Creative Light - Issue 20 by Guild of Photographers

Issue 20 - Creative Light Magazine :

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Contents 10

Rob Hill Guerilla Marketing

Hamish Scott-Brown New Panel Member

26 30

Heather Burns Craftsman Panel -Portraiture

36 43

John Retter Master Craftsman Glyn Dewis Photoshop Tips

Gold Awards May

58 62

Gold Awards April

72 74 80

Sian Shipley Craftsman Panel - Flora & Fauna

Peter Farrington The Falklands Penguins Imelda Bell Craftsman Panel -Portraiture

Jamie Morgan Hound Dog Portraits Storm Chaser Mike Olbinski

Front Cover â&#x20AC;&#x153;

Captured by John as the car is at the bottom of Paddock Hill, Brands Hatch in 2016. Using a long telephoto lens to help compress the perspective and make the hill behind the car look extremely steep, almost as if it was on a cliff edge. John wanted the car to be on the red and white line to maximise the impact. Shutter speed 1/60th second to create a slight blur as I followed the car down the hill.

john retter

Car: McLaren M1B Race: FIA Masters Historic Sports Cars Track: Brands Hatch (Paddock Hill) Date: May 2016 Drivers: Smith and Hoad

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STEVE & LESLEY THIRSK The Guild of Photographers

One of things Lesley and myself have being doing over the past couple of months is reviewing the Guild’s membership levels submission process to make sure it remains current. Whilst doing that, we reflected on the role of judges in general as well as the responsibilities of being a Guild approved photographic judge. Obviously, anyone can be a judge for a competition, and we all know of competitions where judges are selected because of their name, profile or position and not necessarily their judging skill. There’s often a huge gulf between between judges of that type and those who have gone through rigorous processes to become approved to judge for the Guild of Photographers (and some other associations too). To be approved to judge for the Guild is no mean feat! Our judges have had to prove themselves photographically and then over many months they review literally 1000’s of images, refining their skills, consistency and accuracy, as well as their flexibility and the willingness to listen to the views of others. The Guild’s Image of the Month Competition has attracted around 7500 entries so far this year .. and the standard is quite simply extraordinary, pushing both personal boundaries and those of the craft of photography! Entering any competition at this level is a big thing to do –and selecting what images to enter can be difficult as we are usually emotionally attached to our work. When we do enter judged competitions, and don’t do as well as expected, sometimes we like to question or blame the judges – Let’s face it, it’s much better than thinking our result is down to us. We also sometimes look at images on Social Media and think why did a particular image score what it did, believing the judges got it wrong…yet we forget we are viewing small compressed images rather than original images at full size on calibrated screens. In other words it will usually be us that is missing something and not the judges. We have our views and opinions based on our understanding and personal experience, but we have not been trained as judges so are looking at images through different glasses, to use a simple analogy. This becomes most apparent when people seek feedback or ask for mentoring, and the judge explains what they have seen that we have not. It’s amazing how many people miss the obvious until it’s pointed out! Mentoring through the Guild has to be one of the best services the Guild offers all its members. It allows members to link with very experienced photographers at the ‘top of their game’ It is bespoke and done on a direct 121 basis. It can help you bypass years of learning as you go along. From, the feedback we get we know it makes a huge difference to people, accelerating their photographic learning, which in turn can have a positive impact on business (for those in business of course). Mentors and judges get a huge amount of personal satisfaction from watching those they assist grow and achieve personal success. They have our utmost respect as they love to ‘pay it forward’! In this edition of Creative Light are several examples of people who, following mentoring have now gone on to obtain our highest membership levels. If you don’t yet have a mentor, do consider having one – you won’t look back! They will push you, get the best from you and walk with you on your personal photographic journey! In this edition you will also see that we are delighted to announce that the Guild has 3 fantastic new Trade Partners – Hahnemühle Fine Art Paper, Freedom Edits and Lemon Sky Actions…all of which have a great deal to offer members! Combine the above with some great articles and inspiring images – this is a great edition of Creative Light. Enjoy the read! Issue 20 - Creative Light Magazine :

Editor Tracey Inkson’s image of this puppy is my Editors Choice for this edition of Creative Light. Tracey entered this picture into February’s Image of the Month Competition, 2016. I just had to give this image a little bit more exposure as it’s definitely got the ‘R’ factor. What a great expression. My image for the magazine this month was taken at one of my favourite wedding venues in Nottinghamshire, Norwood Park, Southwell. A gorgeous venue and I particularly liked the way this image captured the couple’s wedding day and dimension created by the light breeze as it lifted the veil. Tip of the Month, Facebook is mobile first so you have to make sure that your Facebook adverts are optimised for Facebook users. If your website isn’t mobile friendly then Facebook can fill the void. But I would strongly recommend that you get your website updated to a mobile friendly version..

julie oswin

- Julie x

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www.julieoswintraining.com

editors choice Tracey Inkson Awarded Silver - IOM February 2016

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Guerilla Marketing: For Photographers Rob Hill spent 25 years in global technology marketing and now runs a small but successful marketing consultancy. Alongside this, he is a Master Craftsman with the Guild of Photographers and ‘All-Round Photographer of the Year for 2016. He also won the ‘Commercial Image of the Year’ category with the Guild. Rob recently launched a new product photography business marketingshotz.com

o much of marketing for small businesses seems to be about having an online presence website(s), social media, search engine optimisation, online advertising and more. Yet this puts your marketing into the hands of a few large corporations who ‘tinker’ with algorithms at will, thereby reducing the ‘reach’ of your hard-earned advertising budget. In this article, Rob Hill considers whether there are other things you can be doing as well to get your name and brand ‘out there’. In the many years that I worked in marketing, there are a few comments that stood out to me as being important. One that I particularly remember was a colleague saying:“Marketing is not about doing one thing perfectly - it is generally more successful to do several different things reasonably well.” This rings true to me. Generally speaking, a ‘one size fits all’ approach is rarely the best approach to marketing. Whatever your photographic discipline or genre, your customer base will be varied and read different media, some online and others offline. The ‘triggers’ that they respond to will be different. There is an argument that electronic / online forms of marketing are becoming saturated and differentiation is hard to achieve with them. Increasingly, a minority of companies are readding ‘old school’ techniques such as direct mail to their marketing mix - and seeing some success.

Guerilla Marketing In 1984, Jay Conrad Levinson published a book entitled “Guerilla Marketing”. The book rapidly became a best-seller and remains on Time Magazine’s list of ‘The 25 most influential business management books’ today, over thirty years since its publication.

rob hill

Sub-titled as ‘easy and inexpensive strategies for making big profits from your small business’, the now-famous book was predicated on the basis of spending less money on marketing, but investing time instead. Few small businesses can afford to spend significant amounts on marketing. While time is also often very scarce, it is often easier to find than cold, hard cash. The situation is somewhat ‘chicken and egg’ as start-up businesses need customers and a revenue stream before they can afford to advertise. If you search for ‘Guerilla Marketing’ you will see just how prevalent the topic (and technique) has become. Many people are making a living from becoming advocates of the technique, often taking their own ‘slant’ on Levinson’s original book.

Pros and Cons There are a number of benefits to taking an unconventional (‘Guerilla’) approach to your marketing. Firstly many of the constraints are thrown off; there is no longer a need to fit a

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particular advertising format, nor to comply with an online template. Increasingly, people dislike being ‘sold to’ and rapidly skip past adverts that look just like every other advert out there. The ability to differentiate your business is a key benefit of the guerilla approach. Almost every photographic discipline is saturated these days and, along with all the other companies trying every targeting technique known to man to get our attention, consumers are becoming ‘ad-blind’. Guerilla marketing gives you the freedom to create something that will get customers attention, in a positive way. Being distinctive is good for all brands but especially for new businesses trying to become known in crowded markets. Nothing ever comes for free, and there are some potential downsides to Guerilla Marketing. Firstly nothing is ever guaranteed. Depending on the tactics you choose, the ‘campaign’ may be a complete flop, or wildly successful. As you’re spending much more time than money, unsuccessful campaigns could become a significant drain on your time. As many Guerilla tactics tend to be ‘a bit off the wall’ then there is a potential for them to be misinterpreted, so testing the idea with friends and family first is always a good idea.

What could / should you do? Going back to the premise that you should be trying several things at any one time, I would suggest that you look at what you are doing from a marketing perspective. Perform an honest analysis - do you have too many ‘eggs in a particular basket’ - maybe Facebook, or just relying on your website. If you do, then research some of the Guerilla tactics that can easily be found online. Maybe use some directly, or dream up your own similar approach. Add these to your ‘marketing mix’ and monitor them to see what is working, and what is not working. Obviously continue with the techniques that are working. For those that are not performing as well you can either try to change them so that they work better, or maybe just replace them with a new idea. You should continue with this ongoing analysis and change - even ideas that work well now will become ‘tired’ and ineffective over time. - Rob Hill

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https://vimeo.com/95872574

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New Panel Member H

amish has a rich history in the professional industry, having first studied Photography at the prestigious Bournemouth Art College in the early 1980’s. He went on to work in the City of London assisting many famous names in the fashion world. He has received two Fellowships, one with the MPA and the other with the BIPP. Hamish was also the Peter Grugeon Award by BIPP for the best Fellowship Panel of the year). Hamish is an Associate of the RPS and a Guild Master Craftsman. His career and CV also include ten years as Principal University Lecturer, finally completing an MA in Photography in 2010. Hamish is a self-confessed ‘adverture junkie’ and his work takes him around the world on workshops from London to Ladakh, Vietnam and beyond with his overseas photography business, but his real passion is teaching, exploration, travel and social documentary portraiture.

hamish scott-brown

Q: What have you found most challenging in your area of photography? Marketing skills are not a great asset that I own and I remain in the debt of those that have helped me and assisted me in this area. I’ve often found too that many creatives, artists and photographers aren’t the best at shouting from the hilltops about their positive attributes and we do rely on help for marketing from the real professionals. I guess I’m one of those.

Camera equipment, what do you use for your Landscape and Social Documentary work? Since my time at Art School I’ve remained a pretty loyal Nikon follower. I started over 30 years ago with a couple of FEs, then moved to the infamous F3 range. Building up a kit of fast lenses went a bit haywire when the D range came out in 2000 and something as they were all DX sensors but I now use a D810 and a couple of D750s (which are amazing little cameras….lightweight, & incredibly good value) and prime lenses from 24mm, 28, 50 and 85mm and the ever popular 70-200 VR. Recently I bought a new Fuji X system and have that too as a lightweight travel kit. They are very good in fact but I still rely on the Nikons for anything that is low light.

Q: How essential to your equipment is your tripod?

For most of my particular work I don’t use a tripod. 99% of the portraiture and the reportage / documentary work is always hand held in available light and if I’m honest here, I hate using tripods as I personally find them restrictive, unless of course it’s a dedicated landscape shoot that requires the discipline, static point, care and slow shutter necessity when using Lee filters and NDs (neutral density filters). The recent award winning shot of the sunrise at Flecknoe was not a tripod image but a hand-held high ISO frame from the XT2 with the 50-140mm. I’d just bought the updated Fuji camera and took it out for a little test drive at dawn. The grainy combination of the high ISO and the contrasty lens worked really well….it was a single frame, no tripod, no filters, no real planning.

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Route 66, USA Hamish Scott-Brown Issue 20 - Creative Light Magazine :

Q: Post processing and Photoshop, how important it is to your finished image?

Nowadays I have to admit that post processing is a big part in my work and I think as an artist using a camera, it has to be. I appreciate that there will be many, (and I met plenty when I was doing my MA) who will shy away form the importance of post processing for whatever reasons. That’s ok if it fits the way you personally work, but for me and my work it’s essential. I have a system that works for me and it’s essentially using Adobe Lightroom as a database/ catalogue and RAW editor with the other finishing touches being done in Photoshop and Silver Efex for the black and whites. I’ll usually clean up the image first and prepare it ready for the styling and colouring and then output it back to Lightroom.

Q: Developing your market place, how important was it to create a brand?

Brand is everything and I’ve had some extremely good help from industry.

Have you any formal training from either Colleges or University? When I left school at 18, all I ever wanted to do was be a photographer and study photography. It was a great concern to my parents, but I fought them, gained a place at Art School and moved away from home and was there for 3 years. The place to go then was Bournemouth and that’s where I went. I left Bournemouth in the mid 80’s and worked in London as we all did and followed the usual practice of assisting and being paid very little but learning quite a lot. I took my Masters degree in photography later on in life as I was teaching latterly in a University and I felt the time was right to begin thinking more about what (metaphorically) lay behind the images I was taking and indeed the images I wanted to take in the future, I have Fellowships with both the MPA and the BIPP and Master Craftsman status of the Guild. In fact my Fellowship with the BIPP won me the Peter Grugeon award in 2010 for a series of images I took over a two year period of empty buildings across Europe. I also have an Associateship of the RPS. I never stop trying to learn and am always looking for the next project or competition to enter.

Q: What advice would you give to members of The Guild

of Photographers looking to sell or make a living from Landscape/Architectural or Commercial Photography? Have patience…. lot’s of it and prepare to be disappointed quite a lot of the time. The industry has changed hugely in the past 10 years and whereas photography was a career that may have been one from a trained background, with cameras and software offering endless opportunities and fast, quick fix solutions, the market has suddenly shrunk despite the growth of photography. Few professions in the world offer such a potentially high reward (financially) with little or no formal training. There are literally 1000’s of very talented photographers emerging (and it’s growing exponentially) from all four corners of the globe offering blisteringly good quality work for the huge demand.

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Q: Who inspires you? That’s a hard one to answer in a single answer. I’ve always loved the work of Nick Knight and the Italian photographer Paolo Roversi and his creative use of daylight and polaroid processes….going back to my days with film, 6x6 backs and non digital processes. However, I have really changed a lot over the years and I’ve moved away from studio influences and I’m driven more by documentary styled work and real things rather than staged stuff so I would have to say that my inspiration are photographers like Pentti Sammallahti and the Icelandic photographer Ragnar Axelsson and his B&W work. I also really loved the project done around the forgotten tribes and people by Jimmy Nelson and

I think it’s important to appreciate that we never stop learning. Photography has changed a lot in the last 30 years and indeed even more in the last 5 years and to remain successful and fresh we all need to appreciate that we don’t know it all and we never will. As the technology of image making and creating changes so does our own impression of what is perceived ‘a good’ or ‘excellent’ image’ That said there are fundamentals that never change and that’s why we can still look at an image by Avedon, Horst P Horst or David Bailey and still get the wow factor. Keeping your work fresh and avoiding just staying in a rut is important and I think we do that by being ‘sociable’ with our cameras….. maybe not always with the full intention of knowing we need to gain more knowledge but just mixing with other good photographers, talking with them on a day out, demonstrating ideas and styles and facilitating the sharing of free ideas is really worthwhile. I guess it’s like a ‘Pay it Forward’ approach – I’m really sure that if we shared more in a face to face environment of picture taking we would all learn not just to be better photographers but also better teachers.

Q: Favourite place in the world and why?

Number one has to be Home. There is nothing quite like your own bed after you have been travelling. The appreciation of home comforts and the love of my continued on page 21

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Â© Hamish Scott-Brown Issue 20 - Creative Light Magazine :

Â© Hamish Scott-Brown

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continued from page 17...

family, while reflecting on all the people you have met.. and then it would be India. It is a magical country that I wish I had visited when I was younger and had more time ahead of me. Every time I return there I feel I am experiencing quite a magical photographic experience. Kashmir is a photographer’s paradise and unfortunately it was abandoned from last year’s itinerary due to troubles flaring up out there again but I’m positive we’ll be running a tour there again in the future. Fingers crossed... law of attraction!

Q: Interesting facts about you? I do a particularly good impression of Shrek, particularly when I am cross I am told!

Q: Favourite place in the world and why? Number 1 has to be Home, there is nothing quite like your own bed after you have been travelling. The appreciation of home comforts and the love of my family, while reflecting on all the people you have met.. and then it would be India. It is a magical country that I wish I had visited when I was younger and had more time ahead of me. Every time I return there I feel I am experiencing quite a magical photographic experience. Kashmir is a photographer’s paradise and unfortunately it was abandoned from last year’s itinerary due to troubles flaring up out there again but I’m positive we’ll be running a tour there again in the future….. fingers crossed….law of attraction !

Q: Favourite food?

Puddings , I have a really sweet tooth - ice-cream mainly and my mother-in-laws amazing apple tart.

Three words that describe you?

Passionate, enthusiastic and aloverofdogs (one word, honestly)

And finally, where next?

Back to Rajasthan taking clients to into ‘Steve McCurry’ country in November and then Myanmar and Mandalay in January. On a personal trip, I will travel to Croatia and the Dalmatian Coast in the summer with my wife on a camping trip (my new passion) to explore the possibility of a photography tour there. - Hamish Scott-Brown MCrGPP FMPA FBIPP Website: www.hamishscottbrown.co.uk

Thank you for sharing your work with the Readers of Creative Light Magazine Hamish and we wish you every success for the future. - Julie Oswin Issue 20 - Creative Light Magazine :

“As a photographer, you are the creator of a visual image that will tell a story. Stories are narratives, some complex and others less so, all have a beginning, middle and end. A ‘photograph’ is a slice of time frozen and captured in a single moment. It is not just a meaningless image of something, it should also be about something and it’s a key skill to be able to think about this before, during and after the shutter has been clicked”. -

Hamish Scott-Brown

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Laura Helena Rubahn Laura Helena Rubahn is 27 years old and works as a trainer in Mannheim, Germany. In 2016, she was included in the top 100 of the world’s most influential photographers. She currently has over 100,000 fans on Facebook and Instagram. Find out more at www.datacolor.com/meetlaura “I have been active in the genre of fantasy photography for 7 years now. In a very short time, I deﬁned my own unique photographic style, which has nothing to do with reality. I invite people to dream and give them the opportunity to dive into a world of fantasy. It has always been important for me to live my life and enjoy it. To enchant people, to stage themselves, to design costumes, to travel around the world for my shootings and workshops that fulﬁl and motivate me every day. Aesthetics have always been important to me and in this genre it is possible for me to portray my thoughts, to tell stories and to realize myself. I am not only a photographer, I am an artist and I give my knowledge as a trainer in workshops and lectures around the world.”

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Mother Earth project “I am currently working on a new project, Project Mother. Project Mother will stage women in the most beautiful and protected landscapes around the world to demonstrate to people what we have on our planet. The focus is on beautiful, unique and protected landscapes. We have it in our hands to treat these landscapes with the respect they deserve. The goal of the project is to make it clear that we are part of Mother Earth. In order to stage the concept of “Mother Earth”, women and landscapes are linked together. The women will merge with the landscape and symbolize the term “mother”. The unique landscape is at the centre of the pictures and characterizes the term “earth”. The results should inspire and show the viewer what we have on our planet. The project will accumulate in a high-quality picture book. Part of the revenue from the project will go directly to nature conservation projects.”

Why is accurate colour so important for you? “Whether in my current genre or in my new project colours have always been an elementary part of my work with which I transport emotions and moods. Therefore, it is fatal, if these colours do not print the effect I had during the processing in my mind. Nothing is more annoying than a colour cast in an otherwise perfect and harmonious picture. Since I stage everything down to the smallest detail, nothing should go wrong in terms of colour. Playing with colours makes my pictures what they are - something special.” For the calibration of her display, Laura Helena prefers the Spyder5ELITE by Datacolor, which guarantees colour accuracy even in difﬁcult light conditions. For her, the Spyder5ELITE has proven to be an extremely precise and easy-to-use device, due to its small size and protection cap, which makes it perfect for traveling. Find out more about Laura Helena Rubahn www.datacolor.com/meetlaura ©2017 Datacolor Inc. All rights reserved. Datacolor and Spyder are registered trademarks of Datacolor.

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Â© Heather Burns CrGPP 26 : Creative Light Magazine - Issue 20

Heather Burns

Craftsman - Portraiture www.heatherburnsportfolio.co.uk

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Sian Shipley Craftsman - Professional www.sianshipleyphotography.co.uk

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The Guild’s new Trade Partners T

he Guild of Photographers are delighted to announce 3 more businesses that have joined them as Trade Partners. Guild members enjoy a closer working relationship with the suppliers who are Guild Trade Partners, usually exclusive discounts and special pricing just for them. Our new Trade Partners could possibly give you some of your life back, as all of them will deliver that precious commodity back to you…TIME! New to the Trade Partner Programme are Freedom Edits, LSP Actions by Lemon Sky and Hahnemühle Fine Art. Freedom Edits are a UK based business offering Image Editing, Image Culling and Image Album Design services to photographers around the globe. They have a simple and clear message – “…to empower photographers to build the business of their dreams and spend more time with their family and just do whatever the heck they want”. They believe that (on average) they can save a photographer OVER 34000 hours a year, giving them back roughly 3 months…freeing them up to, well…. they have already suggested that! This is a very personal business, you have an account handler who will always look after you, they will see ‘live’ how you like your images to be edited by a live initial ‘skype’ type call and from there on in your images will be edited how YOU like them to be. More details can be found here - https://www.freedomedits.com (Guild Members please log onto the Trade Partner Page on The Guild website for your very special pricing)

WANT TO GET YOUR LIFE BACK?

WANT TO SAVE 34,560 MINUTES A YEAR? EDITING | CULLING | ALBUM WWW.FREEDOMEDITS.COM

WE ARE FREEDOM

32 : Creative Light Magazine - Issue 20 PREMIER OUTSOURCING SOLOUTION FOR PHOTOGRAPHERS

Continuing the theme of saving you time, The Guild of delighted to announce a new Trade Partnership with LSP Actions by Lemon Sky. LSP Actions and presets for Photoshop and Lightroom have also saved photographers hours and hours of editing time, giving them back to their loved ones, AND helping create the ‘look’ of images their clients love. LSP Actions by Lemon Sky was imagined and created by a busy mum, a busy photographer and self-confessed ‘geek girl’ Lauren Bennet and has been used by over 4000 photographers worldwide and by such names as Ana Brandt of TAoPaN, Russ Jackson, Gary Hill, Tracy Willis, Karen Wiltshire, Elli Cassidy, Aoife Millea, Melanie East and MANY many more. The LSP Actions and presets have been designed with professional photographers in mind, aiming at all levels. The retouching tools are non-destructive, incredibly fast working and user friendly. Faster editing means a faster image turnover – Faster turnover means more clients through the door, happier clients and more free time for yourself… it’s that simple. https://www.lsp-actions.com (Guild Members please log onto the Trade Partner Page on The Guild website for your member only pricing)

Our Last new edition to The Guilds Trade Partner Programme is probably one of the oldest photographic businesses in the world. Established in 1584, and still leading the world with printing innovation, The Guild are delighted to announce that Hahnemühle Fine Art have joined them as a Trade Partner. Photographers and printers trust Hahnemühle, they understand the passion for printing and paper this business exudes and when they want continued quality and the best there is only one place to go. Based in Germany, with offices around the world and the UK, Hahnemühle is the paper to trust for any printing requirement. Offering a tried and tested full range of fine art printing paper and more recently launched a full range of photographic paper. So where is the ‘time saving’ with this business…well they also offer free ICC profiles for the digital printing colour management making for the best possible results, meaning you print the once, saving you time and money. https://www.hahnemuehle.com/en/index.html

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5 Reasons Every Photographer Needs a Website With so many free solutions to display your photography online these days, do you really need a website? If you’re serious about your photography, the answer is most certainly Yes. Will Nicholls, award-winning wildlife photographer and Zenfolio Ambassador, shares his top five reasons every photographer needs a website.

1. YOU’RE IN CONTROL Perhaps you’re relying solely on posting your photos to social media at the moment. Social media is great, but if that is your only method of showing your work then you’re not in control. With ever-changing algorithms, it’s increasingly difficult to get noticed on social media—not to mention the fact that many sites compress your images. It’s hardly the best place to showcase your work in all its glory. With your own website you’re in control without any interference from social media giants, who may ultimately compress your images and restrict who can see your work. 2. MAKE MORE MONEY When you host your website with Zenfolio, you can create a professional online storefront for your images in just a few clicks. I love getting an email telling me that one of my photos has been purchased by a customer, and I can relax knowing that Zenfolio will automatically take care of the fulfilment aspect through their network of high-quality integrated print labs (like One Vision Imaging in the UK). I just sit back, relax and enjoy the profits! 3. A HUB FOR YOUR CLIENTS If you already sell your photos, then you really need a website to send potential clients to. Perhaps you’re selling prints and cards at markets but don’t See Will’s beautiful website and images at willnicholls.co.uk have a way to sell other than inperson. If so, then you’re almost certainly losing out on sales. My online sales numbers always increase after I’ve been at a trade show and people have picked up my business card. Even if you’re not actively selling your work, you may be taken by surprise when a company gets in touch wanting to license one of your photos. The biggest license I ever sold came via Flickr, when an advertising company working for a mobile service provider tracked down a photo of mine. They simply searched my name online, found my website, then placed their order. To this day, it remains my most profitable sale!

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4. A SECURE ONLINE BACKUP One of the more important reasons for having a website is that keeping photos online provides an essential backup for your photos. With Zenfolio I upload my full-resolution images (up to 64MB per file), which are then resized into several smaller versions for online display, ensuring my original full-res files remain secure, and my photos will adapt to look good on any device. The high-res files are only available to you (unless you choose otherwise), so in the unfortunate case of a hard drive crash, you can always go back into your account and download the full-resolution versions. 5. THE SENSE OF ACHIEVEMENT Finally, a professional website for your photography is a beautiful way to showcase your work. Being able to create a secure online showcase of your best photos gives you a resource you can truly be proud of. In addition to being an impressive destination to send clients and make sales, you can also easily share your website with family and friends to enjoyâ&#x20AC;Ś who in turn can share with their own networks to help drive more business to your site.

Websites | Marketing | Proofing | Selling

Get 30% Off Your Site Use Code GUILD zenfolio.co.uk/guild

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Master Craftsman John Retter

Â© John Retter

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“

I have been a motoring enthusiast and a keen photographer for many years. When I left my job in the City of London in 2009, I decided to follow my interests and in 2010 produced a book on the Royal Automobile Club Woodcote Trophy Race Series. The book received a lot of positive feedback and encouraged me to set up a professional photography business in the summer of 2011. I have always tried to develop a distinctive style in my work, which captures the drama, excitement and a sense of motion in a motor race. There is extensive use of slow shutter speeds and panning in my work to create a sense of movement and action, which creates heavily blurred backgrounds, and therefore the viewer’s eye is naturally drawn towards the car. The owners and drivers of the cars constituted the first audience for my work, and they appreciated my style as it made their cars look good. I am very pleased with the way my photographic activities have progressed. My photography is a style that appeals to me and has won some prizes and attracts high-quality clients. My customer base spans everything from individuals to the largest companies in the specialist area in which I operate. Going forward, I plan to expand the more artistic side of my photography and stage some major exhibitions. An important car dealer in Mayfair has kindly offered to let me use his impressive showroom to host another exhibition. I have a selection of thirty images on permanent display at the Royal Automobile Club in Pall Mall and hope to organise an exhibition there in the future. I am always looking for ways to improve my photographs as you can never stand still”. - John Retter www.johnretterphotography.com

Creative Light Magazine would like to thank John for sharing his superb images with the readers and take this opportunity to congratulate John on his successful Master Craftsman submission and wish him all the very best for the future.

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TIP SHEET #14 How to Reduce Skin Reddening

I don’t think I’d be wrong to say this but sometimes we can overlook the power of what is viewed as a Basic or Beginners Tool in Photoshop. A Prime example for me is Quick Mask - not really viewed as being an Advanced Tool but can be incredibly useful when making seections and is one I turn to a lot in conjunction with other tools. In fact I always say there’s no such thing as Advanced Photoshop. I think it should be viewed as ‘Experienced’ Photoshop because anyone can learn techniques but the Advanced side (for want of a better word) is knowing what techniques to use and also how to use them in conjunction with others to produce a desired result. In this tutorial I show you how to use a simple Hue/Saturation Adjustment Layer to quickly and easily remove skin reddening and by doing so show you a couple of extra little tips along the way. Enjoy

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Let’s first of all run through some basics of using Hue/Saturation to change colours... In this picture changing the blue to another colour couldn’t be easier... Simply click to add a Hue/ Saturation Adjustment Layer, choose Blues from the drop down menu then simply drag the Hue slider left or right to pick the colour you want.

Sometimes though the colour you want to change may not be quite so even in tone and may have bright parts, dark parts or maybe even areas that contain other colours such as in the window of this Lamborghini. The car had originally been photographed outside and was then cut from it’s original background and placed into a new scene. However to fake the reality the blue in the windows needed to be removed.

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/glyndewis

With Hue/Saturation when we choose Blues (or any other colour for that matter) from the drop down menu, we can then bunch up the markers at the bottom of the properties and then simply choose the + Sampler and drag across the area containing the colour you want to change. As we do this the markers then start to split as more and more colours are detected underneath the sampler and then any colour between the markers is what you can then adjust using the Hue, Saturation and Lightness sliders. Note: I cover this in much more detail in Episode 82 of my Weekly Show over on my YouTube Channel CLICK HERE

Now letâ&#x20AC;&#x2122;s take it a step further and show how we can reduce the reddening in skin just by using a Hue / Saturation Adjustment Layer...

Before

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After

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Step 1: Add a Hue/Saturation Adjustment Layer and from the Master drop down menu choose Reds

Step 2: So that we can see clearly exactly what is being classed as â&#x20AC;&#x2DC;Redâ&#x20AC;&#x2122; in our image, increase the Saturation to +100

When we increase the Saturation we can clearly see exactly what areas will be affected having chosen Reds from the Master Menu...

The areas where the reddening was showing up the most were around the cheeks and nose and we can see here that these areas are even more saturated than surrounding areas.

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/glyndewis

Step 3: Click in the centre area of the markers and drag left / right to narrow down the area that the ‘Reds’ contains.

Note: In this example I dragged the markers to the left which then narrowed down the ‘Reds’ to only include the more saturated areas which happens to be where the skin redening appears...

Step 4: The final step is to now simply use the Hue slider to reduce / remove the Reddening. In this example I simply dragged the Hue slider to the right to add in some CYAN which is the opposite colour in the Colour Wheel and so cancels out the Reds. Note: If there are areas affected that you don’t want to be e.g. the lips then simply paint on the layer mask with a blck brush to hide the effect of the Hue/Saturation Adjustment.

CHECK OUT MY YOUTUBE PAGE FOR 100’S OF FREE TUTORIALS

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congratulations Qualified Guild Professional Photographers Reef Fakhoury June 2017 Issue 20 - Creative Light Magazine :

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Gold Awards

ÂŠ Martin Leckie

April 2017

ÂŠ Mary Halton

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Gold Awards

April 2017

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Gold Awards

May 2017

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The Penguins of The Falklands Peteâ&#x20AC;&#x2122;s interest in photography started when he used to go out with his Grandad and watch him take photographs of aircraft. It was only recently, in fact only a few years ago that I realised I too enjoyed taking images and capturing memories. My photography started with a passion for Aviation photography, but I have now moved towards Landscape, Wildlife and Portraits. Starting off with a FujiFilm Finepix single lens camera I quickly moved over to Sony A58 and the A230 cameras. I have a variety of lenses but the I use for my wildlife is the Sigma 150-500mm. Photography for me is a hobby but it has become a part of my life, and itâ&#x20AC;&#x2122;s great fun. I recently registered with The Guild of Photographers and attended the Qualifications Day at their Head Office with Julie Oswin and Kevin Pengelly, and I look forward to developing my skills. My work on my Qualified Panel for The Guild of Photographers has started, and I am thrilled that during my first five months with The Guild I have achieved several bronzes for images of the penguins in their Image of the Month competition.

peter farrington

I am very fortunate and feel blessed that my job with the Royal Air Force I can travel to the Falkland Islands to work and to have an incredible opportunity to see wildlife in its natural habitat.

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ÂŠ Peter Farrington

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ÂŠ Peter Farrington Issue 20 - Creative Light Magazine :

ÂŠ Peter Farrington

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n the Falklands, Gentoo Penguins are present all year round and are dotted all around the coastline of the Island. The Gentoo Penguins are the second largest penguin on the islands, and they stand 75cm tall, have a distinctive white bar over the crown of the head, a long orange and black bill with a blue-black coat with orange feet. Bertha’s Beach is where I first met these guys. Stunning white sand and blue water as far as the eye can see and a short 15-minute drive from the military complex. Walking along the beach you would be forgiven for thinking that you were on a wild goose chase, but patience did pay off a mile and a half along the beach because I got my first sighting of a Gentoo Penguin. In the distance, I could see hundreds more, like ants as I followed them up over the hill, past the sheep and gulls towards the two largest colonies on the islands. I enjoyed the trip to the Gentoo Penguins so much that I decided I wanted to photograph everyone’s favourite penguin, The King Penguin. I enjoyed that trip so much I wanted to get pictures of everyone’s favourite Penguins. The Kings. I booked a flight on the famous blue and white Sikorsky Helicopters of the British International Helicopter Services fleet that operate from RAF Mount Pleasant in the Falklands. They are used every day for military transport and land logistic support around the islands. There are few roads and a twelvemile strip of sea separating the two largest islands. The helicopter took me to Volunteer Point, and it wasn’t long before I caught my first sighting of the wildlife on the islands. The King Penguins are truly majestic birds and are the largest of the Penguins on the Falklands. Standing 3 feet tall, they have beautiful bright orange ear patches which lead down to their orange-yellow neck, silver-white breast and a blue-black coat. King Penguin chicks with their thick fluffy brown plumage look like something out of Batman, The Dark Knight. It didn’t take long for the bug to take more photographs took hold and to be truthfully honest, that day taking photographing King Penguins my dream of taking up photography as a career started. On Christmas Eve I was offered the chance of a flight to go to Sea Lion Island or work? It was a no-brainer, I couldn’t grab my camera quick enough. It was on Sea Lion Island that I first saw the Southern Rockhopper Penguin, or, as l like to call them, ‘Bad Hair Day Penguins’. They are the smallest penguins that populate the Falklands, but that takes nothing away from how amazing they look with their yellow eyebrows and yellow plumes hanging above and behind their bright red eyes. True to their name, they hop all over the rocks and share their habitat with other birds including Cormorants. At just 6.5 km (4 miles) from Stanley, Gypsy Cove is the most accessible wildlife site from the capital city, a small bay with its white sandy beach and sheltered from prevailing winds. Part of the Cape Pembroke peninsula is a National Nature Reserve where you will see the colony of the Magellanic Penguins, also known as Jackass Penguins because of their braying sounds. They breed on the islands and nest underground in burrows. A variety of bird life found on the peninsula are Oyster Catchers, Black-Crowned Night Herons, Long-tailed Meadowlark, Two-banded Plovers, Upland and Kelp Geese and the Flightless Steamer Duck. Occasionally Sea Lions visit. Finally, you really can’t go to the Falkland Islands without visiting Stanley. At Stanley, you will find a wealth of information, an excellent place for a coffee or something stronger as well as souvenir shops. The locals are lovely and are always happy to help. - Pete Farrington

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Craftsman - Portrait Photography www.photographybyimelda.co.uk

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Kennel Club Dog Photographer of the Year

jamie morgan

The Kennel Club announced Jamie Morgan as the winner of Portrait Category in its annual Dog Photographer of the Year competition with a staggering 13,000 entries from 90 different countries. The Kennel Club’s Photographer of the Year competition consists of eight categories: Portrait, Man’s Best Friend, Dogs at Play, Dogs at Work, Puppy, Oldies, Under 18’s Category, I love Dogs Because and Assistance Dogs and Dogs Charities. Chief Executive said “the entries for this years Dog Photographer of the Year competition were some of the best we have ever seen. Choosing the winners was an incredibly challenging task, and we commend every photographer who entered. Each of the winning photographers beautifully captured the essence of their canine subjects on camera, demonstrating how important dogs are to us in every walk of life. The winners showed great technical skill, and we look forward to seeing more work from them in the future” Shortly after winning The Kennel Club’s Dog Photographer of the Year Jamie’s life was suddenly turned upside down when his electrical business he had run for 15 years hit problems as well as personal relationship breakdown which resulted in Jamie being made homeless. With a lot of hard work and determination Jamie started his dog photography business, Hound Dog Photography and has never looked back.

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“having grown up in a farming family in the beautiful county of Kent, the outdoors has always had a place in my heart. After an extended period of running a hectic business, it was time for a lifestyle change and in 2015 I starting training and working as a Dog Photographer. I have a real love of hounds, and as the owner of Tri, a Saluki/Lurcher cross and a Whippet called Harry so when starting a personal project to photograph more than 200 breeds of dog, where better than to start with the hound breed? After several months of hard work, determination and support from ‘Hounds First Sighthound Rescue’ who fostered Harry, Jamie got his life back on track and relocated to the Peak District, where he is now settled and reunited with Harry and his beloved Tri. Says Jamie “I’ll never be able to repay Hounds First and the foster carer for their kindness, patience and support, but by training with the search and rescue team, becoming a volunteer for Hounds First, and with my photography work, I aim to try, not only ‘pay them back’ but to ‘pay it forward’ as well”.

Creative Light Magazine would like to thank Jamie for sharing his story with the readers and wish him every success in the future with his Dog Photography business and many hours of happy and peaceful walking in the Peak District with Harry and Tri. - Julie Oswin

Jamie Morgan can be contacted via his website - www.hounddogphotography.co.uk

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congratulations Qualified Guild Professional Photographers Russ Kemp April 2017 Issue 20 - Creative Light Magazine :

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I’ve always loved the weather. Even as a little kid, I remember watching thunderstorms with my dad out on the patio, or with my brother out of our windows late at night when we were supposed to be sleeping. Years later when I was talking to some storm chasers and listening to their stories, there seemed to be one common element running throughout: they had all had an experience with weather that still holds a vivid memory. Mine was a night sitting with my dad in the backyard. A lightning bolt hit the ground behind our house, maybe 200 metres away. It was so bright that I remember being blinded for 4-5 seconds. It was incredible to experience something so up close, and so it didn’t surprise me at all that lightning photography was my first love. But that didn’t happen until much later in life. I get the same question over and over from people: how did you become a storm chaser? The answer to this is basically made up of three reasons. The first was this sudden interest in lightning photography in my early 30s. The second was the television programme Storm Chasers on The Discovery Channel. While the third was my daughter, Lyla. When Lyla was born, all I wanted to do was take pictures of her. After all, that’s what all new dads do, right? I had a little point-and-shoot camera that I would put into macro mode and then take close up photographs of her face, which I thought was very ‘artsy’. As well as this, the camera could also take three shots a second, so I started driving down the road to an empty field to try and take lightning images with it. On the third night I caught a crazy bolt and was completely and utterly hooked. In order to increase my chances at capturing lightning, I knew I needed a better camera: a DSLR that could do long exposures. My wife Jina, who was always so supportive, agreed to help me sell all our DVDs to raise some money so that I could buy this camera. And we did it. We made around $500 and with that I purchased my first Canon Rebel. As I started doing more landscape and storm photography, I also developed more of an interest in taking pictures of people. Obviously it started with non-stop photos of my daughter, but then one day someone asked me to do their family photos. And then another person did. And then it was a wedding. And then it was lots of weddings. Around the same time that I picked up the new camera, I began to be inspired by the Storm Chasers television programme. I realised that I didn’t have to stay around my house to capture lightning, I could venture out further and further. That is essentially how things began for me. Every year I would chase more and more, further and further: 8,000 miles, 10,000 miles, 12,000, 14,000, 17,000. And that was only in Arizona. As my skills grew and my passion increased, I would also chase the big supercells and tornadoes that appear on the central plains of the United States each spring. My favourite part of the entire story of how I got started, is that not only was my daughter part of what inspired me to become a photographer in the first place, but that she has now been chasing storms with me in Arizona since she was about a year and a half. Naturally, to begin with this just involved her watching DVDs and taking naps while I drove. However, she now has her own iPad, looks at radar and spots lightning for me. What’s more, two years ago, our little boy Eli started coming along as well. I’m so blessed to have a job where I can also take my kids along for the ride. When I first began this journey, it wasn’t for money or fame. I didn’t have any goals. Pure and utter passion drove me. And it still does. But in 2011, my life would change. Doors would be opened. And the direction my storm chasing was taking me would become clearer. On 5 July 2011 I received a text with a photo of a dust storm rolling into the Phoenix area from the southeast. The day before I had just started practicing time- lapse photography and when I heard about a dust storm heading my way, I grabbed my gear and headed to a parking garage down the street. A few months earlier, I had found this garage that overlooks downtown Phoenix and at the time had thought that a time-lapse of a dust storm over the city would really give people an idea of how large these things can be. As I pulled 80 : Creative Light Magazine - Issue 20

up to the top of the parking garage, my jaw dropped. But I had to focus on getting the camera setup. I got the tripod out, attached the camera, focused, started my intervalometer and as my camera started taking photos, I took a step back and stared. The sky before me was unlike anything I’d ever seen. A massive wall of dust was headed my way. Not the normal dust storms you tend to see out here. No, this was like the end of the world. The wall was dense, thick and as tall as the clouds. It looked like a scene from the movie Independence Day. The National Weather Service would later say it was over 100 miles wide and a mile high. As I stood there watching with my jaw on the floor, the one thing going through my brain was ‘This might finally be the one thing that gets me on the Weather Channel tonight!’. Little did I know it would go way way beyond that. When I got home that night, I put the time-lapse together and posted it on Vimeo. I titled the video ‘Massive Haboob Hits Phoenix, Arizona’. The word haboob wasn’t a common one at the time, but it has been used in meteorological circles and weather almanacs here in Arizona since the 1960s. I had also seen photographs of huge dust storms from the Middle East, where they also called them haboobs. And if I’d ever seen one of those incredible Middle East haboobs over in Arizona, it was the one that night. Within a few hours of posting, the video went viral and by that night it was all over the United States - I was even woken up at 5am the next morning by calls from CNN and The Weather Channel. I did interviews with local stations that day and within 36 hours, it was being shared around the world. I remember getting a call from a teacher in the Philippines asking it if it was okay to share the video in her classroom. The next week was a blur. Phone calls from National Geographic, major news networks, production companies and people wanting to use the video in commercials. The most amazing moment though for me was the day when I received a phone call from Al Gore’s office, asking if they could use the footage in their climate change presentations. I was absolutely blown away. Since then my fine art photography and timelapse work have been seen in countless magazines, productions, commercials, documentaries, movies and many other places. A few years later, a time-lapse I shot of a supercell in Texas even ended up in the movie Thor: The Dark World. That dust storm I photographed on 5 July didn’t just get me on the Weather Channel. It propelled my life in a direction that I could only have dreamed about. I’m now a full-time photographer and split my time between shooting weddings and chasing storms. When I’m not out doing that, I’m working from my house and spending time with my wife and kids. What could possibly be better?

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Casa Grande, AZ Lightning bolts rain down just south of Casa Grande. A friend of mine once texted me one night and then added something about beautiful, huge clouds over where they lived, which was Queen Creek. I opened my front door from downtown and saw a monster cloud looming over the Sacaton area. I pulled up the radar and wow: storms had just popped up out of nowhere down there, all the way to Picacho Peak and Marana. I threw my gear and daughter in the car, blasted south and sat in this one spot for about an hour and just photographed the lightning. It was almost stationary for the entire time, although it did get a bit closer towards the end, and this is one of the images I took. The lights are those of Casa Grande and I was sitting just north of there. You can also see some blowing dust on the horizon where the strikes had landed.

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Blair, OK A lightning bolt lands in a field near Blair, Oklahoma.. On this trip I had decided out of nowhere to fly out to the plains and chase some storms for two days. I didn’t even make the final decision until 12:45am on Tuesday, which was five and a half hours before my flight left. But I’m glad I went. This image was taken north of Blair, Oklahoma. I caught all kinds of strikes, but this one was the craziest. The bolts were landing all around me, so I quickly set up the camera and jumped back into the car. I didn’t even see this strike because I must have been looking at the radar or something, but I definitely saw a huge flash and the crack of thunder was amazing. You can even see where it lands, which I guess was about a quarter of a mile away, or less. It was super close and pretty freaky to have strikes everywhere. What a blast!

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Camp Verde, AZ A few moments after the sun set, lightning begins to strike in the high deserts south of Camp Verde, Arizona. I had made a run up to Grand Falls, Arizona to meet my buddy, Dee, in the hope of catching a flash flood, but it was already running like crazy, so we headed back south to catch up with a line of outflow heading southwest off the Mogollon Rim. I kept saying that we needed these storms to hang around until around 7:45 when the sun would be down so we could shoot some lightning. Sure enough, as we got south of Camp Verde, a beautiful cell was firing up and we pulled off at one of my favourite spots along Interstate 17. We captured this around 7:57pm. These were slow moving storms, so the rain shaft just sat there forever and slowly moved to the south. Although it wasnâ&#x20AC;&#x2122;t going nuts with lightning, the ones that did fire were beautiful.freaky to have strikes everywhere. What a blast!

storm chasers

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CONCLUSION Somewhere in Texas.... The past five years have been a blur in many ways. I’ve loved the weather my entire life, but my storm chasing career truly took off with that dust storm on 5 July 2011. Since then I’ve improved my craft, expanded where I chase and how much I chase, and moved from only doing photography to adding time-lapse images to my skillset. I run workshops, storm chasing tours and mentoring sessions. My work has since appeared all over the world; from magazines, calendars, post cards and books, to documentaries, commercials and even a blockbuster film. But this photo I took of myself in Texas, watching a dying thunderstorm at sunset, is truly what it’s all about for me. Hitting the road, unsure of what I’ll see and doing my best to capture it as best as I know how. A camera, a lens and a storm. It’s what I love. - Mike Oldbinski

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congratulations Qualified Guild Professional Photographers John Ferrett May 2017 90 : Creative Light Magazine - Issue 20

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congratulations Qualified Guild Professional Photographers Deborah Oâ&#x20AC;&#x2122;Connor April 2017 92 : Creative Light Magazine - Issue 20

congratulations Qualified Guild Photographers Kyle Smith June 2017

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congratulations Qualified Guild Newborn & Baby Photographers Claire Osborne June 2017

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Â© Tim Kemple

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Power in all the right places Profoto B1X The Profoto B1X improves on the B1 in three significant areas: power, power and power. A more powerful modeling light, a more powerful battery and extended HSS power range. Add to that two new OCF reflectors and youâ&#x20AC;&#x2122;ll find with the B1X, weâ&#x20AC;&#x2122;ve redefined the on-location flash yet again. Discover the B1X at profoto.com Issue 20 - Creative Light Magazine :

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congratulations Qualified Guild Professional Photographers Phil Green May 2017 Issue 20 - Creative Light Magazine :

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congratulations Qualified Guild Photographer Iain Jack April 2017

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congratulations Qualified Guild Wedding Photographers Carol Higgins May 2017

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