Creative Light - Issue 17 by Guild of Photographers

Issue 17 - Creative Light Magazine :

Front Cover “

Flower photos usually evolve rather than be a replica of what’s in my mind. I could happily and do, spend hours with a flower and a water bottle! This image was pretty much a one shot affair. I wanted a shallow depth of field, lighting to lift and give separation to the water droplets and to capture the reflection in the perspex. For lighting this image, I used an Ice Light to light. The finished photograph was completed with a 45º rotation”. - Judith Lawley

(judith.lawley@btinternet.com)

judith lawley

Info: The plant is native to woodland habitats in China and Japan and is a monospecific genus containing a single species of flowering plant, Disanthus cercidifolius in the family Hamamelidaceae (known as the Judas tree).

2 : Creative Light Magazine - Issue 17

Contents features 16

Stuart Bebb Wedding Photography

42 46 56

Laura Hampton Digital Marketing

62 74 78

Glyn Dewis Photoshop Tips

82 88

Photography Book Reviews Gold Awards November

Rob Hill Marketing

David Court Saint Francis Hospice Jenny Johnston Facebook Advertising

Gold Awards October

Nik Proctor Sales

Issue 17 - Creative Light Magazine :

4 : Creative Light Magazine - Issue 17

STEVE & LESLEY THIRSK The Guild of Photographers

e are starting this introduction with some very sad news. One of the Guild’s Founders Roy Doorbar recently passed away. We obviously send our condolences to his family at this very difficult time.

We owe him and his good friend Ian Gee a huge debt of gratitude for they formed the Guild of Wedding Photographers in the 1980s. This of course evolved into the Guild of Photographers that we know today. During the Guild’s formative days Roy and Ian created the ‘Manual of Guidance’, a huge manual published in many parts which became a ‘bible’ to wedding photographers. Ian has kindly written a tribute to Roy in this edition, including some of their history and thoughts about the Guild today. It is a very fitting tribute to an incredible man, responsible for doing so much good for so many individual photographers as well the photographic industry in general. He will be missed by many! Moving onto the Guild today - It’s hard to believe that another year has gone! There is a saying that ‘time flies’ – It certainly has this year, but what a year it has been for the Guild. Our membership has continued to grow rapidly and most of this growth tends to be from personal recommendation. To acknowledge this we introduced an ‘affiliate’ scheme so members can give friends a 10% discount and get a 10% ‘Thank-You’ themselves for being kind enough to make the recommendation. Lots of members have taken advantage of this since we introduced it a few months ago! During the year we also started to offer what we believe is the best value comprehensive cloud based BackUp and Storage anywhere. It covers multiple devices and Hard Drives plus is run by no less than CrashPlan so members can be reassured about the quality of the service which even covers Ransomware. Because of this new Partnership with Code 42 Crashplan, the best bit is that this service costs less than £30 for the year so it’s a must for any photographer! Throughout 2016 we have also formed many new Partnerships with exceptional Trade Partners ranging from Apple through to Sytner cars, who offer notable discounts to benefit members (some worth £100’s). For those in business, the legal and business support service continues to provide invaluable assistance ranging from a call to the legal helpline through to pursuing legal cases on members behalves or assisting with VAT or Tax investigations at no cost to themselves. More excitingly, we have seen so many members engage with our mentoring service to push themselves and their business, and we have seen members qualify at even our very highest levels, on the back of this development. Our Panel Members do an amazing job passing on their skills and knowledge – and we know they get the same satisfaction as from it. If you do one thing in 2017 – take up mentoring and push yourself – we assure you that it’s very rewarding! Speaking of 2017, most of the tickets for the Guild’s Awards (and social) night at the stunning Crewe Hall in Cheshire on the 4th February 2017, have been sold – and there will be 2 days of PhotoHubs Training there too on the 3rd & 4th leading up to the night so don’t miss out. You can find out more about the Awards night on the events section of the Guild’s website (www.photoguild.co.uk) and the Training opportunities on the PhotoHubs website (www.photohubs.co.uk). Before then, do have a fabulous Festive period and Happy New Year, and of course, do enjoy your read of Creative Light! - Steve & Lesley Thirsk

Issue 17 - Creative Light Magazine :

Editor I am extremely proud to be the Editor of Creative Light and thank you for the very kind messages you send me on a regular basis saying how much you enjoy the magazine, the content and the photography. What I love about being the Editor is that I can bring the stories of photographers and their photography from behind the lens. Simon Newbury’s image of the soldier is my Editors Choice for this edition of Creative Light. Simon entered this image into October’s Image of the Month Competition. What a great expression! I have just returned from a trip to the land of the long white cloud, New Zealand. My image this edition was taken of the stunning view towards the The Southern Alps (Māori: Kā Tiritiri o te Moana) and Arthurs Pass. I just loved the wild lupins and their vibrant colour of purple. This edition of Creative Light I have featured one of Oxford’s established photographers, and true gentleman, Stuart Bebb. Stuart shares with the readers his thoughts on photography. I interviewed David Court about his work with Saint Francis Hospice and the work that they do. Finally, the magazine features the last Golds that have been awarded during 2016 which go forward to the Image of the Year. Good luck everyone! Have a great time whatever you are doing during our festive season and I would like to wish you all a successful, prosperous and Happy New Year! Julie

www.julieoswintraining.com

julie oswin

South Island, New Zealand December 2016

6 : Creative Light Magazine - Issue 17

editors choice Simon Newbury Awarded Silver - IOM October 2016 Issue 17 - Creative Light Magazine :

Obituary Roy Doorbar, an appreciation

e are sad to report the recent death of Roy Doorbar at the age of 81 years, following a battle with cancer. Ray made a substantial contribution to wedding photography during the latter half of the last century. Roy Doorbar and Ian Gee founded The Guild of Wedding Photographers (known now as The Guild of Photographers) in 1989 but the seeds for this were sown much earlier, in 1973. In the 1950s and sixties, wedding photography was in a woeful state. There were no training courses. While a few technical colleges taught commercial photography using 4”x5” cameras, wedding photography was mostly undertaken by self taught photographers who followed a similar pattern - two rolls of black and white taken outside the church door, no matter how untidy or cramped it was. There were a few larger studios whose aim was to sell photographs to guests; they took a mobile darkroom around and aimed to sell every couple a print of themselves plus one of the bride and groom, cash up front. Creative photography it was not and few, if any, guests took cameras with them. You did yourself no favours describing yourself as a wedding photographer. Roy Doorbar was uncertain what he wanted to do in life. He had a spell in retail with the Co-op and also worked in the pottery industry. It was suggested that he undertook a test to discover where his talents lay and the answer was - photography, so mid twenties he took a full time two year course at Wednesbury. While strong on photographic theory and commercial photography, weddings received not a mention. However the course resulted in his being offered a job at the John Martin studio in the potteries, a large concern that produced photography for many of the region’s industrial factories, but which also undertook weddings. Roy found himself in the latter department and took to it enthusiastically. He moved then to Cheshire Studios in Altrincham. This was a modern studio with several full time wedding photographers using Rolleiflexes. Although it followed the trend of the mobile darkroom operators the scope of the coverage was wider. In particular there were several young enthusiastic photographers, eager to outdo their colleagues and this encouraged more imaginative images. Roy then moved to the Desmond Groves Studio as Wedding Manager, succeeding Michael Frost who had moved to York. Here he was servicing the Cheshire set, and when Groves opened a studio in Harrods, top end London Weddings. Finally he set up his own studio in Altrincham, where Ian Gee had a general practice studio also undertaking weddings. Ian had come into wedding area knowing nothing about it which he considered an advantage. He did not know the ‘must-have shots’, the rule that said all prints must be 6x8 inches, on interleaved pages and similar conventions, but treated the wedding more as the subject of a documentary, and produced albums with mixed size prints, long before they became mainstream. Despite in effect being competitors, the two got on well together, offering different but higher quality work than others. One day Roy suggested to Ian that they should run courses to help raise the standard and prestige of wedding photographers generally, and in an instant The Professional School of Photography was born. It may have seemed perverse at that time to encourage others to improve their services, but the duo realised that the more photographers producing higher quality work, so would the financial rewards be greater for all, and the status of the photographers would be raised. Although they knew plenty about wedding photography, they knew nothing about running courses. Ian had joined the Professional Photographers of America some years earlier - he wrote a monthly column for their magazine - and had read about the summer school they ran, with week long courses. In 1973 the pair decided to book on a course and to also add into the trip visits to leading photographers in Canada and the USA. 8 : Creative Light Magazine - Issue 17

Returning with lots of photographs and notes, their first three day school was held just weeks later and many of the participants on that course became familiar names in the profession. Presentation was sleek, with closed circuit television enabling every student to see the camera’s lens view. Roy undertook most of the instruction and it was here he revealed his various talents: to be everyone’s friend; his persuasiveness which meant even the shyest member of the group would have to come up to the front and pose people; his ability to read the light, indoors and outdoors; his sense of composition, and most important of all, his ability to teach in an easily understood way. These courses ran for several years and they also ran one day events for Colorlabs International, the most progressive laboratory of the decade, attended by hundreds of photographers around the UK. After a while they dropped these to concentrate on other activities individually, Roy to develop his portrait business - his child photography, thanks to his personality was outstanding - and Ian went on to became a Council Member of the BIPP (then the IIP) and President in 1980 and encouraged the Institute to run courses, which it never did more than half heartedly. Hearing a rumour in the late eighties that someone was going to start up an instructional newsletter, Ian said to Roy he would be very cross if that happened. “We know more about wedding photography than anyone else, we need to get in first.” Roy was quick to respond. “Better than that, let’s start our own organisation.” Great thought was given to the name. Institute and Association do not accurately describe the aims. Guild, with its centuries’ old connection with craftsmen seemed to best fit the ideals of the two and so with the name established the aims and objectives were formulated over a few weeks in the summer of 1989, and it was launched to the photo press at a London conference in September, with Focus on Imaging 1990 being the first real opportunity to sign up a lot of interested members who were offered a monthly newsletter plus ten pages of instructional matter each month. The latter included all aspects of wedding photography, and new members joining all received the issues from first so as not to miss out. A series of evening seminars were also held around the country to recruit members, so membership grew rapidly. Initially the majority of members were part timers, a necessary work force which the established organisations refused to accept, even though many of their own members employed such people on Saturdays, when most weddings took place. Others had either recently been made redundant, and had a grant for retraining, or were people seeking to have a creative opportunity. Many of the latter had good ‘people skills’ being teachers, nurses and the like. Membership also attracted prominent members of the established organisations who liked the idea of the Guild and particularly the qualifications programme introduced a few months later. Again the name was important. What does Licentiate or Associate mean to a member of the public. Craftsman continues the theme of the Guild, and is readily understood. The criteria for the award were quite unlike any other. There was no automatically matching other organisations’ distinctions like for like. The demands were considerable: full sets of previews as shown to clients; finished albums and initially sets of negatives. This was much more demanding than a few best images from several weddings. The aim was to build up a register of Craftsmen throughout the UK so they could be marketed. When a sufficient number had been qualified, a marketing programme stepped in, sponsored by Fujifilm who produced a high quality leaflet and other sales aids. The Guild exhibited at bridal exhibitions in London and Manchester. By 2000 Roy and Ian were both 65 and decided it was time for others to take over the Guild, building on the strong foundation they had established. It was time for new blood. New owners took over initially with enthusiasm, but failed to deliver any new ideas and it was therefore some time before it began to recover under the present owners who have done what Roy and Ian hoped, build it up into a credible organisation accepting nothing but the highest standards of work and ethics. When Roy started in photography you did not utter the words ‘Wedding photographer’; it was considered to be the lowest form of the species. Thanks to his work over several decades it is now a term you can say with pride and in addition the standard of work done by many of today’s practitioners is due in no small part to his persistence. The attendance at his funeral of so many of the photographers he had taught bore witness to this. - Ian Gee “It is with regret that since this article was written, Ian Gee has also passed away. Our deepest sympathy to Ian’s family” - Steve & Lesley Thirsk, The Guild of Photographers

Issue 17 - Creative Light Magazine :

An Amazing UNLIMITED ‘Back-Up and Storage’ Deal! T

he Guild of Photographers has partnered with Brand Leader Code 42 CRASHPLAN to offer what we think is an amazing comprehensive Back-Up and Storage service, at an unbelievable price!

Code 42 CRASHPLAN look after some of the biggest Tech companies out there (including Adobe and Apple), so you can be assured they will look after YOU through this great package! For less than £30 per year + VAT, Guild members can now get an unequalled service for Windows, Mac and Linux. Our CRASHPLAN licences offer UNLIMITED Back-Up protection for up to 4 devices plus external devices as well as UNLIMITED Cloud Storage plus more besides. THIS SYSTEM OFFERS THE ULTIMATE BACK-UP PROTECTION - IT DOES NOT DELETE DATA FROM ITS SERVER EVEN IF YOU DELETE IT FROM YOUR COMPUTER. EVEN EXTERNAL DRIVES CAN BE BACKED-UP! As well as being able to Back-Up up to 4 devices rather than just one, you can also Back-Up external devices, which is a great bonus! Also, what is really clever is that you need not worry about external devices remaining connected, as is the case with many service providers. You can Back-Up external drives even if they are not connected 100% of the time! With this service, if a hard drive is backed up and then disconnected from the internet, the files will still be Backed Up as essentially Code42 is storing them in our Cloud, so access to them is possible all the time that you have a licence. IT’S SECURE This service offers ‘End to End’ security so users are protected even when uploading! Your files are always encrypted before being Backed-Up. IT’S SIMPLE The Back-Up process itself is automatic and continuous 24/7 once activated. IT’S FAST It stores data in EMEA which is much faster than US based systems. UNLIMITED VERSIONING IS INCLUDED Versioning allows you to back up to a previous version of a file/photograph you may have been working on from days or weeks ago. Many Back-Up service providers restrict how far back you can go to retrieve a file (eg no older than 30 days). The file version retention on this service is UNLIMITED, so you can restore or retrieve a file from any point in time, once Backed-Up! THERE’S EVEN PROTECTION AGAINST RANSOMWARE Ransomware is a type of malicious software designed to block access to a computer system until a sum of money is paid. It is on the rise, so much so that experts have stated that businesses should “plan for the inevitable ransomware incident”. Planning for the inevitable starts with deploying automatic, continuous endpoint. With our Code42 CrashPlan system in place, you can restore infected devices to where they were minutes before their files were maliciously encrypted. This capability has saved nearly half of Code42 customers more than £30,000! IT’S EASY TO RESTORE If you do need to recover files the process is as painless as can be for you have direct access to an administration dashboard. The system is that good that if you were unlucky enough to lose a laptop whilst abroad you can transfer all the data over to a new device. Plus if you ever get stuck … For less than 50p per week this unique partnership offers incredible protection! In short, this is THE BEST VALUE UNLIMITED MULTIPLE DEVICE BACK-UP AND STORAGE PACKAGE WE KNOW OF ANYWHERE! To take advantage of this or find out more simply email the Guild’s office – info@photoguild.co.uk

10 : Creative Light Magazine - Issue 17

I trust CrashPlan to do a better job safekeeping my data than I can because “ Ultimately, that’s it’s business. I’d rather spend my time taking pictures.” Wall Street Journal

very excited that we are now able to provide the Code42 Crashplan cloud back“ Iupamfacility to the members of the Guild of Photographers. Features such as unlimited storage and versioning will enable the membership to create and maintain their archives indefinitely, something hugely useful to both professional and enthusiast alike.” - Nic Scott Managing Director UK&I

“ Simply the best online Back-Up plan out there” -

About.com

“ The most important, valuable add-on service that you can buy for yourself” -

Slate

Issue 17 - Creative Light Magazine :

Guild Awards 2017 Highlight of the Year

12 : Creative Light Magazine - Issue 17

ollowing on from the success of the last awards night at the magnificent Crewe Hall, a grade 1 listed Jacobean mansion in the heart of the Cheshire countryside, we have decided to return there for the Awards, February 2017. Not only is it stunning but it’s equally accessible from the North or South (eg it’s about 90 minutes from London to Crewe by train, and about 3 hours by car from either Kent or Glasgow). A tree lined drive takes you to the majestic building where you will find stunning marble fireplaces, intricate carvings and stained glass windows and a contemporary wing boasting a high quality spa. We will have a fabulous 3-course meal in the Continental Suite, complete with wine, after which the 2016 Photographer of the Year results will be announced and awards presented to the Top 10 in each genre, as well as to those who win our new Image of the Year awards. After that will be music and a party, which will no doubt carry on into the early hours for some. This is an utterly stunning venue befitting a unique event to celebrate success and friendship - Do not miss it! We are expecting a sell-out event so do contact lesley@ photoguild.co.uk as soon as possible to reserve your place! Please note tickets are limited in number, available on a first come first served basis. Partners and guests are, of course, welcome. Rooms will be available and can be booked direct with Crewe Hall and we will be arranging a Special Guild Members rate including a two night break so you can take advantage of the Spa facilities. There will be a two-day PhotoHubs Event on the Friday and Saturday too. See the Guild’s website for details: [www. photoguild.co.uk/events/the-guild-awards-night-2017 Please get in touch with Lesley Thirsk for more details. lesley@photoguild.co.uk

few a y l n O

ing!

tic

ain m e r s ket

Issue 17 - Creative Light Magazine :

You don’t have to kiss the frog! Y

infocus photography Insurance

ou don’t have to kiss the frog to find our Prince and Princess Charming’s. Just give us a call on 0161 925 5051 or email us at info@infocusinsurance.co.uk Infocus Insurance has for decades been a committed supplier of high quality insurance products and services to photographers and videographer’s. We aim to do it with a smile on our faces and to bring a smile to the faces of our customers, especially when things go wrong. As a thank you to all the wonderful members of The Guild for your continued support we are offering 12 months cover for the price of 11. Every year! What you get when you insure with us: • Interest free instalments • Worldwide cover for your photographic & technical equipment • Include Professional Indemnity cover and you’ll automatically get PR help with our ‘Crisis Containment cover’. We’re the only specialist Photography insurer to offer this cover! • Policies underwritten by Hiscox Insurance • Your own personal handler • Also Available: • Home Insurance, designed with you in mind: • Business & home contents • Client home appointments allowed • No Claims Discount up to 25% • Interest free instalments • Low excess • Home Emergency & Home-care included as standard • Pensions • Critical Illness cover • Cyber and Media

14 : Creative Light Magazine - Issue 17

“

I recently had to make a claim. I would just like to thank you for your help, I was not expecting such a fast turnaround. I am now able to replace my camera that I just wouldn’t have been able to do had I not been insured. I found your staff very helpful. Again, thank you so much” - James Sommerville

‘In Focus Photography Insurance’ is the trading style of The Alan Stevenson Partnership Ltd for General Insurance. The Alan Stevenson Partnership Ltd is authorised and regulated by the Financial Conduct Authority no 305785. Registered Office: 34 Victoria Street, Altrincham, Cheshire, WA14 1ET. Registered in England No 4320605

Issue 17 - Creative Light Magazine :

Stuart Bebb

tuart Bebb has been a photographer for over 25 years. Stuart is based in Oxford and his style and professionalism is recognised throughout the UK having won â&#x20AC;&#x153;Wedding Photographer of the Yearâ&#x20AC;? no fewer than 10 times over the course of his career. He has photographed weddings in bad weather, at night and has even been known to sew a button back onto a wedding dress on the day! Stuart is one of the photographic industries gentlemen. Creative Light Magazine caught up with him and he very kindly agreed to share his thoughts with you. Enjoy!

16 : Creative Light Magazine - Issue 17

ÂŠ Stuart bebb Issue 17 - Creative Light Magazine :

Q: How many weddings do you photograph each year?

I like to photograph 15 -20 weddings per year Favourite camera and lens combination and why? I’m not a gear person at all, in fact, modern digital cameras do far too much with this function and that function. Photography is not about cameras it is about painting with light and getting the true exposure, not what the camera decides. But, I quite like my Nikon D 750 with a 24-70mm zoom!

Q: What lighting equipment do you use?

Daylight is my absolute favourite choice of light. I do own some studio flash units, but they are evil and would only use them as a last resort! The best bit of lighting I purchased was a LED Lenser torch; it is outstanding for lighting couples at a distance. It has also been known for me to light a Bride and Groom with car headlights and building emergency car park lights!

Q: Can you describe how and when you use your flash, video or reflector on a location shoot?

Reflectors are great; I love them. Little bridesmaids think its brilliant trying to fold them up; you end up with a friend for life!

18 : Creative Light Magazine - Issue 17

ÂŠ Stuart bebb

Issue 17 - Creative Light Magazine :

What have you found the most challenging about being a wedding photographer? The thing I find most challenging about photographing weddings is with timings getting so tight on the day that I am not able to get to take a few minutes to recharge your batteries with food or water.

Q: What is your pet hate at weddings? People who come back for a wedding album years after the wedding! This year I’ve had one couple from 1991....... Does Spicer Hallfield still do albums? Their factory which was in Haddenham is now a housing estate.

Q: What tips or advice would you give to someone wanting to become a wedding photographer?

My advice to anyone coming into the profession is to develop your style and DON’T copy anyone because you won’t enjoy it. Most important be a people person and learn your craft. Learn to value your work; Photographers don’t just work on the day of the Wedding or Portrait Sitting as a lot of work is before and after preparing and editing on the computer. Make sure your clients understand that. Never, ever offer discounts, for example, do you offer discounts for Winter Weddings? Winter Weddings are far harder, challenging weather conditions and we all should, in theory, charge more!

What would you have differently in your business if you could start again? If I were to start photography again today, I would choose NOT to go into social photography exclusively. I ‘d take a long hard look at at the unglamorous areas of photography the areas that might not win awards but give you a living. Most importantly find your own USP (unique selling point). That is still the key in photography today.

How important is Photoshop in your final images? Photoshop is necessary for my work there is no question about that. However, I tend to do just the sort of thing I’d have done in the darkroom many years ago. I also like ON1 software but tend to use that for my Landscape work.

why?

What is your favourite editing software and

My Favourite editing software is The Bridge, just does everything I need. When editing with my iPhone, I love Snapseed, and there are also so many other seriously creative apps that I like.

Q: What new gadget or equipment have you your eye on to buy next?

I’m like the look of the Fuji X-T2 would love to give it a try. I had a go with the X-T1, thought that the size and

Issue 17 - Creative Light Magazine :

weight were great but something was not quite right for me at the time. So it would be interesting if the new camera does it for me! Other than that an 85mm portrait lens any make so long as it does the job.

Q: What wedding album manufacturer/supplier do you use and why?

At the moment I use GraphiStudio, I like the fact they are a progressive company, and they have some exciting plans for the future.

What importance do you place on Social Media and how do you use it within your business? Social Media plays a significant role in what I do keeping connected with clients and friends; I love Instagram because it’s so global!

Q: Who inspires you? So many people in the past have inspired me, they all know who they are because they are my friends and they inspire me more than they will ever know. I love looking at timeless work of Norman Parkinson, Richard Avedon, Bohrmann, Albert Watson, Sante d’ Orazio, Patrick Demarchelier, lots more from that kind of Photographer they know their craft. As for my Landscape work Roger Fenton, Ansel Adams, and Ken Sklute,

Q: What do you feel has helped you to succeed in wedding photography where so many others have failed?

I always approach any wedding big or small the same way, “it’s NOT MY DAY”. I work with the couple and the venue, and everyone else to try I get images that they want and that capture their personalities and their day. No two weddings are ever the same. You must be adaptable, learn when to take a step back, look and observe. Remember you must always do your best.

Q: When photographing a wedding, how many images do you take?

I have NO idea how many pictures I take on weddings on any given day, but in truth, I want consistently good images with a few special ones for the couple.

Q: To relax couple’s on their wedding day what techniques do you use?

I give the impression I know what I’m doing. I keep calm, even when utter chaos is going on all around be it caused by people, weather; you name it I’ve had to do it, even down to sewing up a wedding dress on the day! (I even have pictures to prove it!).

Q: Three words describe you? Inquisitive, Social, Quiet

How would you describe your style and approach to your photography? My style and approach have never changed really; I adapt to what I see in front of me!

Apart from sheer hard work, what would you say is the main ingredient to your success? Luck!

Q: Interesting facts about you? I collect rare Tree Ferns from around the world. I hold a Silver Gilt award from the Royal Horticultural Society. I once photographed a wedding with a detached retina. Now that is not really to be recommended at all.

Which books or magazines would you recommend members to read? The great masters of photography. I mentioned some names earlier on who would keep you inspired for a lifetime. Magazines, Vanity Fair, can be outstanding with some fantastic ideas for your creativity. Harpers Bazaar I still have copies Pre 2010, they are still fresh, still outstanding! An Italian magazine called Numero from 1997; I picked it up in Rome. I still don’t think the UK have ever caught up with the work I see in that magazine, just brilliant.

Q: What has been your proudest moment in your photographic career so far?

I’m very fortunate I’ve had some proud moments in my photographic career. Wedding Album of The Year twice with The Guild of Photographers. I have been Photographer of The Year several times. Speaking and Judging at WPPI in Las Vegas. My introduction to Judging was like a baptism of fire as I was sat between two giants of the industry at the time Monty Zucker and Martin Schembri when they had a massive fall out looking back it was hilarious! I’ve also spoken and judged in Athens, Tallinn Estonia, P.T.O. on several occasions. The SWPP Convention in London and I have worked for the B.I.P.P. and the M.P.A. in the past. I have been fortunate to do lots of other things and who knows what is next. I’m not finished yet!

Q: Your favourite place in the world and why? My favourite place in the world has to be New Zealand and not just for the Tree Ferns! Lovely people, stunning scenery, great beaches, oh and the wines are OK! I’d go back!

Q: Name something that you are still learning to

Nearer to home. My favourite city is Rome, and I have a soft spot for Majorca.

One thing I would love to be able to master is the speed to put together creative groups quickly!

Thank you Stuart for sharing your insights into your photography and sharing with the readers of Creative Light - Julie Oswin

master?

22 : Creative Light Magazine - Issue 17

ÂŠ Stuart Bebb

Issue 17 - Creative Light Magazine :

24 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

the year of Drones in Croatia, Pure Filth & 6K? It’s that time of year when (hopefully!) the Christmas preparations are done, if we’re lucky we get a couple of days off, and once the turkey has been carved, we have time to sit, reflect and think about New Year resolutions. Serious business planning should be done, objectives in place; so it’s time to let your mind wander and dream big.

How do they do it? In business there’s often no right or wrong way to run your business – but we’re still interested to learn how others do it and the tips and insight they might share… So we spoke to some of the pro photographers that Wilkinson Cameras has been working with this year, to see how they will be taking their businesses forward in 2017 and beyond. And given one photography related wish… what they dream of!

Paul GallaGher Fine Art Landscape Photographer and partner in Aspect2i In 2017 my aim is to do Japan justice! I love winter locations and I will have to control myself when I am in amidst the staggering beauty of Hokkaido! My biggest business challenge for next year will be trying to write for magazines, begin a new book and manage all the travel I have planned, bother personally and running workshops for Aspect2i. This year I had over 30 flights and next year is even busier!

Your photography wish? One photographic wish would be to spend more time taking my own photographs. I hardly ever take my camera out whilst teaching on workshops 26 to: dedicate Creativemore Lighttime Magazine - Issue 17 so I need out by myself.

DaviD NewtoN Professional photographer, world traveller, and self confessed Canon geek

The biggest challenge as a photographer, is always to continue to grow, to explore other areas of photography and to make your images as good as they can be. I’m beginning to do more marketing, I’ve just completely over-hauled my website with new images from this year and I’m also driving into the commercial and fine-art worlds, to expand my footprint there. Hopefully I’ll continue to do as much training as I have this year - with 8 dates planned at Wilkinson Cameras.

Through 2015 and 2016 I’ve noticed a shift in my work - while I still love all aspects of photography and still avoid putting myself in to one category. For 2017 I want to spend more time photographing people in Africa, Asia and India.

Your photography wish?

I’m hosting a whale watching tour to the Sea of Cortez early in the year, followed by two African safaris later in the year, so I’ll be hoping to continue expanding my wildlife portfolio too.

I’m happiest when I’m travelling the world, camera in hand. So for 2017 I want to travel as much, or more, than I managed this year. With 62 flights completed in 2016, it will be a tall order, but it’s good to aim high!

tim wallace International Commercial Photographer & straight talking Yorkshireman Personal projects are really important to me – but typically they are never easy! Next year I’d like to use a pristine studio environment to shoot 1960s Le Mans cars – with the cars exactly as they finish the rally - I’d call the project Pure Filth. My last project was ‘Darwin’ – a collection of images of an abandoned town in Death Valley, USA , which resulted in a full exhibition. My business is going through a transition – oil prices are influencing the automotive industry and marketing budgets. I’m not the sort of person willing to sit and moan on social media – so I’m already evolving my business to incorporate more aviation work. My brand identity and crucially my style remain true – I’m simply transitioning to jets! I’ve just invested two weeks of my time, formulating next year’s portfolio, 100 images targeting new clients and new sectors.

Your photography wish? Damien Lovegrove now follows me on twitter – how can I possibly top that next year?! Seriously though, after almost 10 years in business I’d like to continue to grow and evolve my style, while continuing to be outspoken, inspiring, different – and honest.

roSS Grieve Street Photographer & 4K Pioneer 2017 is going to be an extremely exciting year. I will be shooting 6K images and I can’t wait to shoot 4K at 60fps. Travelling light on assignments is essential for me and when I go to those new locations I know I will be shooting on mirrorless cameras, because the quality is fantastic and the weight is low. Biggest challenge for next year? I wish I could tell you but you will have to wait till the New Year! Watch this space!

Your photography wish? I have always wanted to photograph Mick Jagger as his face tells so many stories. So to photograph him would be a dream come true. I also really want to photograph more street photography around the world, as this year I have covered a lot in various countries and the diversity is wonderful to share.

I start the year with a full day wedding workshop at Crewe Hall for the Guild of Photographers and I will be also taking part in a four day Residential Course at Hoar Cross Hall on Wedding Photography in May. Next year my biggest challenge is to run my own independent wedding workshops more extensively at home in Ireland, so I have to go on the road to find the best venues and locations around Ireland - and fit all this in around a busy wedding schedule!

Paul callaGhaN wedding Photographer & trainer, ireland I get a constant calling to go on the road and do practical training on lighting, posing and composition for wedding photographers, as likeminded photographers want to refine their own work and rediscover the lost art in wedding photography.

Kate hoPewell Smith wedding & Portrait Photographer At the beginning of 2017 we will be launching our new luxury destination business ‘Photography, Film and Air by Lumiere’. We are hoping that this business will give us the opportunity to travel the globe to capture some amazing events and fabulous people. I also want to shoot much more video in 2017 as I have fallen in love with the medium and really want the chance to explore my creative potential in moving image.

Your photography wish? On a personal and practical note, light is the most important aspect of my work and I need equipment that is reliable, easy to use, lightweight (as my wife has to carry it). I need to scale it down for her sake and to be able to control EVERYTHING from the top of my Nikon’s which so I’m looking to set up with the Phottix Indra 360 – this is the missing link in my lighting kit both for power and high speed sync.

Our biggest challenge is that we need to get our destination wedding kit honed to give maximum flexibility with minimum weight/baggage. We are constantly looking for innovative kit that will help us achieve our creative goals against this brief. Our recent discoveries have been US companies MagMod and LumeCube.

Your photography wish? Having fallen in love with Croatia this year, we would love to go back to shoot a wedding there – ideally with a backdrop of Split or Dubrovnik followed by some sailing – it would be epic to use the drone out at sea!

Join Us! Have you enjoyed this? If so, why not join the conversation? Would you like to share your photographic dreams and aspirations with other likeminded photographers? Are you facing a challenge which others might be able to help you with? Then join the Wilkinson Cameras community on Facebook where we regularly debate these and many more photography related topics! You can also find us on Twitter and Instagram.

Wilkinson Cameras – with you every step of the way!

10 stores across the Northwest

www.wilkinson.co.uk/stores

STARTS BOXING DAY Issue 17 - Creative Light Magazine :

In Store & Online

28 : Creative Light Magazine - Issue 17

S G N I V A S E G HU E N I L N O & E R O T S IN

See website for details

www.wilkinson.co.uk/sale Issue 17 - Creative Light Magazine :

The HouseBook Company hits a home run with new AsukaBook Impact X

here’s a bit of a social photo-industry paradigm shift whenever perfectionist photographer Mark Cockerton presents his finished work to a customer. Usually at these events it’s just the client that gets emotional – but Mark just can’t stop himself from welling up too. He says: “I know it’s odd but I confess I get quite emotional when I am standing beside the client and they first open up their photobook. It is always a very moving experience.” And since he launched his innovative HouseBook Company he’s having to get used to the reaction on an increasingly frequent basis. Wiltshire-based Mark, a former art editor at Conde Nast who also got used to rubbing shoulders with some of the planet’s greatest photographers – the likes of David Bailey, Norman Parkinson, Mario Testino and Stephano Massimo - woke up with a ‘Eureka’ moment one night and knew he had to employ his photography, design and print skills within the framework of a photography company that could reach out to people who cherish the property they live in. He explains: “It struck me that you can live in a house for twenty years and then leave with just a collection of snaps of friends taken at summer parties in the garden – or in my case, the same friends, drunk and happy sprawled all over the sofas after another hilarious dinner session. But what about pictures of the house you spend so long in? They are rarely properly recorded – and this is also true of the many places I have lived in. We all have strong memories of where we have lived but surprisingly few actual images.”

Memories are made of this: Architecture fan Mark has a keen interest in the spaces we all inhabit. “I am fascinated by the need people have to collect things; objects and paintings. I do believe that the possessions with which we surround ourselves are very important – they are keys to memories, events and people that have had a profound effect on our lives.” continued...

30 : Creative Light Magazine - Issue 17

Impact X Issue 17 - Creative Light Magazine :

He adds: “Through HouseBook Company photography I am conveying not only the characters of the owner but also the true spirit of the house. I strive to capture the personality of the property; the inner essence. I carefully plan and orchestrate the photography schedule and then create beautiful, bespoke books for clients and their families. And when I close a book having revisited it I personally feel that I have been taken there.”

How to build the perfect book: As the business venture took shape Mark’s friends and photographer colleagues suggested the captured images should have a cloud/web presence. “But”, reflects Mark, “After much thought I decided that the best format for this idea was a book. There is a difference between screen and print that is only now being properly considered. We can be in awe of the iPad’s magic but it is not a contemplative medium. We speed through its content with the flick of a finger. But the book format allows the viewer to study a picture at leisure. The book is a tangible object with weight, presence and durability. It truly stands the test of time.” He adds: “My magazine experience gave me an excellent grounding of ink, print and the mechanics of getting great images onto paper. I chose AsukaBook as my presentation partner because they use state of the art HP Indigo machines - a six colour process with a near imperceptible dot. This combination provides unprecedented quality to my work, especially in the graduation of shadows. Just like great HiFi, the quality is in the resonance and depths of the tones – the silence between the notes. And, importantly, AsukaBook supply a step by step procedure on how to set up the colour profile and match my screen to their printers in Japan.”

Zen Layflat Impact X – 360 degree luxury: At launch Mark chose the 15” x 12” Zen Layflat EXD. “The right angle of the slipcase could be machined from stone, they are so precise. The outer covers add an element of finesse and the matte laminated layflat pages perfectly suit the images of objects and the interiors of people’s homes” enthuses Mark. But now he is also incorporating the brand new Zen Layflat Impact X – a linen fabric cover book with an engraved wood plaque in a deluxe presentation box. Like all Zen Layflat books, the supremely engineered Impact X embraces magazine-style pages with layflat binding – so there is no gutter loss. He adds: “The combination of elements in this range tick all the necessary boxes. I prefer the matte laminated pages – they’re not too thick. The paper weight is excellent with no show- through, and a beautiful, tactile feel. The case itself is a true marvel of Japanese paper engineering. As it opens, the book magically lifts up towards you. There’s no having to lever it out. The interior suede material is really sumptuous and the linen cover looks superb – offset as it is by the real wood of the title plate. The USB holder is an added bonus.” He concludes: “The true beauty of AsukaBook is that their entire product range is just so well thought out – and you don’t get lost having to weigh up a multitude of options.” www.thehousebookcompany.com

32 : Creative Light Magazine - Issue 17

AsukaBook UK & Ireland’s Andrew Moorcroft says: “Mark leaves no stone unturned to consistently produce exceptional photobooks for his customers. The new Impact X is one of our ‘Wow’ products and is a perfect partner for the HouseBook Company.”

Impact X Issue 17 - Creative Light Magazine :

Print your way to better profits SureColor SC-P800 Printing images for clients keeps margins and quality high. Roger Payne and Matt Snow, both from Professional Photo magazine, tried Epson’s SureColor SC-P800 inkjet to see just how much it offers the pro looking for a new revenue stream When was the last time you looked at the prints you supply to your clients? And when we say ‘look’ we don’t mean a cursory glance, we mean thoroughly studied the print quality. There are many high‑quality labs around the country that will deliver fantastic results for you and your clients, but for real peace of mind and unrivalled quality control you can’t beat printing the images yourself, after all they’ll reflect well on your talent.

If you prefer to work on single sheets, the SC‑P800 also accepts up to 17” paper width and up to 1.5mm or 850 gsm thick. Despite this impressive media handling capability, it’s a relatively compact unit. It will comfortably fit into the corner of an office or studio, providing you leave enough space behind it to accommodate the heavier weight media that initially protrudes out of the back on loading. ‘Normal’

ABOVE The nine pigmented inks are available in 80ml cartridges. This makes the SureColor SC-P800 more economical than smaller models.

SPECiAl OffEr – when you purchase the SureColor SC-P800 printer between 20th September and 31st December 2016, the roll unit (worth over £160 ex vat*) is included in the price of the printer.

Epson produces a huge range of inkjet printers and media to cater for every printing need and budget. When it comes to the professional, however, one model in the range stands out as a real workhorse that can sit at the heart of any pro photographer’s workflow, the SureColor SC‑P800. Roger Payne and Matt Snow took one for a test drive. Outstanding versatility The SureColor SC‑P800 replaces the Stylus Pro 3880, the previous pro workhorse in the Epson line‑up, and sports a range of new functions. One of the most significant for the pro user is the option to use rolls of paper via the optional roll paper unit – perfect if you want to print panoramic images or onto canvas up to 17 inches wide.

34 : Creative Light Magazine - Issue 17

papers feed from the top and land in the extendable front tray. The SureColor SC‑P800 uses the same Epson UltraChrome HD inks as the company’s large‑format printers with nine pigmented inks delivering a huge range of colours and the deepest blacks of any A2 photo printer currently available. The inks are available in 80ml cartridges – an economical solution. Not only do you get great colour from the UltraChrome HD inks, they’re also designed to offer optimum longevity and reduce effects such as bronzing to keep your clients happy. The three level black ink technology ensures you get great mono results, too. With the inks in place, the printer driver loaded and the nozzles checked, it was time to get down to printing. Another

* Please refer to the Epson price list.

ABOVE With the optional roll paper unit, you can print on a wider range of medias, print sizes.

Two page article extracted from ‘Get more from your Images’ originally published in Professional Photo and Photography News.

USING THE TOUCHSCREEN LCD Among the long list of improvements to the SC‑P800 over its predecessor is the provision of a tilting touchscreen LCD. This more intuitive interface makes it easy to scroll through functions and quickly ascertain the printer’s status. Features at your fingertips include: 1) Paper Size Offering up to 17", the SC‑P800 offers a huge range of other sizes, too.

2) Maintenance The printer can be user maintained without having to call out an engineer – that’s useful extra functionality if time is money. You can keep an eye on the printer’s status and wireless connections through the Setup menu.

notable addition over the 3880 is the wireless connectivity. It makes computer to printer connection remarkably easy. You can use an existing Wi‑Fi network, or simply connect directly to the printer making it easy to print from a PC, smartphone or tablet. Epson Connect, Apple AirPrint and Google Cloud Print services are also possible. High-quality prints in minutes Once we were connected, we went straight for a borderless A2 print – who wouldn’t? – and were immediately impressed with the output quality. Two printing resolutions are available – 1440dpi and 2880dpi – both were excellent, but we’d be inclined to stick with the lower resolution and make those cartridges last a little longer. All the prints were produced through Photoshop where we left the software to manage the colour accuracy and chose the necessary profiles for the variety of media tested. All compatible profiles as supplied as part of the driver

installation process. Third‑party media profiles are also supplied but you may need to download additional ones. Producing high‑quality prints that both you and your clients will be delighted with is extremely easy. Just as you would have produced test prints in the darkroom, getting the initial print right may take a few pieces of paper, but this likelihood is reduced with an accurately (and regularly) calibrated monitor, plus a few minutes spent tweaking settings. When it comes to maintenance, the maintenance tank is user replaceable, which means you won’t have to pay for an engineer. That means less down time and more profit for your business. It’s also easy to keep an eye on printer functions thanks to the tilting touchscreen menu. It’s hard to argue against taking more control of your printing output. Of course there’s the initial outlay for the printer, but doing so opens up a wealth of new revenue opportunities that today’s working pro would be foolish to dismiss.

3) Media Load Guide The SC‑P800 takes paper and board up to 1.5mm thick. Use anything other than the Auto Sheet Feeder and step‑by‑step instructions for loading appear on the touchscreen LCD.

Producing high-quality prints that both you and your clients will be delighted with is extremely easy www.epson.co.uk/sc‑p800 Issue 17 - Creative Light Magazine :

the guild of photographers

The â&#x20AC;&#x2DC;12 Days of Ch

36 : Creative Light Magazine - Issue 17

hristmas

“The Guild really does appreciate the support of it’s members for making our association something rather special with its strong sense of community. To thank members for their support the Guild runs a ‘12 Days of Christmas’ draw. It’s a free random draw and every member is automatically entered into the hat. On top of what the Guild of Photographers has given there are some superb prizes being given away by friends of the Guild - worth £5,000. Congratulations to all the lucky winners published on the Guild’s public Facebook page”.

Issue 17 - Creative Light Magazine :

Our

s r o s n o Sp

38 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

Say hello to

PLAY VIDEO

‘VOTED TechRadar GADGET OF THE SHOW’

Available in 8, 16, 32, 64 & 128GB

40 : Creative Light Magazine - Issue 17

What is iStick? iStick is the world’s first USB flash drive with an integrated Apple lightning connector. With a USB connector at one end and Apple lightning connector at the other, iStick allows you to transfer photos, videos, music and documents between iPhone, iPad, iPod Touch, PC & Mac – no need for iTunes, iCloud or even an internet connection. iStick is available in 8, 16, 32, 64 & 128GB storage capacities. iStick is Apple MFi approved.

The iStick App

Available to download FREE from The App Store. Or simply plug your iStick into your phone or iPad and allow it to fetch the correct App.

Compatible with • iPhone 5, 5S, 5C, 6, 6+, 6S, 6S+, 7 & 7+ • iPad (4th Generation) • iPad Air, iPad Air 2, iPad Pro • iPad Mini, iPad Mini 2, iPad Mini 3 & iPad Mini 4 • iPod Touch (5th Generation) • PC & MAC

The world’s first USB flash drive with Apple lightning connector

PRICES FROM ONLY £5.99 VISIT OUR WEBSITE - www.myistick.co.uk Issue 17 - Creative Light Magazine :

Building authenticity through digital marketing Laura Hampton, Digital Marketing Manager at Impression, Nottingham. Impression is a digital marketing agency based in Nottingham and serving clients across the UK and beyond. We specialise in data-driven, return-focused marketing and we do so through innovative and creative use of digital channels and well-crafted strategies.

O nline marketing is one of the most powerful tools any business has at its disposal. With a very low barrier

laura hampton

to entry, digital marketing can be used to improve brand awareness, promote products/services and, perhaps most importantly, to build authenticity and credibility. Digital marketing success doesnâ&#x20AC;&#x2122;t require big budgets - although wise application of a budget of any size will return results for your business. No matter the size of your budget, there are a number of underlying foundations to digital marketing success. Here are four tips to help you build authenticity and credibility through your online channels: 1) Know your brand stories Authenticity comes from being clear on what your key messages, or brand stories, are. You and your colleagues must be clear on what your business represents and what you want to communicate to your target audience. Consider what differentiates you from your competitors. Why would someone choose your product/service over another? Some people call it an elevator pitch - what key points summarise what your business does and how it helps those who use it? You might even refer to your mission statement if you have one. These considerations should culminate in a list of four or five key brand stories you want to communicate in your business. These brand stories will then guide your strategy moving forward. For example, at Impression, one of our brand stories is that we are digital marketing experts at the forefront

42 : Creative Light Magazine - Issue 17

of new technologies and techniques. We therefore ensure that our website content communicates our range of skills by having a page about every one of the services we offer. We also regularly share our own content and that of other experts in our field across our social media to show we have our fingers on the pulse of our industry, and we can also be seen contributing to external websites and speaking at an events on digital marketing topics.

things they share that you feel would be of interest to your audience, helping you to show your brand as being tuned into happenings in your industry and therefore improving your authenticity. By reaching out to them with press releases or article pitches, you may be able to have your business featured on their website, and this helps you raise brand awareness and credibility amongst a wider audience.

2) Know your audience

It can be challenging at times to identify the digital marketing channels that will best suit your audience and your business.

As well as being clear on what your business wants to say, you also need to fully understand your audience. Identify what challenges they face, how they communicate, where they’re active online and what needs your product/service meets for them. There are a number of ways you can learn more about your audience through online channels. For example, you might use social media to gain an understanding of what interests your audience. Take a look at your existing customers - are they active on one social channel in particular? Start monitoring what they say; are they talking about one topic more than another? If so, you can craft content which responds to these needs. You can also use services such as Google Analytics to review the way your audience behaves on your website. Google Analytics is a free tool which sits behind your website and gathers data on how many people visit, what pages they look at, how long they spend and so on. You can use this to see which of your pages is more popular than others, and gain an understanding of what your audience has valued and therefore what you should be doing more of. You can also learn a lot about how your customers communicate through their online activities. Do they tend to speak very formally, or more colloquially? Is the content they share text based, or do they prefer more visual media such as videos or imagery/ graphics? By spending time getting to know your audience, you can speak to them in a more authentic manner through all of your digital communications by focusing on responding to their needs and helping them overcome their challenges.

4) Avoid ‘the bandwagon approach’

There are so many new channels and platforms available all the time and one of the most common mistakes we see business make it to try to use all of them, almost ‘jumping on the bandwagon’ before thinking about the implications. To remain authentic and credible, try to limit the number of digital channels you’re using in line with the resources and capabilities you have at your disposal. Trying to utilise a newer channel like Periscope might be trendy now, but if your business is trying to promote a corporate image, it might not be appropriate. Equally, writing a really long guide with the hope of speaking to an audience which you know responds much better to short video updates will make your business appear out of touch with its audience and thus reduce your authenticity. Digital marketing can be an incredibly powerful tool in helping you build your brand’s authenticity and credibility. Used well, it can drive real results for your business. Further reading: Building online awareness: how to use brand stories. How to build audience personas for digital marketing. Using Hootsuite for social listening. Content marketing fundamentals. - Laura Hampton

3) Build authenticity through influencer relationships Another way in which digital marketing can be a powerful impact on your brand’s authenticity is through the creation and nurturing of influencer relationships. Consider who is influential in your sector or industry. It might be media/press that are influential, in your local area or trade press. Or you might identify people on social media who have a strong following and are relevant to your industry. Maybe there’s a particular association or governing body that is influential in your area.

Laura Hampton Digital Marketing Manager, Impression, Nottingham www.impression.com

Once these people are identified, you can build relationships with them through digital marketing. By following them on social media, you can share the Issue 17 - Creative Light Magazine :

44 : Creative Light Magazine - Issue 17

1. Develop Your Brand

site navigation is key and should always include an About and Contact page for visitors to learn more and get in touch.

Most successful photographers have an easily recognisable style and approach that helps them to stand out from the competition. Your brand is an extension of your personality and unique approach to photography, and it is what entices customers to hire you over another photographer.

When you’re done setting up your homepage and galleries, consider adding a blog, client portal and any other custom pages you may need. If you’re looking to turn your passion into a career, you’ll also need to set up your storefront and make it clear to visitors that they can purchase your work. The moment a visitor has an impulse to own an image, a Buy button should be just a click away.

If you have yet to determine your area of specialty, it’s best to narrow it down to one or two genres you’re passionate about. From here, you can decide on the style to build your brand around. Having a clear idea of your genre and brand will help establish your business and attract the type of client you’re wanting.

3. Market Your Work A stunning portfolio, beautiful website and stateof-the-art storefront are important cornerstones in building your online photography business, but they won’t get you very far if nobody can find you.

Good design is crucial to attracting clients and standing out in the marketplace, so don’t hesitate to hire a professional designer to help you with key design elements like branding, layout, and colours. It could be one of the best investments you make in your business.

2. Get Online Once you’ve defined your brand it’s time to get online. An online presence lets you reach a far wider audience than traditional marketing methods alone, and building your website is the perfect place to start. Begin by focusing on your homepage, since this will be the most visited page on your website. Capturing your visitors’ attention in the first few seconds is crucial, so showcase only your very best images and include an enticing welcome message. Intuitive

Ensure your site is search-engine friendly by adding keyword-rich titles and content to your pages. Search engines love text, so blog regularly (and share the posts on social media) to increase the chances of being found organically. In addition to providing SEO benefits, blogging also gives visitors a great source of content for social media re-shares and a reason to check back regularly. Write great content and make sharing easy, and you won’t be the only one marketing your site. Zenfolio’s integrated suite of tools makes marketing easy, including Visitor Sign-In to capture email addresses, Triggered Emails to automate marketing, Coupons to drive sales and a whole lot more. Take time to create your perfect marketing mix, and watch visitors turn into happy, loyal customers.

Save 30% today at zenfolio.co.uk/guild Issue 17 - Creative Light Magazine :

David Court

avid retired from the Metropolitan Police in 2004. His last position was Deputy Head of the Management School where he developed a love of photography and skill photographing people who didn’t want to be photographed. The first job as a photographer was working for Kodak weddings based in nearby Harlow on a medium format camera for two years before branching out on own. While photographing many weddings David love of photography developed as a Photo Journalist which has resulted in work published in National and International Newspapers and Publications including the Sunday Telegraph, Wall Street Journal, the front page of the London Evening Standard and the Daily Mail. David’s awards include London and Essex Professional Photography Group and the BIPP Brentwood winner in the category of Press and PR Photographer 2009 and 2013. The winner of the MPA London and Essex Region Press and PR Photographer 2012 and 2011.

A publicity shot of runners which was taken at the event, “mud & madness’. Most of the runners are taking part because they have a connection with the hospice.

46 : Creative Light Magazine - Issue 17

David retired from mainstream photography with the decision to retire led by his wife Pam who was also retiring from her role as an NHS Primary Care Trust CEO and taking over in 2011 Saint Francis Hospice, Havering-AtteBower in the London Borough of Havering. Saint Francis Hospice cares for people from Havering, Brentwood, Redbridge and Barking and Dagenham.

“Press Photography has to be as it is, you can’t mess about with it or remove things in the background. They have to be images that are unadulterated” - David Court

Saint Francis Hospice is an independent charity and one of the largest adult hospices in the UK. A team of specialist consultants, doctors, nurses, a range of other health and social care professionals and volunteers provide care and support to people with a life-limiting illness, their carers and family members. Care is provided through an 18-bed in-patient unit and a day therapy unit. There were also two community teams based at the hospice, a “Hospice at Home” team, and a “Specialist Community and Crisis Support” team and this provides support in people’s homes. A recent unannounced inspection by the Care Quality Commission resulted in an Outstanding rating summarized by Debbie Ivanova, CQC’s Deputy Chief Inspector for Adult Social Care said, “This is an outstanding example of how a hospice should be run”.

Issue 17 - Creative Light Magazine :

The photograph on the left is that of Imogen Heap, one of our Patrons. Imogen who lives near to Saint Francis Hospice received a Grammy Award about four years ago. She wrote the track ‘Breathe’ on Taylor Swift’s album and also received a Grammy Award for producing it too. Recently she wrote the music for the latest Harry Potter stage production ‘Harry Potter and the Cursed Child’. Imogen can often be found just playing music at the hospice. All of the Patrons of Saint Francis are excellent and Imogen is very active at the Hospice. Releasing of the Doves (right) The Sunflower Picnic Event and the memorial garden is all about remembering loved ones. The Grandmother, Granddaughter and her children were invited to release the white doves in memory of her late husband. This image is where I just took three shots. Classic timing! The hospice is very special to all people.

Richard Madeley with a retired taxi driver Again this image shows you that there is total access to the hospice, day or night. It is very relaxed and quite an amazing place to be. To quote Kevin (Pengelly) who is a very dear friend of mine and has worked with me on numerous occasions for the hospice; “so difficult to work when you have tears in your eyes.”

48 : Creative Light Magazine - Issue 17

Light up the Light Ceremony â&#x20AC;&#x201C; you have a minute you take the image from the moment they light the candle, say a prayer and then put the candle out. Telling the story, this particular person and was a teacher who was recording a memory of her Gran. These are real people sharing real moments in time. There is nothing artificial about it at all.

Issue 17 - Creative Light Magazine :

Richard Madeley and a patient Richard is a Patron of the Hospice and an amazing person. I was with him on his first day, he was booked to be at the Hospice for an hour and ended up staying over four hours. This lady said ‘I can’t possibly be photographed with Richard Madeley without my make-up on!” Make-up applied, and the photograph was taken. She died the next day. These are very special images that go beyond anything else and become very special images to the family. Photographs and moments in time that cannot be repeated.

50 : Creative Light Magazine - Issue 17

“Press Photography has to be as it is, you can’t mess about with it, remove things in the background. They have to be images that are unadulterated, and pretty hard these days as you can’t sort it out in Photoshop. Press photographer’s images have to taken in camera. It is a cardinal sin in Press Photography to use Photoshop in post-production. Two photographers recently have been thrown out of Getty Images for that very reason; one removed for cloning and removing feet under boarding, and the other one for adding a couple of extra puffs of smoke to an image taken in Beirut which were added just for effect”.

Star Walk 1000’s of woman wear pink, and all were raising money for the hospice.

Issue 17 - Creative Light Magazine :

Barry Hearn – “his Mother-in-Law passed away at the hospice, and he is hugely involved. In this photograph, Barry is talking to pupils from a local school. Each year Barry runs a programme called ‘Match’ which is a bit like the Apprentice where he gives the children some money, and the team that wins have a day with him at Matchroom Sport and each pupil gets an iPad and numerous goodies. Barry gives a lot of his time and only recently donated a Drinks Trolley to the Hospice loaded with brandy, which he keeps topped up! The hospice is all about making people as comfortable as possible. So you don’t get the Rules and Regulations that you would normally or expect to get”. - David Court

52 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

The Pemberton Rose Collection at Saint Francis Hospice is the largest collection of Pemberton Roses in the World.

There are over 50 varieties of Pemberton Roses in the World. Saint Francis Hospice receives a grant to produce a catalogue of the roses. This goes towards raising funds for the hospice. The young Mum in the picture was captured photographing one of the roses for the catalogue and to include patient participation. The young Mum has passed since this photograph was taken.

54 : Creative Light Magazine - Issue 17

Princess Alexandra This is the memory tree at Saint Francis Hospice where family and loved ones can place the name of a departed loved one. The mother of the boy in the white shirt campaigned for the memory tree at the hospice, it was in memory of the boy’s father who had died. Princess Alexandra was commemorating her late husband, Sir Angus Ogilvy by placing his name on the memory tree. Photographically, this is an interesting “decisive moment’. When you are photographing royalty, you do not get too close. This is a classic photo-journalistic moment, this is what I wanted to happen, and it did. A typical ideal un-posed image. Death affects people of all ages and the hospice caters for all, children and their families.

For more information on the wonderful work at Saint Francis Hospice please visit their website https://www.sfh.org.uk/ Issue 17 - Creative Light Magazine :

Jenny Johnson

MarketingManager at 3XM and Photovalue Jenny will be delivering a number of training events for 3XM titled â&#x20AC;&#x153;Facebook for Photographersâ&#x20AC;? throughout 2017. Like their Facebook page @3XMsolution for info & updates.

56 : Creative Light Magazine - Issue 17

Five Ways to Win at Facebook Advertising

s a digital marketer I really believe in the power of online advertising and in particular the power of Facebook advertising. I’ve seen first hand how beneficial this can be for various businesses; delivering real value for

money and positive ROI. Facebook is such a massive data powerhouse and they make a lot of their user data available to advertisers. To give you an example; you can very easily target people that have recently got engaged on Facebook. Here is a ready made audience for you to target with adverts to encourage them to visit your website and book you for a wedding. It’s also possible to target ads to people based on things like age, gender, location, demographics and relationship status. Essentially, you can use the information and/or data you have about previous clients to your advantage to effectively target potential customers with relevant ads. - Jenny

CONTENT IS KING This is a bit of a marketing buzz-phrase but when it comes to Facebook advertising it really is true. Content is a crucial component of any social media marketing activity and especially so when it comes to Facebook advertising. Try to put yourself into your clients’ shoes and create the type of content that they want to see… this might be things like “top tips before you hire a wedding photographer” or “how to pose like a pro”. Your content should be balanced and focused on the needs of your potential clients. If you try to stick with the 3-1-1 rule you won’t go far wrong; that’s 3 soft posts for 1 soft sell and 1 hard sell. If you focus too much on a hard sell or a “buy now” type approach people will get bored and switch off.

PAY IT FORWARD Facebook is not free. Organic reach is minimal so set aside a budget to use for Facebook advertising each

month. This doesn’t have to be anything huge, start off small and build it up as you get more confident with Facebook advertising. A little really does go a long way!

THINK MOBILE More and more people are on Facebook on their mobile phones. So in everything you do on Facebook or online in general, keep in mind the size of the screen that people will be browsing on. Keep text short & succinct and imagery as eye catching as possible.

SCHEDULE ADVERTS AND PAGE POSTS IN ADVANCE Save yourself the hassle of logging onto Facebook every 5 minutes wondering what you should post. Set aside some time each week to schedule all your content for that week in advance. This way you can focus on what needs to be done, schedule it all advance and move on.

TEST, TEST AND TEST AGAIN! There is no absolute golden rule when it comes to Facebook advertising. So start testing different messages, different imagery and different call to actions… and then test some more. You might be surprised what has the best results!

Issue 17 - Creative Light Magazine :

AWARD-WINNING PRODUCTS

Get set for 2017 with an award-winning range of products, unrivalled turnaround times and all the support you need. Whether it’s stunning albums and books, wow-factor wall products or impressive presentation and packaging, choose Loxley Colour to deliver on all your customer needs. • Enjoy up to 40% on product samples • Create unique, personalised products • Craft matching packages that sell

Discover more... Visit loxleycolour.com or call 0845 519 5000

58 : Creative Light Magazine - Issue 17

Best Professional Lab Best Professional Frame Best Professional Album

The Societies Awards 2015

Best Professional Customer Service

*See website forMagazine details on sample Issue 17 - Creative Light : discounts. 59

Penny Hardie

Craftsman Professional Photographer

60 : Creative Light Magazine - Issue 17

ÂŠ Penny Hardie

Issue 17 - Creative Light Magazine :

TIP SHEET #2 Creating Realistic Sun Flare

Glyn Dewis shows how to add realistic sun flares in your pictures by the simple use of a Brush, Adjustment Layer and the Fill Slider. Step 1: Blank Layer Add a new blank layer to the top of the layer stack, and then with a white foreground colour and a normal soft edged brush at 100% opacity, click on top of your picture to add a white circle. Rename this new layer â&#x20AC;&#x2DC;Sunâ&#x20AC;&#x2122; and change the blend mode to Linear Dodge.

62 : Creative Light Magazine - Issue 17

Step 2: Duplicate Layer Create a copy of this layer by holding down the Command/CTRL key and pressing J and rename this layer ‘Glow’. Go to ‘Free Transform’ and increase the size of it considerably (as this is to be the outer glow coming from the sun). Turn off the Glow Layer and click on the Sun layer to make it active. Click to add a Hue/ Saturation Adjustment Layer.

Step 3: Adjustment Layer Within the Hue/Saturation Adjustment Layer properties, click on the Clipping Mask icon, then add a Yellow/Orange Hue, increase Saturation to 100 and Lightness to -45. Use the Lightness the slider and the Fill for the desired look.

Issue 17 - Creative Light Magazine :

Step 4: Group the Layers Turn on the ‘Glow’ layer and repeat the process adding a Hue/Saturation Adjustment Layer with Clipping Mask and the same settings as the previous step. Create a new group containing all the sun and glow layers, rename it ‘Sun Flare’ and with the Move Tool drag into position. Refine the finished look by adjusting the Hue/ Saturation and Fill, to taste. Also, check out the accompanying video; Episode 66 on my YouTube Channel Weekly Show

BEFORE

AFTER

64 www.glyndewis.com : Creative Light Magazine - Issue 17

Social Media /glyndewis

lyn Dewis is a professional photographer, retoucher, and trainer based in England. Glyn’s photography and retouching sees him working for national and international clients ranging from the BBC, SKY and Air New Zealand to athletes, musicians, and other industry professionals. A Photoshop World Dream Team Instructor, KelbyOne Instructor and Best Selling Author of “The Photoshop Workbook”, Glyn has featured in the New York Times for his Photography technique, teaches his own series of courses, provides one-onone coaching and presents at events around the World covering all aspects of Adobe Photoshop from basic to advanced techniques. See his work at glyndewis.com and find his wildly popular videos on his YouTube channel at youtube.com/GlynDewis

Want to get more of these tip sheets from Glyn? Please visit Glyn’s website and sign-up for his email/newsletter!

Issue 17 - Creative Light Magazine :

66 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

68 : Creative Light Magazine - Issue 17

congratulations Mark Bannister Qualified Guild of Professional Photographers November 2016

Issue 17 - Creative Light Magazine :

The Ultimate in online framing A framed photo is not just for Christmasâ&#x20AC;Ś

P F a u p th

NEW Frame Mouldings

m s fro e c i r P

1 1 ÂŁ

Beautiful, contemporary frames to preserve your precious memories, wit profiles, 28 window mount colours and easy online ordering. Plus every f

WWW.ONEVISIONIMAGING.COM |

70 : Creative Light Magazine - Issue 17

Framing Beautiful, hand-made frames with a choice of over 95 styles, colours and profiles to choose from, including 36 new frames for 2016/17.

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 he perfect print.

CLICK TOWATCH OUR FRAMING VIDEO

th over 95 stylish frame colours and framed print is guaranteed for 5 years!

0845 862 0217

Issue 17 - Creative Light Magazine :

Jo Bradley

Craftsman of Newborn & Baby Photography

72 : Creative Light Magazine - Issue 17

Â© Jo Bradley

Issue 17 - Creative Light Magazine :

October 2016

Gold Awards

74 : Creative Light Magazine - Issue 17

©John Retter

76 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

Would you BUY from You? NIK PROCTOR has been working with photographers for the last twenty one years. Visiting photographers in their high street and home based businesses advising on and selling presentation products, sales techniques and personal presentation. He isn’t afraid to tell you want you need to hear, but will do it with his good natured and personal approach.

espite the letters of complaint, the crowd protests and the Creative Light offices being under siege, The Editor of this fine publication has thrown caution to the wind and invited me to, yet again, put finger to keyboard (seriously, it’s the one finger…just imagine how long my dissertation took!!!), and so here I am again with an insight into what everyone will see about your business, but maybe won’t have the confidence to tell you. Let’s assume that the outside of your studio is PRISTINE, and you have followed some of the points in Issue 16 and your customer is in for a lovely warm, well lit, fragrance and CLEAN studio…let’s look at a few things that go hand in hand with getting it right.

nik proctor

Are your prices in your window? IF NOT…THEY REALLY SHOULD BE!! Or, at least, an idea on the price and what customers will get for their money. You don’t see product pricing right outside Argos, Tesco’s or Sainsbury’s do you? … Oh, wait a minute… YOU DO! So consider giving someone like me (shy…no confidence…won’t say BOO to a goose), a reason to think that although your studio LOOKS fantastic…and WAY out of my price range…actually you are VERY AFFORDABLE…and this could GET YOUR CLIENTS IN THE DOOR! How do you do this? You design something with a customer’s big, happy face on it...and put a VISIBLE price on … so it CAN be seen from across the road… then, ask your Pro Lab to print and Foamex back it for you. EASY… job done …IF this doesn’t increase your footfall into your studio with potential clients wanting to know more I will gladly pay for the print cost. Actually, I won’t do that…but I will come and critique your studio for free…because there must be something else that is killing your sales. So, as your ‘potential’ customer walks in the door (to a beautiful “Nirvana of Loveliness” ...see issue 16), what is the first thing they see? Seriously, what is it? Does it look as good as the day you ‘opened’ for business… or does it look a little tired? Assuming things are all ‘tidy’ …what does it say for the person WHO IS SEEING YOUR BUSINESS FOR THE FIRST TIME? Does it say “I have been here for a while, and one day, I promise I will actually buy that other bulb that makes the light work”? Or, does it say “Look at me, I have a new big Mac (Fruit based product, NOT the Vegetarian nightmare type) and I want the world to know it”? Or, does it say “These samples products and framed prints are a little tired and as yet I haven’t got around to replacing them”?

78 : Creative Light Magazine - Issue 17

OR … Does it say “I AM SO GLAD YOU ARE HERE. LOOK AT WHAT I CAN CREATE AND DELIVER FOR YOU…aren’t they FANTASTIC?” IF not, it really, really should. When I was selling ANY product to Photographers…. the samples I showed were always perfect. NO ARGUMENT. P E R F E C T. They had to be, because although I knew the product was always delivered to the customer perfect…it was the FIRST TIME my (photographer)customer had seen it, and remember about those FIRST IMPRESSIONS. Imagine … “I know this frame/album/ portfolio is looking a bit knackered, potential customer, but I promise…. yours won’t be.” Not the best thing to begin with is it? Images for samples – KEEP IT SIMPLE. The amount of photographers who say “I don’t have the images I want for samples!” Use previous client’s shots, don’t just use images from styled shoots, you need to show something you can repeat on a daily basis for your clients. DON’T pick stick thin models, people with overly white teeth, or ridiculously good looking people as images for your walls…pick normal people. WHY? Because you will sell more, as people will relate, that’s why! DON’T initially (remember we are talking about those first impressions he) greet potential customers with something that isn’t them! One particular award winning and very busy photographer springs to my mind, I know has exactly this on his walls…just normal people; some slightly overweight, some with glasses, some with children that only their mothers could love etc. The thing is, THESE ARE OUR CUSTOMERS, (not always the size zero model, or the chap who spends 8 hours on his hair & make-up) …so please fit your samples to the type of customer you want to attract every day. Anyway…back to samples. SAMPLES are not expensive They really aren’t. We are lucky to work within an industry that discounts samples. Soooo many other industries that supply the general public, don’t! Otherwise, we would all be Audi dealers. Or Bugatti for that matter. So be sure to ALWAYS thank your supplier for the discount. For the price of a half decent lens I could hit the ground running with a set of samples that I would make money off. That’s a few frames, a few albums, a few products and some sexy USB’s. At this time of year, suppliers are keen…VERY, VERY KEEN for you to get some samples in to your business to refresh your sales tables and your walls. There are some FAB deals to be had, (mostly off our trade partners, feel free to ask me for details), so approach them professionally and with your ‘deal’ head on. Here’s how. • Contact the right person in your chosen supplier’s business. This usually means speaking to someone in the sales department, inviting them round for a demo of product to your business, or meeting the business at trade shows, sponsored training days or you going to visit them at their business showroom. • Choose the Supplier that can deliver the bulk of your product needs and speak to them! Are they helpful? Could you see yourself working alongside this company in the long term for your product needs? Do you find their products easy to order? Do they come recommended or have a close working relationship with your chosen photographic association? Ask them IF they could help with what you need, and if not, find the suppliers that will. • DO SOME HOMEWORK on their website and create a list of what you require? • Work out exactly how much, say 10 samples, may cost you at FULL PRICE. • Work out ‘roughly’ how much you will spend on that selection of products across the year with that supplier at full price. • APPROACH them with an offer… “Will you supply this bulk sample order at 30/40/50% off, if I place the order all at the same time (and pay upfront), and if all goes well this year, the turnover for you Mr Supplier will be roughly £x? SEE...I said they weren’t expensive, but believe me, to the success of your business, your profit margin and your general all round contentment and happiness… they are priceless. So, one more thing that could be losing you the sale…. those FIRST 10 SECONDS of YOU. As soon as the door opens, or if you have the door open already to welcome potential customers, (nice one if you do) what’s YOUR approach? WELL, I hope, hope, hope is a big, beautiful, happy, welcoming S M I L E and an outreached hand which says to the potential client…. Hi, I am PLEASED to see you, and THIS is my business….and I am very proud of it. Ok, we don’t want a Jack Nicholson “Here’s Johnny” type of smile, or a Jim Carey “Mask” attempt, but a natural, warm smile. Most people in the public eye actually practice smiling, media training companies have a whole section on it and it’s SO important you get it right, mouth and eyes…it’s all muscle memory, so practice it in the mirror, nail it and MEMORISE IT! Seriously folks, ALL I have done in the last three articles is help with the absolute basics of personal presentation, of business presentation, and of product presentation, for ONE reason; That’s to help give you as much CONFIDENCE (as the written word will allow me) before we even talk about the dreaded M word (yes, that’s right, Marmite, sorry, meant MARKETING) although the parallels are similar. You will either love it, or hate it! Attempting to sell a product to a customer, attempting to take an image that they will even consider buying and giving you actual ‘real’ money for, but I guess depending on the reviews, the complaints and my new best friend, Mr Troll, those insights might just appear across the next issues of Creative Light. Wishing you a fantastically healthy and happy 2017. . . even you Mr Troll. - Nik Proctor - nik@photoguild.co.uk Issue 17 - Creative Light Magazine :

by Ri chard

West

www.datacolor.com/s5cpuk

Got the Camera... Got the Lens... What Else? Top Tips and Accessories for Perfect Capture (Part1) So we all like to have the latest and greatest camera and the best lenses but we can’t all replace our camera every time there’s a new, slightly improved model released. Likewise once you have a few lenses relevant to your style of photography, having more can just mean backache due to a bulging, heavier camera bag and also another trip to your sensor cleaner due to too frequent, dust attracting, lens changing, just so that you feel you’re using what you’ve bought. In this article we’ll look at 4 ways in which you can improve your photos and your image capture that don’t involve upgrading your camera and more to the point should still work for multiple camera or lens upgrades to come. In particular we’ll be looking at one accessory to addess each issue from Swiss manufacturer Datacolor as they’ve just released their new SpyderCAPTURE PRO Bundle which includes all four. So if you feel you need all the areas covered then you can now get them all sorted in one place.

Tip 1 - Get Focussed Many of us rely on the Autofocus button to make sure a key element of a good photograph, focussing on your subject, is spot on. Sadly with the bumps and knocks of daily life, and even straight off the production line, this is not necessarilly the case. In a survey of 1000+ photographers conducted at Fotokina around 60% of camera and lens combinations measured were found to be autofocussing incorrectly. Datacolor’s SpyderLENSCAL gives you a quick and easy means of checking and correcting autofocus. Simply pop the guide up, shoot it and check the focus point on the image of the LENSCAL. If it isn’t spot on to the ‘0’ of the angled scale then you can use the SpyderLENSCAL’s to correct the Autofocus point using your camera’s MicroAutofocus is spot on adjustment. Hey presto, no matter the age or condition of your when the ‘0’ is in focus camera or lens, you’re now in focus.

➞

Datacolor SpyderLENSCAL for Focus checking

80 : Creative Light Magazine - Issue 17

Tip 2 - Get Balanced Shooting in strong or biased lighting conditions like strip or halogen lighting will effect your images’ colour temperature no matter how good your camera sensor. If you want to remove any colour cast effects to correct for the lighting you are in, having a neutral grey target to shoot is essential. Compared to using ‘old-style’ grey cards that are prone to easy marking, creasing and even blowing away, Datacolor’s SpyderCUBE provides a robust, portable and pocketable target that you can easily drop into a test shot allowing you to use your image-processing software’s white balance tools to correct your photo’s colour temperature. By copying these adjustments you can then ‘batch’ correct any other photos taken in the same conditions. Unlike conventional cards the SpyderCUBE also has a metallic ball and black trap to help you also set the get exposure and contrast (black point) accurately set to avoid Datacolor SpyderCUBE losing either highlight or shadow detail across your shoot. for White balance

Tip 3 - Getting the Colours Right

Datacolor SpyderCHECKR for Accurate Colour Capture

If it’s important for you to correct more than just colour temparature, exposure and contrast but additionally actually get the colours of what you are shooting spot on (particularly for wildlife, sport, fashion and weddings) then you will need more than even the most advanced grey target. For this Datacolor’s colour chart, the SpyderCHECKR, is the ideal solution. This double colour card device (one for general colours and one for skin tones) sits in a protective, tripod mountable case that folds flat for easy storage. The target’s cards are printed hence replacable should the built-in fade checker ever let you know that you need to change them, but it’s also very light, making adding it to your kit bag a no brainer. Initially allowing the same setting of white balance, exposure and contrast as the SpyderCUBE, the SpyderCHECKR’s additional plugin software (for the likes Adobe Lightroom) creates a colour correction for the entire colour curve of your shots with the touch of a button. This enables you to get all the colours in your photo spot on to the original subjects’, be that the dark blues of mens’ outfits, the creams of dresses, the reds of flowers or the subtleties of skin tones - not just one element of a shot correct at the sake of the other complimentary colours.

Tip 4 - What you see is what you get Getting your colour temperature and balance correct at capture is paramount for avoiding the old adage ‘Garbage in, Garbage out’. However, even if you’ve correctly captured your image colours and hues you can defeat the point and undo all your effort if you then start retouching your image’ colours on uncalibrated screens and hence adjust for imperfections of your display rather than your subject. Datacolor Hence the fourth tip, and also appropriately the fourth element of Datacolor’s Capture Pro bundle, Spyder5 for is screen calibration. The New Spyder5 has not only been redesigned to handle calibration of all the Screen Calibration modern ranges of screens from 4K through to curved OLEDs but now also comes with an improved physical redesign making it more robust and portable to carry with you and hence recalibrate your screens wherever you may be showing or editing images. Every time you change the lighting conditions that you are in you’ll see colours differently hence the Spyder5’s ruggedised design with encapsulated optics, lens cap and sensor grill make it ideal for making sure that you are viewing the true colours of your images wherever you may be. So there we go, four top tips for capturing better pictures without the expense of having to change your cameras or lenses. You can get any of the elements individually but with Datacolor’s new SpyderCAPTURE PRO bundle you get the a solution for all four parts in one even more affordable bundle.

And one more thing... Tip 4.1... One common feature of all the SpyderCAPTURE PRO tools is their tripod mountability. Whether you are correcting your Autofocus or your white balance, or capturing your subject’s colours accurately, being able to tripod mount your target saves the need for having someone else assisting you in your shoot. Similarly the addition of the tripod Datacolor mount to the Spyder5 screen calibrator helps when calibrating your larger wall mounted SpyderCAPTURE PRO bundle screens or projectors. As a result we’ve also been looking for a versatile range of tripods and stands and are very impressed by 3 Legged Thing’s range. So if you’re also looking for a stable and afordable mount to add to your kit bag these may well be worth a look as well For more detailed information on how to go about any of the elements discussed in this article you can sign up for one of Datacolor’s Free, live, 1 hour Webinars (Web based seminars) at www.datacolor.com/s5cpuk-webinar or check out some of the pre-recorded review videos on this and many other photographic areas at the Nexttek Channel on Youtube. Datacolor Products are available from most major camera retailers and online at the Datacolor Webstore (http://spyder.datacolor.com/orders/).

save 100 Euro

Spyder5CAPTURE PRO retails for 389 € and is now available for only 289 € if purchased online from the Datacolor Webstore or from your local participating retailer by September 30, 2016. Purchases via the Datacolor Webstore from the UK are required in Euros. Click here for the details http://www.datacolor.com/s5cpuk Issue 17 - Creative Light Magazine : 81

Book Review

his book couldn’t fail to have an impression on its readers. Photographers will love the stories posed in Jim Lees images, non-photographers will enjoy the history covering fifty years of his life. For those still ambivalent, dropping this three-and-a-half kilogram volume on your foot would certainly have a lasting effect. James Seymour Lee, photographer and film director, was born in London in November 1945. Widely travelled, he emigrated to Australia - where he first discovered photography - and also lived in Trinidad. He has ‘died’ three times, is held together by titanium rivets and at the age of seventy, still produces fine-art images. This book is the ‘whole story’ with extensive detail about his background, early life and family which, incidentally, can be traced back to Royalty at the time of Henry VIII. It includes many early images revealing his personality and path into photography through the sixties and seventies. Lee was for the most part of his working life a film director before photographer. Working in fashion and advertising for names such as Vogue, Elle, Harper & Queen, Levis, British Airways, Nikon... the list goes on. But the sub-story is intriguing. Why for example he moved to Australia - and couldn’t return for years afterwards. The very secret life of his Father. His eventual statement move back to London; his model wife.

glenn parker

Arrested. With a soft feel matt-black cover, bold headline-style title font, a dramatic monochrome image and sleek silvered page edging this is the top-end luxury in coffee-table books. In fact it’s almost the whole table. Opening for the first time, the heavy cover resists in a way only quality full-bound books can, ‘cracking’ open to reveal a page of contact prints backed with a dark oyster like finish. Simply laid out this the theme for the whole book. Moving on, an expected dedication, a foreword (more a gushing tribute) by Barry Schwabsky, an American art critic then a brief introduction. What follows is a comprehensive biography, which at this point I haven’t read so that I’m not giving others’ opinions. Some details here (and above) were edited in later. A lot later! The images that follow really need to be looked at. In fact looked in - over copious mugs of coffee and of course the obligatory glass of wine. The images are interspersed with comments by Lee offering a personal feel and a much needed lightening to the factual, and occasionally over-documentary style of what is a ‘warts and all’ story. Unexpectedly the book is broken down into chapters as if you were reading a novel although they are in a timeline format. They highlight specific periods and pieces of work including the story around them, for example a TV production titled ‘Losing Track’ from 1991 which then takes you on a meandering journey. Each having its own gallery of images or still frames. To the images themselves. This is after all a ‘photographic’ book and it’s fair to say the quality of the prints is exceptional. The vast majority of the images (of which there are some 250) whether strictly fashion, advertising or those created for his own pleasure contain a narrative far deeper than ‘a shot for purpose’ poster. From many gritty (and I mean grainy with attitude)

82 : Creative Light Magazine - Issue 17

black and white plates through faded but almost timeless mute colours from the ‘70s and 80’s to high impact statements of the 2000’s Lee is a master of the ‘a picture is worth a thousand words’. In fact in some cases I think you could lose count... Perhaps in order to prevent a sheep effect and for when you might need a break from trying to decipher what is in front of your eyes, the index reproduces each image as a thumbnail with a short descriptive text. With obvious influences from Bourdin, or perhaps even Lartigue and Bischof, Lees images will undoubtedly become the future classics of a lesser known master. Should you buy this book? I have to say it has been on my booket list (sorry) for some time. I saw the original launch exhibition at Somerset House (where only a few of the images were shown) but when books are fresh they are costly - and always reduce over time as you can see. It is without a doubt an interesting read, the images have an historic feel and it provides an excellent reflection of changes in photographic style and consumer advertising over the last fifty years. And that is apart from discovering one of our industry’s pioneering artists. Other books by this photographer: Life in B&W (2015). An Autobiography. More of Jim Lees’ work can be seen at www.jimlee.tv

Image: Him / Her is one of a pair of images where you are invited to decide who is in charge and who is the prisoner.

Image: Rescue / Help is one of a set for Alexander McQueen clothing.

Image (left): Baader-Meinhof for Jaeger.

Image: Red Shoes 2010 (personal project). A powder blue ‘65 Mustang which Lee took a month to find and buy for a US road trip with his friend Loli (wearing the red shoes). ARRESTED. Jim Lee (2012) A photo-biography. Ammonite Press. ISBN 9781.90770.8121. 288 pages / 250 images. RRP £75.00 available from £44.79 through various online stockists. Issue 17 - Creative Light Magazine :

Book Review The Art of the Photograph by Art Wolfe

If you don’t know the work of Art Wolfe then the rather short blurb on the back of the book

and the almost over-complimentary forward by photographer Dewitt Jones could be enough to put any pessimist off reading any further. Whilst other photographers tend to be humble about their own achievements, these two pages alone start by telling us how great Art Wolfe is and just how much this book can do for us. It could be construed as arrogant. However, a reward awaits those readers who decide read on: as all photographers do when looking for a new photography book to read you flick through the pages as if to gauge and instantly assess its’ quality purely on the images printed on the pages within. Do this with ‘The Art of the Photograph and it’s then that you realise what true a talent Art Wolfe is and just how much he has earned those accolades and kind words. As the blurb on the back by Morgan Freeman says: “Art Wolfe is a Virtuoso”. Photography books tend to be written in one of two ways these days; the first being the ‘manual’ or ‘handbook’ style where the book is full of instructions, projects and techniques and in which scenario to best employ them. The second is a book that leaves the reader with very little in the way of exercises to take from the page and apply directly to their next shoot. Instead, these books aim to get their reader thinking, self-starting and inspired to be creative. ‘The Art of the Photograph’ neatly floats between these two approaches and at times offers very direct instruction, but then reverts to passages written to make us think about our photography. The target audience for this book is likely to be a photographer or creative in the earlier stages of their development. The lessons range from the basic rule of thirds composition; a staple of any photographers skill set and one that eventually becomes somewhat innate, but it does expand on the principles of composition and when and how to break the rules. I’m sure that this book will have a lesson or two for even a veteran photographer. From visualisation, to gear to post-processing, ‘The Art of the Photograph’ is clearly intended to be an all-encompassing, front-to-back look at the process of making great photographs that engage the viewer. In the introduction co-author Rob Sheppard even says that ‘The Art of the Photograph’ is “a complete course in seeing and making better images”. The fact that this book is 256 pages long goes someway to backing up that claim too. The Introduction gives us a great insight into Art’s early years; Times of course before Social Media, Digital Cameras and the Internet. Times when the adventures that Art went on would have been more of a challenge to achieve than they would today. ‘The Art of the Photograph’ contains more than 200 of Art Wolfe’s own images, with each one serving to enhance the experience of this book. Not just for the sake of having a pleasant image to look at however, but more to illustrate each point that Art makes inside each chapter. Whether we’re reading about Visualisation [page 42], where we see Art’s sketch of a photograph he wants to make and then the actual, resulting photograph, or whether it’s to more directly demonstrate Art’s lesson, such as in the chapter about silhouettes [Page 182] where there are a selection of strong photographs featuring silhouettes. At times it’s clear that an image has been made for the sake of illustrating the book and the lesson it is trying to teach in that particular chapter. This is only evident because in 84 : Creative Light Magazine - Issue 17

some paragraphs there are some absolutely amazing photographs, whilst some tend to border more on the ‘average’ end of the spectrum. Whilst they aid In the teaching element of the book, it could be said that they do weaken the visual appeal at times. Having said that, considering who this book is most likely to be for, as I have mentioned, these ‘less than stellar’ images are likely to still appear very good indeed. At points in this book the narrator changes from Art Wolfe, talking about his early years and his work, to then another voice, which we can only assume is the co-author, then talking about Art Wolfe. This change in narrator, or teacher if you will, doesn’t happen quite as smoothly or as seamlessly as I would imagine they had intended. Particularly when all of the text in the book is accompanied with images made by Art Wolfe himself – you tend to continue to assume that it is Art Wolfe talking to you. Or at least, I did. Throughout ‘The Art of the Photograph’ there are highlighted box sections that directly challenge you and set you tasks. These are placed neatly at the end of each chapter or section and seek to make you give some consideration to the lesson you’ve just worked through, as if to say ‘Now go and give this a try’. These call to action boxes help to make ‘The Art of the Photograph’ read more like a text book to accompany a course you’re taking. Depending on your inclination, this can be a good thing and can really help to extend the life of the book. This gives the effect of making the book feel like it can be read in bite size parts and one that you can pull down from the shelf to give yourself a refresher every now and again. Overall, ‘The Art of the Photograph’ is both an enjoyable and educational read. It’s not without its faults as I’ve mentioned, but these are easily overlooked. Art Wolfe proves in this book that he can really make a great photograph. What’s more, the man proves it’s all intentional as he shares with us all of his techniques, though processes and views so that we too can become photographers with better habits, to make stronger photographs of our own. - Mike Rammell Issue 17 - Creative Light Magazine :

GUILD OF PHOTOGRAPHERS 50% OFF ALL PHOTOGRAPHY TITLES

Quick Find Code: 27479

Quick Find Code: 25375

Quick Find Code: 24806

Mastering Street Photography Ammonite • PB with flaps • £19.99

Mastering Exposure Ammonite • PB with flaps • £19.99

Lessons in Landscape Ammonite • PB with flaps • £19.99

Quick Find Code: 27195

Quick Find Code: 27196

Quick Find Code: 25721

Red-Blooded American Male Amphoto • HB • £30.00

Photographs from the Edge Amphoto • HB • £22.99

Learning to See Creatively

Quick Find Code: 25822

Blue Ice Papadakis • HB • £30.00

Third Edition Amphoto • PB • £17.99

Quick Find Code: 24480

Quick Find Code: 23138

Quick Find Code: 23140

Quick Find Code: 20114

Quick Find Code: 26123

Practical Photojournalism Ammonite • PB with flaps • £19.99

Mastering Landscape Photography Ammonite • PB with flaps • £19.99

Mastering Wildlife Photography Ammonite • PB with flaps • £19.99

Mastering Wedding Photography Ammonite • PB with flaps • £19.99

Curious Cameras Sterling • PB with flaps • £16.99

Quick Find Code:

Quick Find Code: 21519

Quick Find Code:

Canon EOS 80D Ammonite • PB with flaps • £14.99

Canon Rebel T6/EOS 1300D Ammonite • PB with flaps • £14.99

Leica M Ammonite • PB with flaps • £14.99

Nikon D5500 Ammonite • PB with flaps • £14.99

Nikon D7200 Ammonite • PB with flaps • £14.99

Visit www.thegmcgroup.com to view the full range of photography books we offer 86 : Creative Light Magazine - Issue 17

“Gu ild wit of Ph Call hy a our otogra nd s me phe tate mb rs er n Me ALL um mbe PH ber r O OT to g ffer” OG RA et PH YT ITL ES

MEMBER OFFER!

FROM GMC DISTRIBUTION

Quick Find Code: 25475

Quick Find Code: 27480

Quick Find Code: 26133

Underwater Photography Masterclass Ammonite • PB with flaps • £19.99

Photo-Graphics: Exposure Ammonite • PB • £14.99

Outdoor Photographer of the Year Ammonite • HB with jacket • £25.00

Quick Find Code: 25823

Quick Find Code: 23139

Quick Find Code: 23141

Africa on Safari Papadakis • HB • £30.00

Mastering Portrait Photography Ammonite • PB with flaps • £19.99

Mastering Black & White Photography Ammonite • PB with flaps • £19.99

Quick Find Code: 26554

Understanding Exposure Fourth Edition

Amphoto • PB • £18.99

TO ORDER CALL: 01273 488005 or send the completed form to: Guild of Photographers Member Orders, GMC Distribution, 168 High Street, Lewes, East Sussex BN7 1XU

✁

ORDER FORM YOUR CHOICE OF BOOKS Book title PLEASE USE BLOCK CAPITALS

P&P Charges United Kingdom Europe Rest of World

Quick Find Code

First item £2.95 £3.95 £4.95

Grand Total £

PLEASE QUOTE ORDER CODE R5134 Please debit my credit card TO THE VALUE OF £

Card number

Start date

Expiry date

Security code The last 3 digits on the signature strip

Card type Name

Address Postcode Tel no.

Total £

P&P

Each additional item £1.95 £1.95 £4.95

DELIVERY ADDRESS Title

Quantity

Your order should normally be processed in 10 days, but please allow up to 28 days. Note to overseas customers For prompt processing of your order, payment by credit card is preferred. Guild of Master Craftsman Publications will ensure that you are kept up to date on other products which will be of interest to you. If you would prefer not to be informed of future offers, please tick this box ■

Issue 17 - Creative Light Magazine :

Gold Awards

november 2016

88 : Creative Light Magazine - Issue 17

da Johnstone

Gold Awards

november 2016

90 : Creative Light Magazine - Issue 17

STUDIO SAMPLE

ONLY Â£82

ex VAT

USING CODE

LOVEIT

THE ULTIMATE FOLIO BOX FOR YOUR REVEAL WALL This Premium Colours 14x11 box comes with 20 bevel cut slip-in mounts to hold 10x7, 10x8, or 12x8 prints. Make it the perfect print and digital combo with a USB in the lid. Branding and a luxury gift bag are also included.

3xmsolution.com/14x11 Issue 17 - Creative Light Magazine :

congratulations Ruth Morris Qualified Guild Photographer November 2016

92 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

congratulations Qualified Photographer Ed Burrows November 2016

94 : Creative Light Magazine - Issue 17

Issue 17 - Creative Light Magazine :

Make losing Customers a positive experience for you and them

he customer is the most powerful entity in any business. The founder of Wal-Mart, Sam Walton, summed it up perfectly:-

“There is only one boss - the customer. And they can fire everybody in the company from the chairman on down, simply by spending their money somewhere else.”

Be they a business or a consumer, customers are the lifeblood of our businesses. Some customers only purchase or use our services once, others stay with us for the long term, especially in social photography where a newborn grows up, goes to school, gets married, has children - and even grandchildren, purchasing photographic services each step of the way. In today’s highly competitive and fragmented photography industry, there is always someone else pitching his or her services to your customers. We know our best customers are the ones we already have, and it is often a better strategy to retain repeat-purchasing customers than to seek new ones. Customers leave for many reasons; often it may not be your fault, perhaps they simply moved out of the area that you serve, or their business closed down. In other cases, the customer will perceive that they have a reason to go elsewhere - whether it is better service, lower prices, more flexibility or any one of a hundred other reasons. Perception is the important point here, whether you agree with the customer or not, they believe their perception is correct and the worst thing you can do is to argue or try to put punitive roadblocks in their way to stop them leaving. If they really want to leave, they will - no matter what. Negative experiences are remembered much longer than positive ones. Once an Internet and TV provider that tried to charge me £180 as a cancellation fee when I moved out of their service area. Instead of saying “fair enough” as they could not provide the service in the new area they tried to take me to court. They never got a penny from me and, when I looked for a mortgage, even though they had the best deal, I bought elsewhere. I still refuse to fly on their aircraft. They lost far more revenue than the £180, and created someone who repeats the negative experience at every opportunity - even several years later.

96 : Creative Light Magazine - Issue 17

However, by following a few simple steps, through gritted teeth if necessary, it is possible to gain some positives for your business, and maybe even see the customer return in the longer term. First and foremost - treat the customer with respect. Respect their decision to go elsewhere. People love to talk about negative experiences. A survey by Dimensional Research showed that 95% of people who had a bad experience shared it, and these people are 50% more likely to share it on social media than those that had a positive experience. Act fairly - if you still owe the customer something, maybe the image of their latest product, or the album from a recent wedding, make sure they receive it in good time, and with good grace. Do not try to hold a customer to ransom, like the Internet provider did to me. If you have cancellation policies that you can bring to bear, try to put the emotion aside and think about the best approach. In some cases that may be to send the invoice, in others more may be gained (or less be lost) by waiving these charges. It’s your business; make the right decision for your business. Many customers often disappear silently, they want to avoid conflict, and so they simply go elsewhere. Unless you’re close to them (which you should be), it may be months before you realise they are buying from your competition. It is always a good thing to speak with the customer if at all possible. This is a very important conversation for your business. Make it clear that you don’t intend to argue or challenge their decision, only to listen and understand why they are leaving, or have left. This is some of the most valuable feedback you will ever get, far better than talking to satisfied customers; you learn relatively little from that. Start the conversation and then shut up and listen. Make sure you do not put words into their mouth. (Remember: You have two ears and one mouth, use them proportionately). Whether you agree or not, or you think the concerns are unfounded is, again, a business judgment call for you. If you are hearing the same feedback from multiple sources, you would be a fool to ignore it. Depending on the situation, customer and conversation, now may be a good time to try to rescue the situation and the customer. Something along the lines of “I am sorry and I agree we could have done better. If we were to [insert proposed remedy here] would that solve the issue and make you feel better about us?” Whatever the outcome, thank the customer for their time and previous custom and leave the conversation on a positive note. Often customers leave because they perceive (that word again!) the service or prices are better elsewhere. Many times they are right, often they are wrong and they come back to you realising their mistake. This is why it is so important to leave things as positively as possible and, if they do come back, welcome them with open arms and avoid the temptation to ‘rub their nose in it’. In today’s tough business and ultra-connected world we need all the customers we can get and negativity from disgruntled customers travels faster than ever. Taking a deep breath, being respectful and fair as well as listening and learning during a difficult situation can be one of the best investments you will make in your business. - Rob Hill

Rob Hill spent 25 years in senior marketing roles within the technology industry around the world and holds a Diploma in Marketing from the Chartered Institute of Marketing. Today he has a successful marketing consultancy business and writes for several leading technology companies. Rob is a keen photographer and is a Master Craftsman with the Guild of Photographers.

Issue 17 - Creative Light Magazine :

98 : Creative Light Magazine - Issue 17

the boys Mark Lynham www.marklynham.com

Issue 17 - Creative Light Magazine :

s s i M onâ&#x20AC;&#x2122;t

! e n O t x e N the

Want to keep up-to-date with all the photography events? Please visit the PhotoHubs website - www.photohubs.co.uk and Sign-up for the PhotoHubs newsletter! PhotoHubs is the Photographic Hub for The Guild of Photographers Events 100 : Creative Light Magazine - Issue 17