apply to my genre. I also found that through our differences, I felt confident in embracing my style. Gavin’s critique of earlier attempts at my ideas were that I was going at it half-hearted, and I was more likely to succeed if I went with a style that I truly believed in. I took this feedback and found my ideas blossomed into the Craftsman panel that passed earlier this year. For anyone who is concerned that they won’t be able to take the critique, please don’t be! Mentoring and critique is constructive - of course it will identify areas for improvement but it will also praise the areas you do well. You’ll come away with a pat on the back as well as a list of goals. When I first applied for mentoring, I wrote in my application that I could be “very self-critical and easily demotivated, so need someone who is not going to be honest but not brutal!” If you feel you need to state this, then do, although none of the mentors are going to brutally tear your work apart. Over my years of mentoring, I’ve also grown in how I take feedback and now seek that brutality to ensure I’m improving, but this has developed and is not the starting point. So what are you waiting for?! As Albert Einstein said, “once you stop learning you start dying”. No matter where we are in our journey, we all have room for improvement and mentoring is a step forward that you’ll never regret taking. - Abi Moore Craftsman

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

SPEND MORE TIME SHOO HOW ZENFOLIO HELPED STREAMLINE MY BUSINESS

HERE AT CELYNNEN PHOTOGRAPHY WE ARE CELEBRATING OUR 10TH ANNIVERSARY!

“

“Since switching more prints in a previous five yea

Over the past 10 years we have many changes to refine our busin we’ve tried different web solution trialed new camera systems, outsourced editing, brought it ba house, etc. But we had not mana to find a Web solution that worke us — until Zenfolio.

This year we really wanted to streamline and expand our busin

Ioan Said is the National Director of BIPP, and two time North Wales Wedding Photographer of the Year. He is ranked among the TOP 100 wedding photographers in the UK on Fearless Photographers and recently served as Chairman of the North West BIPP region. See his site at: celynnenphotography.co.uk

: Creative Light Magazine - Issue 31

Like many wedding photographe we are busy with all the different we need to do — shooting, editi social media, blog writing, traini networking, selling, organising, finances, and more. These other are time consuming, and the who reason we got into this business the first place was to take picture Plus, our little boy is now an ama 2 year old, and I want to make s spend as much time with him as I can!

OTING by Ioan Said

g to Zenfolio we have sold a year than we had in the ars combined!”

made ness; ns,

ack in aged ed for

ness.

ers, t tasks ng, ing,

tasks ole in es. azing sure I

Because of the time-consuming aspects of running a photography business, I constantly felt like I was missing out on maximising my database, missing promotions, getting through my blog posts, missing upsell opportunities…the list goes on. These are all areas where Zenfolio has really sorted things out for me. Partnerships with print companies who handle everything with suggested pricing including markups save me time. Free marketing campaigns that can ensure we make the most of our databases — many of them activated with a single click — are beneficial as well. Since switching to Zenfolio we have sold more prints in a year than we had in the previous five years combined! The blog is fully integrated, making it easy to source images and ensure Web traffic is optimised to one

website. Previously we had a separate blog, had to ensure it was kept secure, and optimise two websites… which was very stressful. Not any more. Our website is now fully responsive, and there are other smart integrations such as client apps that let our clients share their pictures on social media in a way that always promotes us. All of our photoshoots are stored within the Zenfolio system, giving us an easily accessible backup of our files, and with a few SEO tweaks, our site recently shot up in Google for most of our targeted keywords. We are delighted we made the switch to Zenfolio. It’s sorted out a lot of issues that were bugging us and has also opened up new opportunities for us to expand. We are looking forward to seeing where our new website takes us!

GET 30% OFF YOUR SITE USE CODE GUILD AT ZENFOLIO.CO.UK/GUILD Issue 31 - Creative Light Magazine :

Ann Aveyard

Claire Osborne

Joanna Banks

FEBRUARY & MARCH 2019

Nick Brown 76

: Creative Light Magazine - Issue 31

Kendra Eastwood

Lee Hathe

Joan Bleas

Karen Riches Ann Aveyard

Nick Brown

Anneka Harden

erall

Gary Neville Issue 31 - Creative Light Magazine :

20% off any CEWE PHOTOBOOK and any CEWE WALL ART* Exclusive offer for Guild Members Offer available on any size or format using the CEWE Design Software. For information on how to redeem this offer, log in to The Guild website and view the Partners and Discount section.

XXL Landscape Photo Book

XL Square Photo Book

Our largest landscape photo album is perfect for those projects

Ideal for professionals and talented hobbyists alike, our XL

that deserve no expense spared. Suitable for full-page prints

Square Photo Book will look great on your coffee table, ready to

preserved in stunning detail or arranging combinations of portrait

impress your guests or potential clients. Choose a high-quality

and landscape pictures together. With Layflat binding and

photographic paper and our specialist lay flat book will showcase

beautiful photographic paper, itâ&#x20AC;&#x2122;s easy to see why this is one of

every detail of your most stunning panoramic pictures and group

our most popular books for creating a unique wedding album.

portraits.

www.cewe-photoworld.com/guild 78

: Creative Light Magazine - Issue 31

CEWE are proud to be a trade partner of The Guild of Photographers

We are a European market and technology leading, innovative photo and online service provider. With over 50 years of experience, we are renowned for our dedication to outstanding print quality.

Gallery Prints Our high-quality photo printing process includes UV printing directly onto acrylic glass which is then strengthened with aluminium di-bond. This means the brilliance and depth of your photos are secured with the gloss of the acrylic and strength of the aluminium.

Acrylic Prints Add a splash of colour to your wall with an acrylic print, professionally printed on thick acrylic glass giving a sleek,

Canvas

modern finish. What’s more, light passes through the back and

We believe there’s no substitute for skilled craftsmanship, that’s

sides of the acrylic block, making colour and detail look brighter

why we’re so proud of our handmade Photo Canvas Prints. We

and sharper than ever before.

can confidently say that when it comes to quality, ours are second to none. We offer five different types of photo canvas print, giving you more options as to how your images are presented.

“Best Photo Printing Service Worldwide” Voted for by a global panel of experts in our industry, the CEWE PHOTOBOOK was recognised in 2018 for its exceptional quality. We are delighted to have won the award again in 2019 for our hexxas hexagonal photo tiles.

*T’s and C’s apply. Offer available on any size and format CEWE PHOTOBOOK and any size or format CEWE WALL ART until 31st January 2020. Does not include p&p and cannot be used in conjunction with any other offer.

Issue 31 - Creative Light Magazine :

Ed Burrows

Cameron Scott

Henry Ransby

Natasha Ince

Debra Longmore

Ian Knaggs 80

: Creative Light Magazine - Issue 31

Angela Adams

Helen Trust

Bernard Pretorius Sarah Smith

Nikki Goodeve

Chris Chambers

Sarah Wilkes Issue 31 - Creative Light Magazine :

Sue Dudley

Chris Chambers

Paula Beaumont

Helen Trust

Debra Longmore

Nikki Goodeve 82

: Creative Light Magazine - Issue 31

Phil Green

Peter Woods

Stephanie Chapman

Chris Chambers

Stephanie Chapman

Karen Riches

Sarah SarahWilkes Wilkes Issue 31 - Creative Light Magazine :

... AND TIME “Shuttertax have a very straight forward and eﬃcient way of working which requires very little eﬀort from me.” We wanted to tell you what a fantastic online accounting service we provide for photographers but we decided to let Guild members tell you for themselves.

“The process of switching was painless and it has made me more productive, saves time and costs far less.”

INVALUABLE “I’ve found Paul's knowledge of tax issues invaluable, and he responds quickly to any questions I've asked. I've absolutely no regrets signing up with Shuttertax.”

NO ‘ACCOUNTANT JARGON’ “Any questions I had were answered fully without the use of 'accountant jargon'.” “He goes out of his way to explain things to me in a way that I will understand and answers my questions quickly.”

UNDERSTAND MY BUSINESS “They both completely understand my business, having "been there, done that!" themselves.” “Paul and his wife know the business too which he tends to keep quiet! They were excellent togs so know what hurdles we all face with running our business.”

PASSIONATE TO HELP “Paul is a brilliant guy, extremely helpful, understanding, and within minutes you will realise that you've found someone who's passionate to help other photographers.”

SAVED ME MONEY “Shuttertax has definitely saved me money in my first year and with Paul's help, I am sure my business will grow and grow.” “Paul took most of the tedium of accounting off my hands, and in completing two tax assessments for me so far, has certainly saved me more money than I've paid Shuttertax.” 84

: Creative Light Magazine - Issue 31

NO QUESTION IS TOO STUPID “No question is too stupid, communication is excellent and my tax returns have been painless now for two years.” “Paul patiently and expertly answered every single 'daft question' I threw at him and due to his expertise and patience my self assessment return has now been ﬁled in record time and with the minimum of stress on my part.”

TOP NOTCH SERVICE “Their customer service and professionalism is top notch too, after only a couple of months of working with Shuttertax I can see it has been a great decision and I can highly recommend them.” “Their professionalism and customer service speaks volumes about how they view you as a client.”

FRIENDLY “It felt like talking to a knowledgeable friend who's keen to help, rather than an accountancy ﬁrm who only see me as a commercial opportunity.”

UP TO DATE INFORMATION “Paul assured me that I would have up to date account information at my ﬁngertips but without all the hard work getting there.”

ACCOUNTANT WAS CHARGING ME A FORTUNE “I recently switched from a High Street accountant who was charging me a fortune and had me typing up spreadsheets and labelling invoices every month - time consuming and tedious!”

EXTREMELY REASONABLE FEES “They have simpliﬁed how information is recorded through the use of QuickBooks Online, providing access to information and reports I didn't previously have.”

“As if their friendly, professional service wasn't enough, I think their fees are extremely reasonable with no hidden costs which have resulted in reducing my accountancy fees by more than two thirds.”

TRANSFERRING IS SEAMLESS “The process of transferring my accounts to Shuttertax has been seamless. I cannot thank him enough and hope he won't regret all the extra transactions I get in as I have more time to focus on the business!”

WOW! “Wow, I wish I’d found Shuttertax years ago!” “I am deﬁnitely a customer for life!!”

https://shuttertax.co.uk 85

Issue 31 - Creative Light Magazine :

congratulations Stacey Budd QGPP

Qualified Guild Professonal Photographer May 2019

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

TIP SHEET How to Remove Unwanted Shadows

Frequency Separation In this tutorial I want to take you through a simplified version of what I believe is possibly the very best retouching technique you’ll ever learn and use; Frequency Separation. As you’d expect with Photoshop and post production there are many ways to achieve similar results and that’s no different when it comes to Frequency Separation; but what is it? Well, in its simplest terms, Frequency Separation allows us to separate the colour in an image from the content and by doing so we can then work on either without affecting the other. The technique is used a lot in beauty retouching but has uses in almost all images, and in this tutorial I show you how you can use it to remove a shadow from a face but what’s more, do so quickly, easily and realistically. 88 : Creative Light Magazine - Issue 31

Step 1: Duplicate the Original To start off we need to create two new layers containing; one for the colour and one for the content / detail. To do this whilst pressing and holding down the CMD/Control key pres the letter ‘J’ twice. Rename the first copy ‘colour’ and the second copy, which will be the upper most layer in the layer stack, rename ‘content’

Step 2: Colour Layer Next turn off the content layer by clicking on the eye icon to the left of the layer and then click on the colour layer. Go to FILTER > BLUR > GAUSSIAN BLUR and add in an amount that doesn’t completely blur out your picture so that it becomes unidentifiable, but rather to the point it loses all sharpness and detail. For this image a Radius of 15 pixels Gaussian Blur is just about right so that we are jut left with what is in effect colour in the shape of a face/portrait. Click OK

Step 3: Content Layer (Part 1) Click on the content layer and turn on the eye icon so that the layer is active. Then go to IMAGE > ADJUSTMENTS > BRIGHTNESS/CONTRAST and in the small dialog that appears click in the Use Legacy checkbox to turn it on. Next adjust the contrast to -50 and click OK NOTE: For the technique to work it’s vital that Use Legacy is checked BEFORE the contrast amount is added.

Issue 31 - Creative Light Magazine :

Step 4: Content Layer (Part 2) Now go to FILTER > OTHER > HIGH PASS and in the Radius amount add in the exact same as you did previously in the Gaussian Blur. In this case we add in 15 pixels and Click OK. In the layers panel change the Blend Mode of the content layer to Linear Light.

Step 5: Clone Stamp Tool Click on the colour layer in the layers panel and then add a new blank layer so that it is placed underneath the content layer. Rename this layer ‘remove shadow’ and then choose the Clone Stamp Tool from the Tool Bar. In the options at the top of the screen set the exposure to 10% and from the Sample drop down menu choose ‘Current and Below’

Step 6: Remove the shadow Zoom in to the face area where the shadow is and then whilst using the Clone Stamp Tool, ALT/ OPTION + CLICK to sample skin colour either side of the shadow. Then paint over the shadow with a few strokes in each area to build up the colour so that the shadow becomes lightened and takes on the colour of the skin. The trick here is to continually sample the skin either side of the shadow as you do so, so that the blend is much more realistic and to do so with a low opacity setting on the Clone Stamp Tool.

: Creative Light Magazine - Issue 31

Step 7: Merged Layer Once the shadow has been removed/reduced you may find the contrast/structure in the cloned area appears flat compared to the rest of the skin. To fix this we can go use the Camera RAW filter however to do so we need to create a merged/stamp layer. To do this first of all click on the content layer in the layers panel then go to SELECT > ALL then EDIT > COPY MERGED followed by EDIT > PASTE. We now have a layer at the top of the layer stack that is a combination of all below which we can now use in the Camera RAW filter. Rename the layer ‘merged’ Step 8 Go to FILTER > Camera RAW and choose the Adjustment Brush. Turn on the Mask and then paint over the area of the face where the shadow was originally so that it now is covered in the red overlay. Use the Erase option to remove it off areas where you may have gone over on to unnecessarily. Turn off the Mask (Red Overlay) and use Adjustment Brush settings to add structure/contrast into the removed shadow area. In this example I made the following adjustments: Temperature +2, Contrast +34, Shadows +44, Clarity +45, Dehaze -28 and Saturation +25. Click OK and you’re done.

Best Results in 16Bit This simplified Frequency Separation technique is incredibly powerful and has seemingly endless retouching uses however I have certainly found that best results are achieved when working on images in 16bit as opposed to 8bit. There should be no difference in the look of the image when initially creating the colour and contente layers however in 8bit, especially with a plain background you may well experience changes such as banding beginning to appear. Anytime Anywhere Portraits Without doubt one of the best ways to keep on top of your game and in the learning zone is to be taking pictures as often as you can; and I don’t just mean with our mobile phones. One thing I have been doing for the past few months is what I call ‘Anytime Anywhere’ portraits by having a small kit list with me all the time be it in the car or in person. My own kit consists of one camera, one flash and a modifier such as a Rogue Flashbender from ExpoImaging and has meant capturing portraits such as the one in this article that ordinarily I wouldn’t have. You can find out more over on my website at www.glyndewis.com Issue 31 - Creative Light Magazine www.glyndewis.com Social Media /glyndewis

mer cr ƒ t C MAY/JUNE 2019

Cmercrƒt MAY/JUNE 2019

MAKING THE BIG TIME

FIGHTING EXTINCTION

PHOTO BUSINESSES WHICH PROVE YOU CAN MAKE IT – GILES CHRISTOPHER DAVID HICKS WILLIAM BARRINGTON-BINNS

CHRIS TAYLOR TAKES A TRIP TO AFRICA TO BENEFIT WILDLIFE CONSERVATION

YERBURY SILVER

FOTOSPEED LEGACY GLOSS 325 PERMAJET FB PEARL 300 BARYTA THRIFTY FIFTIES – THE BASIC STANDARD NIKON Z6 HANDS-ON & P1000 TEST ENGINEERING BETTER SUPPORT SONY A6400 IN ACTION

A PORTFOLIO FROM THE LIMITED EDITION BOOK OF THE FILM

IN ASSOCIATION WITH

Sony a6400 action and

f you've been readin online g any photo discus for eve sion for n six min no do utes, you um ubt 've new Alp heard about Sony's ha 640 0, a low E-mou nt cam -end Son era wh tracking y ose capabi focus that the lities are ir At firs so good t it wo the Alp flagship spo uld sim rts cam ha 9, had shooti ply sto era ng, updat to , get a firm e just camera because I had p to cat ware set to the ch up So do "Don't . unless es it live take a you thi Yes, bu up to pic nk it's t I fou chang the hyp nd in focus! ture ed thi should a few e? s set " So I caveat know Emph s you asis" and ting to "Ba I tested about. lanced gettin then I g out-o starte track and its capabi d lities at f-fo as cus fiel I starte d me a at a loc d zoomin shots as soo al colleg et I was cov the seq n g out ering opportu e. It pro uence. during This is vided suppo nities not ho for tra sed to throw cking w hap ers, po it's using pen. An jav le vau Son hurdlers d I wa lters, spr elin lens wh y's 70-200 ƒ4 s , discus inters putters ich is a throw G OSS / ers and of the parfoc the foc shot (th al lens us point of wh ich occ (i.e., e last as you doesn urred 't chang zoo protec behind tive fen e have con m), so that a ce, should those tribute were wh so photos not have dis When d to the of I starte olly un tracte proble Let's sta d using intere d the RX-10 m. In ma rt with sting). the Son IV bridg consid ny of the athletes. the y erable e cam sequen compla test sho era, my suc of the ces, the int abo oting on box the cesses. Rig ut flaw cam per ly this oth fect bri ht out lessly era per camera the sub erwise as obsta forme will ide ject usi passer you cou dge camera d ntify s-by cam cles and ng Ph AF, and camera was tha ldn't zoo ase De it will camera e betwe stayed contin t m wh tect focus uously. on its is closes ile sho and ath en the The cav on wh target oting And her facing t or on had fou lete (se atever eat? If . ) but in e e sequen the clo there's zoom nd an you ma all but out wh sest eye inexpe I thought I a face to tha nually one cas ce in the ile nsive t proble if it will shooti solution frame e the attem ng a mo continuousl m. Gu (Sequ . Then pt a sec ess y enc vin of objec tra no e 10) g objec cking t. ondar t recog algori t, the y step In all oth thms nition on con get con er , based trastin respec A6400 fused. g color ts, the is the backgr wit equ ound, A6300 and the h the but wit ivalent of the track it n start h the as it tra featur to new tra es and vels aro frame cking . It rec new me und the (and mo ogniz nu sys on col re assign es sub tem or con The 30jects bas trast, so shooti minute able features) ed if you ng som limit on length . we e re s has als camou troop video s we flage as clip o bee (due to n rem they we aring basic the exp oved trainin iration trade g, it mig nt through law) and of an EU to track ht not the that sub ove be abl camera rheat ject we aggres e For the doesn shooti ll. sively 't se sho ng wh camera ts I use video 's Silent predec d the as so ma en essors where Shooti ny of its did. Ma ng mo the cam review de, ny s com era op silentl plain tha online y at 8 erates image frame t the insta Norm s per ally thi body they squ bilization fea s can be second. when ture tha eezed danger sho t into is missin ous that mo oting sports, g on the the A6500 since ve acr comple A6400 things oss quickly tely ign , while can app the frame ver oring stabili that ima zation howe y ear dis happen ver in ge torted fine wh this cas , s perfec runnin en ima e athlete tly g tow ge sta are att ard the s were bilized ached. not acr camera lenses oss the The imp and fra minimi roved zing the me, comple of Eye tely AF is ano implement distor tion. Ha incidences ation headlin ther ma of d I cho witho e-grab jor sen to ut sile ber wh indeed shoot nt sho ich there a wond oting would erful (ye is improv mode, be distor ement t subtle) tion, and no chance . Wh introd of uced Eye en Sony firs I could as fast as 11 have sho t back in AF to frame the wo but the 2014, t s per rld you sound it to a secon had to d, butto of the ass n and shutte butto then pre ign r might n in ord 12 Ma ss er for y/June thing. it to do the 2019 And if its Came there the fra racraf wasn' me the t t a fac n it wo e in not foc uld giv us e up, give you on anything at all, a flashin and find foc g green us" err "ca n't or. Thi to no s frustra end – the cam ted me era has face

Gary Friedm an lik speed es the sequ impr new su ence and AF trac oved high b-£1k king of APS the enhanc -C model – and its ed Ey e-AF.

iles Christopher is very much a classical commercial photographer, who has made his name working for blue chip clients from a large studio in London. While some other photographers say they can’t get the budgets or find the clients, he definitely can because he’s offering them superb facilities and high-level technical skill. He is a true example of how thinking big – and shooting bigger – can really pay divides. Having spent the first twenty years of his working life in the film industry, Giles and his partner, Abi Cockcroft, set up Media Wisdom Photography in 2001 and have gleaned enormous experience and gained huge success working in large spaces. “We used to have a 700 square foot studio, which was inside a much larger film studio near Shepperton. When we needed the big film studios, we would rent those for furniture shoots. The film studios closed down and so we rented a 1,000 square foot studio. It has a kitchen unit in it, and we do a lot of food and drink photography, as well as small furniture, and big product shoots here”, he explains.

3: Media Wisdom – a studio built for big commercial clients

Giles and Abi with a still life set-up in progress.

Giles got his first camera as a thirteenth birthday present from his father, a film producer who was very interested in photography, and his mother who was a film production coordinator. “My father always saw the value of taking family photographs, and

I loved the fact that he took so much care over them. He would often take me to the publicity stills department in the film studios, where he would have them developed. I have had a fascination with stills photography ever since”.

William has now moved home to Thailand, so his immediate plans include “getting our house in order over here” and updating the studio after the process of selling up in England – “the container with our belongings has only just arrived and I’ve got things in boxes that I haven’t even opened yet”. In addition, he has exhibitions in June and July, and more work for hairstyling awards amongst many other plans. Whatever the future holds for this incredibly talented and successful photographer, it’s going to be big.

Silver

Printing for the look and feel – classic papers Cameracraft May/June 2019 29

David Kilpatrick looks at inkjet media which come close to matching silver darkroom printing and historic processes. From the fragile softness of Amalfi hand-made paper to premium Permajet FB Pearl and Fotospeed’s Legacy Gloss fibre-based, your choice of paper can give your work lasting value.

After spending his earlier years “hanging around studios and film sets”, Giles went to Watford College of Art to study illustration, graphic design, fine arts and photography. While there, he took up photography on a larger scale than he had as a boy. He was inspired by a particular lecturer at college who encourage the students to find their own unique style, while simultaneously being fascinated by ground-breaking landscape photographers of their day, such as Faye Godwin. “I never thought I could make a career out of that, but I did go back into the film industry, with a plan to go on to a career in graphic design. I started working with the film publicity stills department, with David James and David Farrell as mentors. It was the era where you had to be an assistant to learn anything, rather than nowadays when you learn everything online”, says Giles. This was a period when movie film stock was improving in quality at a rapid pace, making it possible for stills to be framegrabbed from film stock, rather than have the images shot separately. This, coupled with depleted

A large studio space makes shooting with people, props and sets possible and gives room for expertly controlled lighting.

budgets, reduced the need for stills photographers. Giles moved into the movie camera department. Here, he worked his way through the ranks, as a clapper loader, focus-puller and assistant cameraman. Giles and Abi began building up Media Wisdom while he was still working in the film industry and she was working in television. “It was difficult at first, but yearon-year it’s got better and better with bigger and bigger clients”, he says. Because Giles and Abi were, as he puts it, “both never scared of film sets” they focused on ‘big production’ style photography. “We both had contacts in the

A typical large roomset built at the Shepperton studios where Giles was familiar with the space, and with movie and TV industry methods and costs. Below, stages in transforming a hangar-like space into a bedroom furniture interior. The finished composition is partly an illusion – note how the chandelier hangs in front of the suspended ceiling flat.

film industry and with film studios and so being given a 7,000 square foot stage or even bigger, didn’t concern me. I knew that I needed more light and more equipment to work in such a large space, but I had the contacts in the industry; we just didn’t have the budgets at the time. We started getting steady work, but not the big stuff I was craving for”, he says. A lot of networking brought them bigger clients and eventually to the attention of Made.com and an Irish furniture company called Easy Living. It is likely that Giles’ work with Made.com contributed to the company’s increased sales figures (this definitely applied

Trevo r & Fa ye Yer bury

30 May/June 2019 Cameracraft

Top quality printed 68-page bi-monthly magazine, £8.50 cover price, included with your Guild of Photographers subscription. Back issues and non-member subscriptions are available from: www.iconpublications.com email editor@iconpublications.com for advertising and editorial enquiries IN ASSOCIATION WITH

The big move

CAM ERAC RAFT PORT FOLIO

Cameracraft 2019 1 PHOTOGRAPH BY WILLIAM BARRINGTON-BINNS • ISSNMay/June 2514-0167 • £8.50

Kabuki Seasons – Winter and Spring, from a new series of work. Director and photographer: William Barrington-Binns. Creative Director: Tia Oguri . Stylist: Dandy Kimono of Uber. Set , First Assistant and Technician: Rob Youngson. Lighting: David Levy and Lee Romney of Arri Lighting. Hairstylist and co-stylist: Mamiko Sato of Kimono de Go. Makeup: Anastasija Potjomkina. Models: Filantropi Lu and Nange Magro. Assistants: John Gabriel Lopez and Mai. Collaboration with ARRI PCA and Phase One Photo, thanks to Drew Altdoerffer.

“There are still female Kabuki artists and may this continue. Though all-women troupes, or at least troupes having a female leader, are becoming more common in Japan they are still looked down upon. They will never be able to reach the same status as that of an all-male cast if the strict tradition of the onnagata is to continue. The doors of big theatre in Japan, especially on the National stage, are barred and locked to women. “In conclusion, although women are not held in the same status as they were held when Kabuki was first born, they still play an important part. From being the cause of a long tradition of the onnagata to slowly trying to ease their way back onto the stage, feminine presence never really left. The story of Kabuki must continue on, and women may just have to be the ones to pick the torches back up and carry it. They are still evolving.”

: Creative Light Magazine - Issue 31

his test started out with an experimental order to Italy for two A3 packs of Amalfi paper by Amatruda paper mills. The superbly packed, sealing-wax fastened papers arrived in under a week in perfect condition with heavy card used to ensure it, and a generous protective wrapping. The cost was £42.15 by credit card including shipping for two packs of 15 sheets, 150gsm. This weight is deceptive, as 150gsm can be a fairly stiff photo paper but handpressed fibre is much softer. The mould edges are not all the same, one side looks more ragged, and it’s not identical to a ‘hand-torn’ effect. Ideally any print made on this paper needs mounting to show all the edges, with a matte overlay and perhaps 2cm of space all round. It’s also good to see the paper itself, and it does not take kindly to bleed printing on an inkjet. Using my trusted and now ancient ColorMunki Photo device, I produce my own paper profiles using Marrutt bulk replacement inks in an even older Epson Stylus

Pro 3800 printer. It’s fourteen years since I visited the Institut du Monde Arabe in Paris for the launch of the Epson 4600 which followed the 3800. Used in bursts of activity, the 3800 nevertheless keeps going well. Since the Amalfi paper really doesn’t work well with conventional colour images, the profile was hardly needed. Just using Epson Colour Controls works fine for the sepia, blue-tint and line art tests which really suited the paper. It’s not the same as Amalfi paper when used by Graphistudio for albums even though it comes from the same maker. With two new papers on the market from British world leaders in the field, I also decided to test Fotospeed Legacy Gloss 315gsm and Permajet FB Pearl 300. These are updates on earlier materials, not surprising when you remember that Epson, Marrutt and others have all been revising their ranges as the European mills and converters introduce new substrates. These tests follow.

AMATRUDA AMALFI paper – a single weight, warm parchment coloured, handmade paper with a laid texture and the hand-torn effect of mould edges. This paper is not sold through photo dealers and doesn’t seem to appear in craft shops either. It’s made in the Italian town (which can be seen in the cyanotype-effect print, central of the samples from my printing here). It seems best printed using the Singleweight Matt setting for Epson, as the paper is under 0.1mm thickness (on this setting, it transports and prints well). It works best for engravings and line art, sepia or antique effects. 46 May/June 2019 Cameracraft

Nikon Z6

hroug hout the digita l photo history of SLRs graph ha y, Nik role; the firs ve played on’s a piv t Koda deriv Cam otal ing fro k erac m the DCS mode raft recog ls May/Ju F3, the nisab le ‘mod first of co ne 20 urse, ern’ DS 19 37 Cameracraft May/June 2019 31 a lon LRs an profes g line d siona of ac l DSLR with cessi the D1 ble, s tha t bega 20 ye of inn n ars ov right and au ation to pe ago. Deca shed des rfect tofoc be pu or me us, fas shutt d can the body er an ter, mo tering al en is d mirro nd of vertic ay. Th re rob all to r mech me left ha further aw us anism t to the photo et the de be dscape mand s graph ted to h from lan the s g adjus ers of lookin itc vin wean g s a sw ight ut mo allow the cu through the ed on od he witho ait trip rrent rtr lens its eding subjects range to po could elf; is or ne of cro be sai . ra d to ha Nikon DS lens ax ent for ma techn came tation LRs ical pe ve rea tm orien , on the ht, adjus ched solid ging allRig below rig Which ak. a g; chan is very s of d; ss is wh es – Sm lockin when upsta allRig ration y, fac d a cla L-plat d extende t no firm taway rt bra for ed wi gene The Sm ished an ras, en cu nds lik work system th three -all bu with came with e the thly fin rrent metal UGH rless ric fits m, Fittest t risks an oo rro ne RO d Fu to So sm ge t Nikon ji TH cu ies mi botto l end tha k. r es. No ’s newe ny’s Alpha X ple of ting. 7 ser L-plat rtica safe loc learne exam ser an Sony st un a e, ve ht oth ies is ran lat re , er ge is ra mo this L-p boug an un e– yet a copy came anoth mirrorless we’ve that the cours with ra on er platfo others wheel, of Even came table rm wi gettin new lens warn r for ol , repea th mo ting the g a bit mirro contr copy moun d using a e a firm ra body to bodie predic unt. It’s at the ll that the an s with provid me table iss stand nt showed t gave a sm – flattis EVFs, older just to g of the ca th Arca Sw t adap op un h tin wi me d mo , iShoo align Trying The sp tics, and vid tors for moun equipped Below end with arm an ignment. ut ecific eo od nd e functi ation sal sta over a trip tho L-plat tripod offer ons. s have ple e of mi heads, wi t. l eBay of a vide be degre sprea nty of tim moun usefu as well as od n and d size ich pro es; pu en gone dshe d us trip Amazo lates, wh cost an ay, met et an t the threa iss fit. Swiss vario for jus Sw Arca ee-w g to the t pickin d you’d be m in a nd rsal L-p Arca rtrait runnin geared thr en we fou mera. mirro unive forgiv g a ful or po rle any ca en ble l-fram cape ss. Th locka hone ss body at e lands ting on works for succe perb bit of stly? rando little of moun ich They x m, an with – a su dies, e LP-64 e wh rapid He Th bo ’re on ion So t d all go lut go if you’r sign. Sony ling od. the so key in alrea We’ve e em t do is s and and de pod Leve of dy, bedd es no ympu ra work Tri base ed CNC latest and wond t Dials our Ol . What it do the came Rig. h Screw ering in Nikon tmen techn of d ds Small lled where ology 3/8 Inc th 3 Adjus htene ntour have all kin ler ca is – or some the the co wi s it’s tig still ay sel thing if you Base abilit China an eB lock to e, so unles s can that can ies from lat d from y len U5H8 op arrive 5 the Z6 of those mi matches ction basep ly, a heav £21.3 the h, rrorle ysh could by a fra uc firm for od nn ra po ry ek Su ss riv trip leap ve me be see zip we als – of fai the ca ny inferior th its n as der a e work. th tha st. Wi in un new rotate Ma azing precis but n, say a greater mirro ing po is am gree. same, d , ad sory for rless head includ like Nik of a de ll do the d screw k-soli acces system opting a elling odise a roc ons; ch great s wi nt ls . Nikon this lev ree red an you ge head u have don’t wa low, a ange whee u ing yo . Th se, be t king the rec s feel to value s with loc – intere models lik assum d head, yo camera ing Ba ipe an ra on e the Levell an ter came the d sting link. 1 sys adjus , but what to be tripod ection of unted low: the weak tem nd Be al mo no you ex a sta fin nn t… we copy allow pect find the co be the t, the F-prefi ll, no od or after gh to t At las xe ad to e of years any trip aligned. centr Wh d SLRs. the he s easy enou of D or inese dead ion s en the It wa precis e of Ch nd for the ed the testin Z6 arr the len L-plat g, r show rfectly on ived t bra r here mirro e with then, my a good red iShoo harde for to us really did expe sor pe ee a little ctatio the sen big enough l, too The. bo n’t engin tly to d A7R, ns , know wh ita ngis dy It’s A7 an tched exac dig ere thi t is! ny ax rea to sit Nikery ma So ma ssurin cable . m for win ev onod DSLR t one . The gly lik aces mediu you can’t with in fee to ge A7RII ea familia l – ma old trip II and d interf the Well, e Z-fmo gn for r contr the A7 g clamp an xt to re im Warax ols an esium, ough fit ne rin ived po and the o big en reassu tethe kward RIII arr d to bertantly, the d t, als an aw en the A7 prove ran tactile as moun mat,crack ld asceF of the were Th at all le-fin m for So gri s end. uld fit ishick mediu them.ba ng Qu plate’ ed pa p and e and us ite er wo siz rio ith ldi ck nt dint ste Tripo . From a my ring anm Fo , the and ne is a differe nu lderart iculat tethe Alumi d pa se ndd Ho lay ed scr e. The Fityle rec the ba d the cable te Stanis (fuou t isme een uctiv ll na inses se Pla ogHe obstr tan e an able Relea haBa ll ad shap for5 it do tly more 9 matched t & ndled ov even er £3 anyo ll I/A who at a smaller t a bane Flex Til clamp A7RII most has azon) ttest’ all (no APS-C t had a Arca on Am 58 Ma first ‘Fi ordered ky, buNik eful at unt, the the ng us y/Junlooks fun free on we mo thi te al It of no e pla d r). 2019ts are rtic eithe en Came x key the en rs. liar ve head justm pecu a heracraf sits at e cove t ad ac ing ich s gle erf us wh moun hinge t the an detentes, the int plate k the near en, the t ut loc ra op up tho to ) wi came se to ends int tha vided mera . ow the to the po (not pro m. The ca only To all where d t away do ing no ne s could a time. at ran n aim was cu od head t desig of it at e-dow trip but no ! y end upsid many 2122 eered l at all Á e skinn engin usefu allRig the Well grip on y, the Sm thing ed es no provid proving Finall – it do 6.50 im £4 se, e at 19 51 p, ep ba L-plat une 20 – a de and gri y/J ce l ion Ma t You’l d t balan solut racraf to ge mera’s cally stowe Came have these ra the ca gneti came one of a ma unt to the lise with to rea le y to fix vertical mo se litt hex ke the the ba how It tend lip of is. ex it nt d an on use e fro great… n. Th a rotati erface looks sectio RIII in int en no the A7 locks and wh is used, the grip, ring proof erthe

ES SORI S E C AC ERED E N I ENG ese Chin f the find me o at so g you can ng look ti n a o ri o ke ginee your sh We ta st en ort low co to supp e on-lin

hand s-on

Ever yon – it’s e is using b the N supp een selli ng fa ikon Z se ly st ri reacti them. H ere’s er than th es now on to Ric ey th stand e 24 meg hard Kilp can at ard 2 4-70 apixel Z6 rick’s mm ƒ4 zo with its om.

The 24 the Z7 -70mm ƒ4 a mu and Z6 is lens relea ch sed wi be at 24 larger ƒ2 ing joine th mm (le d .8. telesc ft) bu It is comp by op make ing barre t the doub act abov it substan l and lens le e. tia ho which Note the l at 70mm od top and theSony’s 7 ser plate inf , o LC ies three User models lac D memo DSLR ry mo k, . Ex des. 24Mp cept there’ s a ful senso l-fram r. Skip e, throu it’s all gh the familia me nus an r Nikon fayre; d plenty profes thoug of cu sio na stomi h the sation l 1/200 seems , th fla a tad sh syn slow. curta c There in syn ’s sec c, and work ondyes – prope it do rly lens, and the . Attach the es essen kit sense ce of of ge Nik tting lighte the r pack on, but in a small age co 24-70 ntinu er, kit es – the well-m lens may be an ade, tac ƒ4 the co llapsibl k-sharp an , but it’s d sh cons e desig um n of the ares 18-55 er-level AP ; great S-C eq for a uivale frame walknt body aroun . d fullLosin g the really optic isn al fin der specifie ’t a proble m. d the – it’s Z6’s EV Nikon has fluid, F very fast an to flic d doesn well ker ’t ten also de or lag. Th d e rea lightf r scree ull thoug n is h using y crisp an d brigh the ba it a lot t, ttery does life an optio eat int d the n for o re’s no ex Where tra powe grip r. the thoug h, is wh Z6 really im NIkon presse ere it coun owne s ts rs; open ing the within mi for nutes charg box, puttin of ed ba g ttery came and tak in the ra int o the ing the studio , it wa s like

congratulations Mez Solanki QGP

Qualified Guild Photographer May 2019 Issue 31 - Creative Light Magazine :

congratulations David Kinsey QGP

Qualified Guild Photographer April 2019

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

WWW.LEMONADEDESIGN.CO E: yvette@lemonadedesign.co T: 07984 470 415 96

: Creative Light Magazine - Issue 31

www.lemonadedesign.co | yvette@lemonadedesign.co | +44 (0) 1233 642 773 | +44 (0) 7984 470415

LEMONADE DESIGN CO

YOU’VE GOT MAIL

WHAT YOUR EMAIL SAYS ABOUT YOUR BUSINESS... Back in March I exhibited at The Photography Show at the NEC and the one thing that really stood out was just how many people gave me a business card or ﬁlled in their details and gave either a Gmail or a Hotmail email for the business! For example we-do-not-take-our-business-seriously-so-why-should-you@gmail.com which to me says ‘I AM NOT SERIOUS ABOUT MY BUSINESS’! In a world where trust is key and SPAM EMAILS are on the rise, it is even more important that you have a credible email address for your business. Just imagine if some of your favourite brands were to use hotmail or gmail, and if you got an email from BARCLAYSBANK@hotmail.com what you would do with it!

5 REASON WHY YOU SHOULD USE A BUSINESS EMAIL ADDRESS 1. Gives a good first impression 2. Helps to build credibilty and trust 3. Builds Brand Awareness 4. It’s more professional 5. Stops your email being flagged as spam! It takes just minutes to set up a business email, so do your business a favour and set yours up today! If you have any questions about your website and email, why not book a 15 minute Zoom Call, contact me at yvette@lemonadedesign.co So there has never been a better time to make sure that your website is mobile ready... Especially when GUILD MEMBERS enjoy 10% discount off any new website. In addition the first 5 members who book a new website in June, will have Facebook Pixels and a re-target Facebook advert set up, which is normally £195.00 - Just quote GUILD10/pixel5

GET IN TOUCH... WWW.LEMONADEDESIGN.CO T: 07984 470 415 Issue 31 - Creative Light Magazine :

: Creative Light Magazine - Issue 31

https://lsp-actions.com Issue 31 - Creative Light Magazine :

100

: Creative Light Magazine - Issue 31

congratulations Tom Ormerod QGPP

Qualified Guild Professional Photographer April 2019

Issue 31 - Creative Light Magazine :

101

A UNIQUE & inspiring T WO DAY RETREAT FEATURING UNMISSABLE MASTERCL ASSES BY SOME OF THE BIGGEST NAMES IN THE PHOTOGRAPHIC INDUSTRY july 2nd - july 3rd 2019

After the success of last years event Digitalab are proud to announce the 2nd Residency of the North for July 2019! Once more we have brought together the very best educational and inspirational Photographic speakers and influencers in the country to provide a series of workshops, talks, shoot sessions and practical demos. The aim is to offer a truly unique experience that will provide you with all the tools you need to both improve your photography and your business. Tickets are available at a reduced rate for Guild Members, only ÂŁ445.00 inc VAT! Ticket price includes six masterclass sessions of your choice over the two days, welcome party on the night of the 1st, breakfast and lunch on the 2nd & 3rd and a 3 course meal on the evening of the 2nd!

102

: Creative Light Magazine - Issue 31

to book tickets and view the full the full itinerary visit www.digitalab.co.uk/residency-of-the-north Or get in touch via: TEL: 0191 2323558 EMAIL: info@digitalab.co.uk sponsored by

Issue 31 - Creative Light Magazine :

103

congratulations Nikita Brotherwood QGNPP

Qualified Guild Newborn & Baby Photographer April 2019

104

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

105

106

: Creative Light Magazine - Issue 31

Issue 31 - Creative Light Magazine :

107

THE GUILD OF PHOTOGRAPHERS “Membership is great value costing from just £10.75 a month or £99 for a year”

“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.

WEBSITE: www.photoguild.co.uk EMAIL: info@photoguild.co.uk CALL: 01782 970323 / 07982 613 985 108

: Creative Light Magazine - Issue 31