Creative Light - Issue 21 by Guild of Photographers

wedding photography - gordon mcgowan photographing book covers - dave wall photoshop tips - Glyn Dewis Architectural PHOTOGRAPHY - MARTINE HAMILTON-KNIGHT

Issue 21 - Creative Light Magazine :

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Contents 8

Gordon McGowan New Panel Member

Harry Lessman Queernâ&#x20AC;&#x2122;s Household Cavalry

Glyn Dewis Photoshop Techniques

Gold Awards June 2017

Gold Awards July 2017

Martine Hamilton-Knight Architectural Photographer

Rob Hill May

Dave Wall Photographing Book Covers

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Front Cover “

This image, captured on the shores of Loch Lomond is an area I explore to find different locations with the correct lighting and weather conditions for my style of photography to work. Milarrochy Bay is a place I visit on numerous evenings to try and get the perfect combination of clear skies and no wind. Famous for a tree on the water’s edge I was looking capture the quiet emptiness of this space from a different angle. After walking around the shores trying to avoid the midges, a task which I failed miserably at, looking for various aspects which I felt would make an active composition. Once found, I started setting up for the sunset, and everything was pointing towards a bit of a glow over the hills. My reward with the beautiful sunset and also being eaten alive!

iain poole

I am delighted with this image showing the glow of a beautiful sunset, stunning colours, and my favourite landscape of the year so far”. - Iain Poole

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STEVE & LESLEY THIRSK The Guild of Photographers

Summer is one of the busiest times of the year for photographers, especially those involved with weddings. It’s also the time of the year when we can see a spike in complaints about photographers, so, for those in business, it’s a good time to review that you have good insurance, just in case the worst should happen. Public Liability and Professional Indemnity are, in our opinion, an absolute ‘must’ for those in business, and isn’t really that expensive. We recommend InFocus insurance for such cover, basically because they give such great support if the ‘wheel ever wobbles’. Let’s face it, the most expensive insurance policy you’ll ever have is the one that doesn’t pay out when you need it too. We wouldn’t have been linked to the same insurance company for nearly 30 years unless their support of our members was unquestionable! They are competitively priced too, and all Guild members get 12 months cover for the price of 11 months! ‘Pro’ members of the Guild automatically get a huge amount of legal cover and business support within their membership. It’s reassuring to have, as it covers a huge amount of other eventualities that Pl and PI don’t cover - as well as direct 24/7 access to a legal helpline 365 days a year! It also includes ’contract dispute cover’, ‘debt recovery’, ‘employment protection’, and even ‘Tax Investigation Protection’ which typically costs in the region of £150-£200 when purchased independently. There’s a huge amount more included too. You can find out more HERE (It’s been a very busy summer for the Guild as well as photographers. A great new benefit for members has come from the Guild’s new partnership with Icon Publications, arranged in the past couple of months. All members now get a subscription to the highly regarded ‘CameraCraft’ magazine, included in their membership. If you are not familiar with it, CameraCraft is an independent top end bi-monthly publication available on the High Street at £8.25 per edition (£49.50 a year). This will compliment Creative Light, giving the members the best of both worlds (a physical magazine which is independent plus an online one which is Guild run)! During the Summer we have also been working on a new feature for the Winter months, and we’ve originally named it ‘Winter Wednesdays’. From September, through to Christmas we will either be hosting or releasing something of interest each Wednesday. Every couple of weeks Michael Rammell will having an insightful chat with someone from the photographic world and releasing a PodCast of that conversation. Also, once every 4 weeks members will be given free access to an educational webinar from Engage Live’s huge collection, starting with one on how to use ‘Instagram’ to best effect. Finally, there will be a ‘Live’ broadcast once a month too! It’s scary to think that the Autumn and Winter months aren’t far away. This year has gone so quickly. It feels like that we will only have to blink and the 2 day Coventry PhotoHubs will be upon us in mid-November. If you haven’t booked for that do – With speakers like Ana Brandt, Nina Mace and Damian McGillicuddy to name but 3 it’s bound to be informative and fun. You can find out more HERE Back to today! Julie has pulled together another great edition of Creative Light, and it’s great to introduce the very talented Gordon McGowen as a Guild Panel Member! Do enjoy the read (and don’t forget that members can download copies).

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Editor Imelda Bell’s image of a cat is my Editors Choice for this edition of Creative Light. Imelda entered this picture into July’s Image of the Month Competition, 2017. I just had to give this image a little bit more exposure as it’s definitely got the ‘R’ factor. What a fabulous capture of the cat’s natural and ‘wild’ expression. Superb. 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. Facebook is mobile first so you have to make sure that your Facebook adverts are optimised for Facebook users. I am thrilled to share a fabulous interview with Gordon McGowan, The Guild’s latest addition to the Panel. Gordon gives a real insight into his long and successful wedding photography business and passes on some invaluable tips for your photography.

julie oswin

September is upon us and for Portrait Photographers it is time to start planning your Christmas Campaigns! - Julie

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editors choice Imelda Bell Awarded Silver - July 2017

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New Panel Member

Gordon McGowan Receiving worldwide acclaim Gordons’s passion for wedding photography and vision changed the direction of Wedding Photography, and he has inspired many photographers throughout the World. Awarded two Wedding Fellowships with both The Masters Photographers Association (MPA) and the British Institute of Professional Photography (BIPP), Gordon’s unique artistry and craftsmanship of wedding photography sets him apart as one of the most recognisable and influential photographers of modern digital wedding photography.

How has your style of photography developed?

When I think back to when I was photographing weddings, I realise I didn’t work for the couple I used to work for myself. Yes, they gave me a list of family photographs, but the rest of the wedding was focused on the personalities of the guests, the couple and what I saw and photographed. I think that was one of the major factors to my success and couples loved it. They were always happy with that. They trusted me to take good pictures of them, and that’s what enabled me to build my style of photography.

What have you found most challenging in your career as a Wedding Photographer? Running a business is challenge. Thinking up new ideas, all the things that take time and to make sure your customers are happy.

Apart from sheer hard-work and dedication, what would you say is the main ingredient to your imagery? Posing. Definitely the posing. I create pictures with three elements: a background, a pose to suit the background and an expression to suit the pose. That is the way and always has been the way I create my pictures.

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Â© Copyright of Gordon McGowan http://www.gordonmcgowan.co.uk

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Q: Camera equipment, what do you use for your Photography? Canon MkIII, a 24-105mm lens and a fisheye. The 24-105mm is a superb lens. That’s all I have. I do not see the point of changing lenses all the time. What I would like to say is remember that you have ‘feet’. Use your legs to move in and out of shots. To communicate with the couple, you don’t need to be too far away. Personally what I don’t like about long telephoto lenses is the bokeh. I like to see the location, especially in Scotland. Couples have paid a lot of money for the venue and the location, and it is one of my major points with photography. Yes I like the background slightly out of focus but I like to see the location. I had a 70-200mm lens delivered, and I sent it back the next day, I hated it because I didn’t like the fact that I was so far away from the couple and I didn’t like the effect on the background. To be perfectly honest the 24105mm is such a superb lens, and I do not care that it is an F4.

Q:What advice would you give to photographers about shooting weddings? It is important to remember that every wedding is completely different. You have to get on with the people you photograph. Take control and don’t rely on the guests doing things and expect to get all the reactions and expressions without any action taking place. One wedding you might get fabulous candid shots, but the next might be the most boring wedding you have ever been to, and you’re not going to get those images. It’s important to show a variety of work when having a meeting with potential clients don’t show in your albums all these off-the-cuff-shots because you will come unstuck. As a photographer, in my opinion, there has to be action to be able to photograph a reaction. That is why it is so important to be a people person, and it is where your personality comes in. Your character and personality are paramount in becoming a wedding photographer. Group shots were necessary to our busines as we took time out to get to know people, interact with people and that is what is so important to a couple. Get to know your couples - find out what makes them tick. I always used to ask the couple if there was anything that they didn’t like about themselves, and then they would to tell me. I then I made sure that I didn’t highlight those in the pictures. I use to write it on my hand so that I didn’t forget. What is wrong with interacting with a bride and groom on their wedding day? There is nothing wrong with doing that, and there is nothing wrong with doing posed pictures it is just fabulous, and is the best part of it.

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

To me, that is the ultimate. When I take pictures, I have in my mind what I am going to do with the picture. It is just seeing the picture to start with. I darken down the sky, crop for impact, but I don’t do a lot of work to my images. I like to people to think I do a lot to my pictures, but I don’t. I still use the old 5.5 version of Photoshop, the ancient one! The latest version of Photoshop is more for graphic designers, and I don’t think you need to spend money on everything that comes out. Learn to control what you take, and use your imagination rather than somebody else’s and develop your style.

Developing your market place, how important was it to create a brand? One of the first things I did when I started was to get my name out there. I had to impress my clients and study other photographers. One person in particular, was Keith Thompson. When I saw his work I decided that I was going to go down that same route but do it my way. I adopted the blue tone on my images, and that became my brand at the time because nobody else was doing it - the whole album was blue toned black & white images. Then when I saw Trevor Yerbury photographing brides on grave stones, I thought that was fantastic and decided I was going to do that. So, I got the bride to lay down on a gravestone and it got into the national newspapers which then propelled me and my wedding photography business forward. I got a lot of wedding bookings out of newspaper coverage. People are always looking for something different even though the Church of Scotland wasn’t too happy with me! But, at the end of the day, I attracted different types of couples to my photography and had created my brand of wedding photography.

What’s your advice on posing?

It is all about the details in an image for me - an image has have a beautifully posed couple, capture the emotion and NO alien hands!! I put a lot of work into posing couples. My advice is to experiment more and look at the fashion magazines - there are some terrific images out there. Also, show that the couple are in love - when does a couple look at each other at two inches apart!? Turn the bride towards the camera and get the groom to kiss her cheek, that is more intimate than a full on kiss on the lips which incidentally the Mother of the Bride will not buy, because she wants to see her daughter. It was an image I always sold.

As a new member of the Guild’s Panel, what are you looking for in the images? Imagination. Very much imagination when I am judging. I am always looking for that background, pose and expression. Today’s photographers have got to have a vision, to be able to see an image and to be able to convert their vision into imagery and their style.

Who inspires you?

Neal James to me is the best reportage photographer in Britain, by a mile. I went to one of his Seminars, and at the end, he did a show where the bride’s request for her wedding day was that he was to capture the fun, and she wanted everyone to be happy. At the end of the video Neal explained that the bride had died.

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Photo: Gordon McGowan

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Photo: Gordon McGowan

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continued... It was a video and stills from her wedding. Brilliant. If anyone is really serious about doing this type of wedding photography, then he is the guy you should be looking up. I was measmerised by his presentation, and I don’t normally do that especially with that type of photography. But he was brilliant. I went twice to see him. I couldn’t believe what I was looking at, so if there is anyone who wants to be a reportage wedding photographer just look at his work, absolutely fabulous. David Facey, he was a rebel but always showed his great personality. Rodney Smith. Clive Arrowsmith. Norman Parkinson. I absolutely love his style and his posing. The way he speaks to a woman and poses her is beautiful. Visit You Tube and look at the videos. He makes a woman feel very special, and he was really amazing.

Interesting facts about you? • Fun person. • A passionate person. • Flamboyant person. I love bright clothes, and I love hats!

There is a wee story that will share with you to go along with this question. I remember talking to Trevor Yerbury years ago and the fact that the guests at the wedding remembered Trevor as the photographer who had a long ponytail but couldn’t remember his name but they remembered him. So, I adopted this by choosing bright clothes and became the flamboyant character at the wedding who was taking pictures. And that is where ‘personalities’ comes across to prospective customers. People just love you on the wedding day.

Favourite place in the world and why?

Venice. Just the most wonderful setting, beautiful people and if you go out first thing in the morning when there is nobody about, it is the most amazing place to be in the world. It brings back so many happy memories. Just brilliant. Venice and Prague are the two favourite places because they hold something special in my heart. But, Venice has the wow.

Three words that describe you? • Passionate. • Colourful. • Funny.

Favourite food?

Spaghetti Bolagnaise. I am a spagbol man!

Q: And finally, where next? I am 100% into iPhone Photography; it is just the best. I just love the fact that I can go out and take pictures, work on them with the Apps and because I lost so much of the ‘hobby’side of photography because of my business, I am enjoying going back to having photography as a hobby and looking forward to my new role as Panel Member with The Guild of Photographers. I really enjoy Mentoring photographers, I am telling them to go out and take photographs with their iPhone to touch base with their creativity. We all get so wrapped up in our businesses that we forget that we are photographers and creative people at heart. Thank you for sharing your photography and an insight into your creativity Gordon - Julie Oswin

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Icon Publications has teamed up with The Guild of Photographers so all our members, professional and enthusiast alike, will receive a copy of Cameracraft. In the current edition, Guild members Carola Kayen-mountain, Denise Brady, Simon Newbury, Phillipa Towers, Prashant Meswani are featured together with a fourpage prospectus for Photohubs November two-day event, plus an at-a-glance trade discounts directory. For the future, the magazine will have an additional 16 pages to make Cameracraft an 84-page magazine, and David Kilpatrick will be looking at the Image of the Month winners to help select featured work, portfolios and the front cover. To read this edition on Issuu please follow the link: click here

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Photo: Gordon McGowan Issue 21 - Creative Light Magazine :

http://bit.ly/2wtY8az

The biggest photography, video & optics show in the North of Enlgand October 7 + 8 Liverpool

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Splash 2017 has an action-packed line up of interesting and informative talks and workshops, walks and exhibitions, including:

“The growth of the show has been phenomenal and the step up to our new Liverpool location has raised the event to yet another level and scale. “ For the first time this year, the show will be unveiling the ‘Weather Photographer of the Year’ exhibition from the Royal Photographic Society – as well as announcing the Digital Splash Photographer of the Year 2017. The Digital Splash Awards run throughout the year, with the winning images from each monthly competition exhibited at the show – and the overall photographer of the year announced. Digital Splash with also be the showcase for new product launches, exhibitions from talented ‘up and coming’ new photographers and an extensive schedule of talks and workshops from professional photographers at the top of their game. This year Digital Splash also sees additional content from even more photographic genres – including food photography, astro photography, urban bird-watching, moving images, video and drone photography as well as optic brands including binoculars and telescopes. ‘We continue to build on the successful format, watching the trends and bringing our visitors what they need to further their own photography and video skills and enjoyment. We’ll have all the big brands at the show, all the latest kit and a dedicated team of experts on hand to help and advise. It’s set to be another record breaking year!’

Where, when, with: • In its new waterfront location at the Exhibition Centre Liverpool, this year’s ‘Splash’ is taking place on 7th & 8th October. • You can currently register for FREE ENTRY to the show, and tickets for seminars and photowalks are on sale now: www.digitalsplash.tv/speakers • If you pre register for the show, Wilkinson Cameras will even send you a voucher to enjoy 10% off any talk tickets purchased.

http://bit.ly/2wtY8az For more information visit www.digitalsplash.tv

Talks from Paul Gallagher & Michael Pilkington of Aspect2i photography tours, who will be talking landscapes, black and white photography and also sharing their top post processing and print tips. Also on the bill is Jeff Ascough, Kate Hopewell Smith & Brent Kirkman – talking all things weddings and portraits. Brent will even be guiding visitors through is aerial film making and drone adventures & looking at how wedding and portrait photographers can incorporate these stills into their own businesses. For the animal lovers Fuji X Photographer Elke Vogelsang will jetting over the to UK to share her secrets on her entertaining dog portraits and David Lindo ‘The Urban Birder’ will be looking to the skies to share his inspiring photography with bird lovers. Landscape & travel genres are very strongly represented this year with Astro whizz Alyn Wallace taking us stargazing with his amazing night sky images and explaining how to quite literally take photography to another level. Thomas Heaton will also be inspiring us with his travel and adventure photography – telling us all about the windswept tales behind his magical compositions. For those of you seeking calm within your photography, then landscape and Fuji Film X Photographer Paul Sanders is a ‘must see’ – looking at how Mother Nature can often give you ‘what you need, rather than what you want’. From Stars to Starters – Aspire Photography Training will be hosting mouthwatering Food Photography & Styling workshops – including practical sessions shooting deliciously styled food and accessories. Fancy a talk & walk? Then join CameraJabber’s Angela Nicholson for exactly that – an informative classroom session, followed by a photowalk exploring the eclectic blend of old and new around the Liverpool docks. Issue 21 - Creative Light Magazine :

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“As a Professional Motorsport and Action Photographer, I spend a lot of my time at noisy, muddy motocross tracks, so it’s nice to take photos of something different when the opportunity arises. Having moved to Norfolk two years ago, I became aware of the Queen’s Household Cavalry visiting the North Norfolk coast at Holkham Beach annually. I was fortunate enough to be able to go along this year. I spent three mornings on the beach with the Cavalry, taking photographs of the horses and riders in training. A large part of the Cavalry training is based around the horses being in the sea which helps to build the trust between horse and rider. I spent a lot of my time in the sea with them, allowing me to capture moments of this rare opportunity. One particularly poignant moment was when a Blues and Royals Officer galloped his horse along the beach, after being asked by a member of the public to scatter the ashes of her horse. I took a photograph of this moment and posted it on social media which went viral, and the owner of the deceased horse contacted me and explained the story. She was pleased that I had been able to capture her horse’s final ride for her. The BBC and tv presenter Ben Fogle were also there, and I was requested to take a few images for him. Spending the three mornings at the beach, with the cavalry and horses, was an amazing experience and one that I hope to repeat next year” - Harry Lessman Issue 21 - Creative Light Magazine :

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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.

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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.

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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

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Social Media /glyndewis

MOTOCROSS EXPERIENCE DAY

THE BUSINESS OF WEDDING PHOTOGRAPHY – STOKE-ON-TRENT

September 3rd 2017 10.00am-4.00pm Samuel’s Farm Shop Market Lane, Wisbech Cambridgeshire PE14 7LT AN OPPORTUNITY to take part in what is always a popular event, photographing the adrenaline fuelled sport of motocross with professional motor sport photographer Harry Lessman. The day will allow you to have unrestricted access to all areas of the track including the high speed corners and the large jumps, giving you the chance to take uninterrupted close up shots. Safety is paramount, and Harry will be on hand to ensure your day goes smoothly, whilst giving you valuable insights into his expertise of photography of this fast paced sport! A complementary breakfast and lunch are included in the price which includes drinks too. In the unlikely event that the weather causes track closure, the event would be rescheduled to another date.

NEWBORN WORKSHOP – NORTHERN IRELAND September 17th 2017 9.00am-5.00pm 3a The Roddens, Larne Co Antrim BT40 1QX

NEWBORN workshops by Claire Elliott are very friendly, but very organised too. Claire encourages the trainees to help with hands on posing practice, as if you are anything like her, she learns by doing not just watching! During the workshop day, we use any spare moment when baby is settling or feeding with Mum, to do wrapping tuition. No wasted seconds, so please bring along a soft body doll for wrapping practice! The areas covered are: Equipment – Styling – Session planning & Consultation – Shooting areas – Easy lighting techniques – Safety – Flow posing – Calming & soothing – Easy wrapping – Managing unsettled babies – Extra hints and tips.

‘SITTERS’ WORKSHOP – NORTHERN IRELAND September 18th 2017 9.00am-5.00pm 2C Quay Street, Larne Co Antrim BT40 1HL

TODDLERS and young children can be quite daunting studio subjects, but if you want to improve your skills then who better than Claire Elliott to guide you on your journey by giving you the confidence, ideas

October 10th 2017 9.30am-4.30pm Beethoven House, 76 Moorland Road, Burslem, Stoke-on-Trent ST6 1DY

The dedicated photographic training programme of The Guild of Photographers

THIS WORKSHOP with Guild of Photographers Director Steve Thirsk is designed to give you the knowledge and confidence to become much more successful at dealing with the business side of the wedding photography (and in fact the skills taught are transferable so you the day can be of great value to those whose business is in other genres). Small comfortable group size at the Guild HQ.

WEDDING HANDS-ON TRAINING DAY WITH MASTER CRAFTSMAN KEVIN PENGELLY – STOKE-ON-TRENT

October 11th 2017 9.30am-4.00pm The Upperhouse Hotel, Barlaston, Stoke-on-Trent ST12 9AE

www.photohubs.co.uk PhotoHubs events are individually priced. See the website for fuller information and details of booking. and inspiration for photographing this highly rewarding genre? You will learn to create, light and shoot your own beautiful memories of this specific age group. As well as photographic skills, during the session you will also hear how to : Manage parent expectations – Design sets – Choose themes and props – Manage the transition through the styles, as well as personality management. Claire has a vast store of knowledge as she has run a successful child and newborn based photography business for many years, and is a Panel Member for the Guild of Photographers.

NEWBORN WORKSHOP – HELENSBURGH, GLASGOW October 7th 2017 9.00am-5.00pm Life in Focus Portraits, The Royal Northern and Clyde Yacht Club, Rhu, Helensburgh G84 8NG

With Claire Elliott – see September 17th Northern Ireland workshop for details.

3XM LIVE EVENT – SCOTLAND

October 10th 2017 9.00am-5.30pm Inchyra Grange Hotel, Grange Rd, Polmont, Falkirk FK2 0YB WHAT IS 3XM Live? For just £40 (including lunch) you’ll spend a day jam-packed with information on how to take your photography business to the next level using social media marketing. You’ll learn how to create content, optimise adverts, generate bookings and pull together a brilliant social media strategy. Ttake a step back from your business to think outside the box and really understand the digital strategies that can help you drive real growth in your business. You will learn all about: Audience targeting on Facebook – Using Instagram to build your brand – Creating engagement on social media & turning that into revenue – Custom audience & Lookalike audiences – Facebook Pixel – Re-targeting & Re-marketing – Video on Facebook – Facebook Canvas – Lead Ads There’s also the added bonus of guest speakers, Simon Nicholson, Jenny Johnston, Ronan Ryle and Kate Hopewell-Smith, plus giveaways and spot prizes on the day.

OUR WEDDING essentials training days are one of our most popular events of the year, always selling out. This year we aim to cover all aspects of a Wedding Ceremony, with two male models. This event is held at The Upperhouse, a rural Victorian hotel set in 10 acres of woodlands and landscaped gardens and a well known wedding choice for many.

QUALIFICATION PREPARATION DAY WITH KEVIN PENGELLY

October 12th 2017 9.30am Beethoven House, 76 Moorland Road, Burslem, Stoke-on-Trent ST6 1DY The GOING FOR QUALIFICATION DAY with the highly-regarded Kevin Pengelly will cover all aspects of how the Guild judging system works, how to prepare your images and choosing the right media to showcase your panel for assessment. This will be a day of self-challenge, to help take your photography and presentation to the next level.

NEWBORN WORKSHOPRHYL, NORTH WALES

October 28th 2017 9.00am-5.00pm Grange Road, Rhyl, North Wales LL18 4BY

With Claire Elliott – see September 17th Northern Ireland workshop for details. Á

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Cameracraft September/October 2017 59

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Architectural Photographer Martine Hamilton-Knight D Litt (hon) Since graduating from the Surrey Institute of Art (WSCAD) with a BA (Hons) degree first class, Martine has specialised in architectural photography. Over the last 27 years she has run a successful business based in Nottingham working for architects, construction companies, interior designers and advertising agencies. Her work has been published in many international books & journals and exhibited in several galleries including a large solo show in China in 2009. She has three books of her work, NOTTINGHAM TRANSFORMED about the regeneration of the city, plus CAMPUS VIEWS and ASPECTS OF A GLOBAL UNIVERSITY about The University of Nottingham’s campuses in China, Malaysia & the UK. In 2007, the BBC featured Martine in their series ‘A Digital Picture of Britain’ and in 2009, she was an assessor for the RIBA Awards (Royal Institute of British Architects). In summer 2013 was a judge for a national architectural photography award entitled ‘the Architect’s Eye’. She is an Associate member of the Royal Photographic Society and is also a partner in a successful photography school called Line+Light which runs one day courses at a variety of venues including English Heritage properties and the University of Nottingham. In addition to traditional ‘stills’, Builtvision Films produces short architectural films for practices and is run together with experienced cameraman Paul Mottram and his team. She was awarded an honorary doctorate in 2012 by the University of Nottingham in recognition of her contribution to the industry. She lectures about her work nationally and is a Global Ambassador for the photographic company Manfrotto. In 2015 she celebrated 25 years in the industry with a retrospective show in Nottingham which featured her favourite images from her student days, commercial work and projects featured in books, magazines and previous exhibitions.

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Q: Tell me a little bit about yourself and your

photography and how did you start out on your journey into Architectural Photography? I’ve been a professional architectural photographer for 27 years, having completed my BA(Hons) Photography in 1990. One of the main tutors at college was Martin Parr, he was very influential on the ‘house style’ at Farnham 35mm colour, fill in flash, social documentary…. I was a bit maverick shooting 5x4” transparency and liking buildings. My family ran a construction company, so I’d grown up surrounded by design and architecture. I had a natural passion for the built environment, but oddly, no desire to be an architect. I didn’t want to design per-se, but wanted the experience of being surrounded by good design.

Q: How did your photography evolve? There was little in the way of employment for architectural photographers when I graduated, nor readily available assistant positions, especially not in this specialised field, so it was a case of ‘do or die’. I started my business the week after graduating, aged 21. I knew that the way to get ahead and carve a niche for myself was to get to work for the architectural press and so I went and shot a brand new, high profile building by top architects at my own expense to take down to London to show editors. It worked. My trannies went on the lightbox at Architects’ Journal the very same day that one of their regulars had sent in his pics of the same project I’d submitted. The AJ commissioned me that afternoon to do another Building Study feature for them, and that was it. Until the day the journals stopped commissioning directly (about 2004), I worked pretty solidly for all of the main titles which brought me into contact with architects across the UK, many of whom I still work for today.

Your favourite camera + lens combination and why? Work wise, if I have to pick just one, the lens is easy - Canon’s 24mm TSE (tilt shift lens for perspective control). Which body? The Canon 1DX mkII although I’m playing around with the 5D mkIV currently as I can shoot wirelessly to the iPad which may come in useful in certain situations, and definitely for when I’m teaching as I can show a group what’s happening rather than trying to get them all behind the camera. For pleasure? The Sony RX10 mkIII as it has a very high quality 24-600mm lens which is wonderful for travel and holidays.

Q: Post-processing techniques, do you use your own actions in Photoshop/Lightroom presets?

I still process Raw through Adobe Bridge, if I was beginning my work life as a photographer I would probably go straight to Lightroom, but having used Photoshop and Bridge for many years, I’m happy with CC’s regular updates. I worked on a job in China recently with an old friend who was using Capture One, and I could see that it too had an enviable raw processor. If I was starting out now, perhaps I’d have gone down that route instead. I have proven and time-tested workflow, but I’m not a fan of HDR, the most I’ll ever put together will be 2 exposures, and do this manually rather than with plug-ins.

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Q: How did you develop and build your brand

and what you do feel has helped your photography business to succeed? Part of this answer has already been covered, although I’d add that being a girl has been an asset, and not a hindrance, particularly in the days of 5x4”, I was a young woman turning up on location with a camera that ‘stopped traffic’. Other than being at a risk on occasion for being a girl with a camera that was too big to pick up and run with (thankfully only a couple of sticky situations over the years), instead I’ve experienced assistance on many sites by people willing to carry gear for me. Moreover I’ve been able to easily access private residential spaces, building roofs or upper floor windows with little prior notice. My reasons for wanting to get access to places has invariably been taken at face value, whereas I’ve watched men with cameras be challenged and greeted with suspicion, particularly where children and schools are involved. How sad.

Locations. Do you choose them or are they part of your brief from your clients? I am commissioned to photograph specific buildings which are either brand new or have been restored, so therefore the locations are prescribed.

Q: Your favourite location in the world and why? For both business and pleasure, I’ll take anywhere with a blue sky and good architecture, it can be of any age too, some of the most wonderful structures are Roman, and equally, Santiago Calatrava’s cultural buildings are beautifully engineered, cutting edge and equally impressive. I’m really looking forward to seeing Calatrava’s new station at Ground Zero in New York, whilst on holiday later this year, and moreover hope to experience it in good light.

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Q: What have you found the most challenging about running your own business?

Without doubt, the last five years, the value of good commercial photography has plummeted, we are being asked to work for practically nothing these days, right across the board. Whilst the digital revolution has broadened photography’s appeal and allowed many, many more to experience what we love about seeing and recording our world, sadly it’s also brought the perception that photography is also ‘free’ now. You can’t fight ‘free’. You just can’t. I manage to keep my business together by being a skilled, experienced pair of hands who can deliver pictures which work hard for my clients and their business activities for years at a time. I have also diversified, the 2007/8 recession hit the construction industry hard and my only way of keeping things together was to increase my teaching. I run regular courses through my photography school - www.lineandlight.co.uk and also do workshops for the RPS, WEX and The Royal Institute of British Architects. I have to say, I love this aspect of my working life, it is utterly different to shooting architecture, but equally rewarding as I meet (and often stay in touch with) wonderful people.

Q: Apart from sheer hard work what would you say is the main ingredient to your success?

Being excited about my subject. I love architecture and never tire of seeing and shooting well designed buildings.

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What would you say has been your career highlight to date? Being on the judging panel for the RIBA Awards in 2009. To be able to visit multiple stunning buildings, not to worry about how to control the lighting, work with models, trying to keep to time and budget, but instead give them a prize if I liked them….. heaven! I was also given an honorary doctorate in 2012 for my contribution to the photography industry, which was a very proud moment for me and my family.

Advice would you give to photographers just starting out interested in Architectural Photography? Know the subject of architecture, moreover LOVE architecture, because it has to be your passion, more than just the photography that needs to drive it as a subject specialism. There are easier ways to make a living in photography than this one, its a tough technical and physical job and in the UK, where weather is unpredictable, you’ve got huge challenges with every project you’re undertaking. Perhaps move to somewhere sunny to do it and you’re half way there, chuckle…..

Q: Favourite food? Seafood, rice, salad, washed down with a nice glass of Sauvignon Blanc please.

Q: Three individual words that describe you? Enthusiastic, optimistic, busy!

Q: Your preferred light source? Easy. The sun!!!

Q: Where next? Ten years from now, I’d love to be in the position to be able to travel widely and see more of our planet’s built environment with my camera with no deadlines or budgetary constraints. Better start playing the lottery I guess…..!

- Julie Oswin

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MARTINE HAMILTON KNIGHT PHOTOGRAPHY www.builtvision.co.uk t:0115 9621112

Issue 21 - Creative Light Magazine :

7 Steps to Grow Your Audience Using Facebook by Steve Bridgwood 1. Send all of the couples that have booked you to photograph their wedding an invitation to ‘Like’ your Facebook page. This means that when you share photographs from their wedding, or link to a blog post about their big day you can tag them. Tagging people allows all their friends to see their pictures and in the case of a blog, to click directly through to your website to view the images and leave messages for the newlyweds.

3. Make sure that you tag the wedding venue and any key vendors. In most cases they will share your post with their followers, which again increases the post’s reach and puts you in front of a new audience. It also helps to build your relationships with wedding venues in particular. They are always keen to showcase how fantastic their venue can look when photographed professionally, which in turn helps them to gain further bookings.

2. When you tag a blog you can almost guarantee that friends, family and the couple themselves will share the post. This is crucial, as you want them to share your Facebook post rather than pictures from their own Facebook accounts. This means that your post and website is reaching a bigger audience and gaining more likes and views.

4. Let the reach of your post grow organically first, before you decide whether you want to pay to boost it further through a Facebook sponsored post. It’s all about getting the biggest audience you can.

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5. I always post a few killer shots from a wedding on the day that I photograph it, again following the important rule of tagging the couple and the venue. Friends and family will be keen to add their congratulations. 6. When I’m almost ready to deliver the full set of photographs to a client, I post a few teasers on Facebook letting the couple know that their photos are nearly ready, again tagging the couple to build the anticipation among them and their family and friends. 7. Always include a link back to your website on any post!

At every stage of photographing a wedding from the day itself, to editing and then finally in delivering the finished images, these tips will help you get your brand and style in front of a switched on and ever bigger audience. I even encourage my couples to share their private online gallery with friends and family so they can also view their photographs via Zenfolio’s password-protected client-access area on my website. They can even directly order any prints or artwork of the photographs without any involvement from me, which is a great way to increase sales. When you consistently use Facebook to promote your work and website, your brand and reputation will get stronger among both wedding professionals and potential clients. Each year I have steadily seen more and more referrals from couples who have shared their pictures with friends and family who have viewed their wedding on my website

Steve Bridgwood is an award-winning wedding photographer based in Staffordshire, UK, and a proud Zenfolio Ambassador. He is considered one the UK’s top 50 wedding photographers according to GoHen and is named one of the world’s best wedding photographers by Junebug. www.stevebridgwoodphotography.co.uk

GET 30% OFF YOUR SITE https://en.zenfolio.com/uk/promo/guild Use Code GUILD at zenfolio.co.uk/guild Issue 21 - Creative Light Magazine

congratulations Daniel McLean Qualified Guild Professional July 2017

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congratulations Jason Allison Qualified Guild Professional July 2017

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congratulations Frances Van Der Merwe Qualified Guild Professional July 2017

Issue 21 - Creative Light Magazine :

ePsoN PriNt aCaDemy

PREtty As A PRINt

Make your pictures the best they can be by upskilling in post-production and printing with the Epson Print Academy

aking a great photograph is only the start of the journey. Mastering your camera is one thing, but knowing what to do with your photos next is a different realm of image manipulation, editing and printing – making your photography skills really shine through post-processing and printing techniques. Sure you could have a fiddle around in Photoshop and connect up your printer and have a go at getting frame-worthy prints, or you can make like an expert and have Epson’s experienced tutors show you the ropes, whatever level you’re coming in at. Epson has teamed up with Aspect2i to deliver their Epson Print Academy classes. Aspect2i have been helping photographers make perfect prints for around five years and are one of the leading photography workshop companies in the UK. So rest assured you’ll be in capable hands. There’s no typical kind of person who comes along to the Epson Print Academy; total newbies looking to pick up basic post-processing or printing skills will benefit just as much

as those with more experience wanting to hone their expertise even further. There are classes aplenty to choose from covering a whole range of specialist interests and techniques, so whatever your niche, you’ll find something to suit your experience and interests at the Epson Print Academy. Looking to show off your work in a gallery or submit your images to a print competition? The Exhibition Quality Printing class will hook you up with expert advice from pros in fine print reproduction, printmaking and proofing. If you can’t quite nail black & white prints, at the end of the Perfect Black and White Print class you’ll know exactly how to manage your workflow for truly magical monochrome prints from your Epson printer. In fact, there are masterclasses in everything from post-processing, to Lightroom and Photoshop, right through to Advanced Post Processing and Printing for the more experienced shooter. These aren’t the types of classes where you’re packed in and lost in a crowd. Far from it.

You’ll get plenty of face time with your tutor and lots of opportunities to receive tailored expert advice Get more from your imaGes

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Groups are kept small so you’ll be getting plenty of face time with your tutor and lots of opportunities to receive tailored expert advice and pro guidance. Take those photographs you’re proud of and make prints you’re even prouder of, all with a little help from the Epson Print Academy.

ExCLUsIvE dIsCOUNt fOR GUILd Of PhOtOGRAPhERs MEMbERs. Book an Epson Print Academy one day class for £100* (usual price £115) when you book before the 31st October 2017. Quote code EPA2017 when you book at: www.epson.co.uk/printacademy www.aspect2i.co.uk *Offer is only valid on one-day EPA Classes and valid for Guild of Photographers Members only. Max. of three class bookings per member allowed.

www.epson.co.uk

PRINt PERfECt bLACk & whItEs

COLOUR ORIGINAL

MONO IMAGE

Want to produce black & white prints as good as the pros’? It’s easy with the Epson SureColor SC-P600

The real acid test for an inkjet printer is its ability to print black & white images. Epson’s SureColor SC-P600 offers an advanced black & white printer driver and three black inks to deliver a superb range of tones. Better still, you can even select a tone to add to your monochrome images. Here’s how you can create brilliant black & white prints in four simple steps. We used a Mac, on a PC the layout is slightly different, but it’s just as easy

1) Convert your image to black & white Using Photoshop CC 2014, we converted the original colour image to black & white with the Channel Mixer (Image>Adjust>Channel Mixer). Don’t use the Grayscale conversion as this gets rid of lots of vital image data. Make any further tweaks until it looks perfect on screen.

2) Let the printer manage colours Go to File>Print to open the Photoshop print dialogue. Leave the printer to manage the colours so in the Color Management section set Color Handling to Printer Manages Colors. Further down in the same section, choose Perceptual on the Rendering Intent menu.

3) Select Printer Settings Now move to the Printer Setup section at the top of the dialogue box. Click the Print Settings button and in the window that opens make sure the correct Paper Size is selected. Now choose Color Matching from the dropdown menu and make sure that EPSON Color Controls is selected.

4) Select Advanced B&W settings, then print From the same drop-down menu, choose Print Settings and Advanced B&W from the Color menu. From Color Toning select your tone of choice, then hit Save. Now, back in the Photoshop box go to the Position and Size section, and size up the image accordingly. Finally, hit Print.

CAsE stUdy: NAOMI

Knee-deep into a three-day Post Processing and Printing Masterclass, Naomi tells us how she’s getting on “I have a wonderful passion for taking pictures and I want to get that passion for actually producing really good prints. I have been involved with Photoshop since 1995, but due to personal circumstances I’ve had a two-year gap. This course was a way of giving me back my confidence. It’s not only a refresher but as everything moves on, it’s about bringing me back up to date as well. “I chose this Epson Print Academy class because it’s run by Aspect2i. Having been on some of their workshops out in the field, I knew I was going to get really good tuition on a post processing masterclass. The other class

I attended was a Lightroom workshop, which was a completely new program to me, and I knew the place to learn it would be on an Epson Print Academy run by Aspect2i. “So far, it’s been brilliant, absolutely wonderful. The class covers everything and is suited to those who only just know how to use Photoshop, through to those who are more advanced but still want to learn new techniques. “For me the class is about making sense of things that I have seen done, but not really understood how to do them myself. I know that by the end of the class I will be able to produce a print that mirrors the picture that I took in the first place.”

aBoVe on an epson Print academy, you’ll get plenty of guidance from expert tutors to make your prints reach their full potential.

So far, it’s been brilliant, absolutely wonderful… The class covers everything Get more from your imaGes

Issue 21 - Creative Light Magazine :

congratulations Robert Maynard Qualified Guild Professional July 2017

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Issue 21 - Creative Light Magazine :

infocus photography Insurance

You don’t have to kiss the frog! Y

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: •

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Cyber and Media

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“

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

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WIN A ONCE IN A LIFETIME PRIZE WITH Guild of Photographers, Wedding Photographer of the Year

Learn from the best, the award-winning Chris Chambers is offering a place on his exclusive, wedding photography workshop at Graphistudio’s Ceconi Castle. This stunning location is set in the Dolomites of Italy and is where the VIP Photographers go to shoot in breathtaking surroundings. During the action packed workshop Chris will be covering posing, lighting both natural and dramatic off camera flash. There’ll also be a night shoot with a bride and groom model and if that wasn’t enough to set your hearts racing, there is the opportunity to try out Astro Photography one evening!! The total prize package includes:  A weeks wedding photography workshop at the Graphistudio Castello Ceconi, June 4th to 8th 2018  All accommodation and lunches included each day  The value of this is £1000  The winner will also have a complimentary place for one day of Chris Chamber’s UK workshops valued at £250 Jeremy Price from Graphistudio UK, ‘This is an incredible opportunity to learn from one of our top professional photographers and this highly popular workshop is one of our longest running and most successful workshops to be held at the Graphistudio Ceconi Castle.’ To enter: Please send your contact details to uksales@graphistudio.com Entries must be received by the 1st December 2017 For more information about the competition please view: http://www.chrischamberstraining.co.uk/italian-castle-wedding-photography-workshopIssue 21 - Creative Light Magazine graphistudios-stunning-castello-ceconi/

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congratulations Adam Bull Qualified Guild Photographer August 2017

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congratulations Amanda Brookes Qualified Guild Professional July 2017 72 : Creative Light Magazine - Issue 21

congratulations Kirsten Hollier Qualified Guild Professional June 2017 Issue 21 - Creative Light Magazine :

congratulations Debbie Longmore Qualified Guild Professional June 2017

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Issue 21 - Creative Light Magazine :

Ambitious Travel Photography By Dietmar Temps

Travel photography is sometimes a topic of controversy. On the one hand there is a growing interest in travel and street photography. However, images of people from poor developing countries are from time to time being discredited. Sometimes people even use the term “voyeurism” in this context. There is also a debate whether families of western industrialized countries would like being photographed in their own front yards by African or Asian people. Typically, travel photography is a mixture of landscape photography, cultural photography, street photography and travel portraits. The group of tourists who capture cultural events or famous buildings mostly via the smartphone while shooting countless photos will certainly not count to the group of ambitious travel photographers. Travel photographers are usually more amateurs than professionals. The professionals in this field are often specialized as landscape photographers, wildlife photographers or photojournalists. Of course it might be a good idea that travel photographers sell their images via Getty Images or comparable online stock platforms. But nevertheless travel photographers who live exclusively from their photographic work are rather more the exception. 76 Datacolor : Creative Light Magazine - Issue and 21 Spyder are registered trademarks of Datacolor. ©2017 Inc. All rights reserved. Datacolor

Street photography and travel portraits The most sensitive areas of travel photography are street photography and travel portraits, especially when children are involved. But the question mentioned at the beginning, who likes to be photographed in his own front yard, is actually not correct. The better question would be why do travel photographers prefer to take pictures of people in foreign developing countries rather than in cities or villages of their own industrialized countries. There are basically two reasons for this. In many densely populated countries, such as India, Bangladesh, or in countries of South-East Asia, privacy is perceived completely differently compared to highly developed countries. In addition, it is much easier to photograph people in developing countries because the “right in one’s own image” has almost no relevance. In these countries, it is quite normal when locals publish “selfies” with tourists on Facebook without permission. Of course there are also more conservative countries, especially in Africa, who deal with travel portraits less openly. But this has either religious reasons (Arabic states) or they are afraid that the tourists might make a lot of money with the pictures of local children by selling them to glossy magazines.

Earning money with travel photos The idea of making a lot of money with travel portraits in glossy magazines may be the dream of many travel photographers, but it has little to do with reality. Magazines only pay a lot of money when the photos are published in commercial context. For that, a written release, also called “Model Release”, of each person in the picture is needed. In order to prevent misuse, the requirements for these releases are very high. That is one major reason why many travel photographers would rather renounce the model releases and publish images with people only in editorial context. However, in this context only little money is paid. The problem of the model release doesn’t exist in landscape photography, but it is also very difficult to earn much money in this area. There are already too many excellent landscape photos on the market.

Fair handling of travel portraits There is no simple answer to the question of whether people should always be asked for permission in advance to take photos of them. Street photographers will argue that people would artificially pose for the photo when they are asked in advance, and that would destroy the actual idea of natural street photography. Ambitious travel photographers should always be very sensitive about this topic, especially in connection with travel portraits. In more conservative countries such as Tanzania or Senegal, asking in advance for photo permission is mandatory. However, in countries like India or Bangladesh, it is certainly much more flexible. Very often the best travel portraits are a result of a personal connection to the photographed person, and for that time and patience is needed. Street photographers should show the pictures to the people after shooting to get at least a feeling if the people agree with the photos. A good idea is handing out small presents, children are always happy about bananas or mangoes, the elderly appreciate an invitation for a cup of tea. If the travel photographer intends to use portraits commercially, the written approval should always be obtained and the photographed person should also be paid a fair price for the shooting. Issue 21 - Creative Light Magazine :

Let yourself drift... Many travel photographers may not admit it, but the best photos are often more or less purely coincidental. For that you need a lot of time and you have to travel a lot. This is exactly what distinguishes the ambitious travel photographer from the normal tourist. The travel photographer prefers to reach the famous temple by many long detours and always accepts the risk of getting lost in the alleys. Of course it can happen that the photographer returns in the evening without any good shots despite the long walks. However, for a professional travel photographer this would be the worst case. This is one major reason why most professional photographers are specialized in their respective fields of activity. Professionals tend to prepare the photo trips very carefully. Of course, ambitious amateur travel photographers can also hire local guides if necessary, and a good travel preparation always pays off. In some areas, for example in the villages of tribal people in Africa, guides are even compulsory. However, the guide should be selected very carefully because he should be familiar with the special requirements of photographers. If not, there is a high risk that you might reach the temple using the shortcut, then the museum and finally the restaurant or the shop of the guide’s best friend. Traveling with focus on photography can be a very intense and adventurous experience. When pictures are taken of people in developing countries, small gifts are ideal. A good preparation for the photo trip makes sense, but off the beaten tracks often leads to pleasant surprises and sometimes to the best photos. It is a good idea to sell the best images on online stock platforms, but travel portraits cannot be used commercially without written permission. If all these points are taken seriously, a controversial discussion on street photography and travel portraits in poor developing countries is no longer necessary. Dietmar Temps Accomplished media designer and photographer Dietmar Temps lives in Cologne, Germany and has amassed almost 20 years in the media business. His first professional position as a photographic assistant took him through whole Europe and across the pond to America. After that he studied photo and media technology at the Cologne University of Applied Science. Currently he mainly realizes photo and internet projects with the focus on travel photography, social networking and video streaming. On his travel blog he writes about beautiful spots around the world which he visited in recent years. He realized many photo trips to Africa, but also to South America and Asia. On his website a series of photo galleries are available where he presents his photographic work, which also is published in many books, magazines and travel blogs. Contact: Dietmar Temps // Photography and media design // Cologne, Germany dietmar.temps@gmail.com // http://dietmartemps.com

Dietmar about ColorManagement: “The calibration is surprisingly easy. The device is really great. The colors are after calibration better and the contrast is slightly higher. The images are simply looking better. After using the before/after function my monitor shows a slight yellow/green color cast which I hadn’t realized before. Problem: A few of my portraits are now too reddish which I have to retouch again….but now my display is calibrated! My feedback: very good solution!” Dietmar Temps // Travel Photographer and Photo Blogger // Cologne, Germany Dietmar is a Datacolor Friends with Vision Member since March 2017. He is using a Spyder5ELITE+.

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Print in photo courtesy of Sian Lewis Photography

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congratulations Roxanne Bunn Qualified Guild Photographer July 2017 Issue 21 - Creative Light Magazine :

Is a Photographic ‘Style’ essential? Rob Hill There are many different approaches to photography. For a lot of people, it is ‘just a hobby’ and remains that. Others migrate from hobby to part-time or full time profession and then there are those that study the subject formally with the intent of creating a photography-based career. As we start out, it’s very common to have a more experienced photographer (maybe a mentor, or a friend or just a casual acquaintance) say to you - “one day you’ll develop your own style”. If not, you will inevitably run across the subject in a magazine or a blog. But what is a personal photography style and why is it important, or is it not really that important at all? In my mind, a style means that you could have a pretty accurate guess as to the author of the image simply based upon the way the image looks. As with many subjects, there are more definitions of style than could be summarised here. Styles incorporate a number of elements; the subject itself can form part of a style, the way the subject is lit or styled, the way the final image is cropped, use of colour (or not!), incorporation of textures, particular emotions or even something as simple as the angle the image is shot from. It’s not even just one of these; several may combine to create your ‘style’. Having a strong style is said by many to be important in your photographic journey. One of the most common reasons to create a style is that the author will ‘stand out from the crowd’ and will ultimately attract more commissions in whatever genre they are focused on. I struggle with the notion that developing a style is a pre-requisite for success. In fact, if the style is too ‘niche’, then could it actually restrict your market? Does shooting in a single style day-in, day-out actually stifle creativity? A cynical person (perhaps a potential client) might look at a portfolio of substantially similar images and think that this is the only way the photographer can shoot and, if its not the ‘look’ they are seeking, move past a perfectly competent photographer? Does the need for a style align with the need to make money from photography? Meaning that a hobbyist has no need to impress anyone, for them photography is a pleasurable pastime and they can shoot whatever they want, in whatever style they want, whenever they want. Is it purely professionals that seek to ‘rise above the crowd’ that need a developed style to do so? Perhaps the answer lies partly within the market a photographer operates in. There are plenty of photographers that operate in small rural markets that shoot multiple genres (portraits, weddings, portraits, commercial, industrial) in a bid to ‘cast the net’ as widely as possible. On the other hand, the highly focused, style-oriented, photographers are able

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to immediately access a wider market that ever before through the Internet. It has to be true that, in some cases, the ‘style’ reflects the limit of a photographer’s ability - they have a limited number of ways that they can shoot to a commercially acceptable standard. Yet, if the work is good enough, and the market large enough, a perfectly good living can be made this way - without having to ever leave their comfort zone. As well as the opinions on what style is that can be found on the Internet, there are many ‘simple step’ plans to enable photographers develop a style within weeks or months. Can it really be that simple? Somewhat deliberately, this article has more questions than answers and that is probably appropriate for a subject that has almost as many opinions as there are people offering an opinion. My own view is that a style can be an important part of branding yourself as a photographer. However, unless the style meets the needs of the photographer’s potential customer base, it can be counterproductive.

something fresh and new to help them stand out against their competition and the photographer will need to be able to deliver that. As a product photographer, I try to show a range of techniques and styles in my portfolio allowing potential clients to see that I have the toolset to deliver their vision. When I’m not shooting products for clients, I can be a pure hobbyist and shoot many different genres and subjects including travel, motorsport and many other things. I deliberately look for new and different things to try as a challenge and once I have mastered something to a reasonable standard, I want to move on and try / learn something else. Having read this far, many readers would be expecting a definitive answer to the ‘style’ question. I am not sure there is a definitive answer as to whether a style is a necessity for success or not. It will all depend upon your genre, market and customer base. However, professional photographers do need to remain aware of market trends and hone their offering to the needs of the customer base.

About the Author 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 - www.marketingshotz.com

Many commercial clients have in-house branding guidelines and seek photographers that can demonstrably meet them; possibly leading to a conclusion that ‘casting a wide net’ could be a better approach. However, on the other hand, some clients (especially those just starting out or rebranding) incorporate the style of selected photographers into their branding. While developing and honing a style to the needs of the market, photographers should always bear in mind that tastes and fashions change over time. Today’s style may be very successful but, inevitably, clients will be seeking

Issue 21 - Creative Light Magazine :

creating beautiful BRANDS & WEBSITES

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“it’s an absolute dream working with a somebody who totally gets what a photographer needs.. because you are indeed also an amazing photographer with a wealth of wisdom, understanding and experience. You know what good looks like :-)” - Tamara “I couldn’t have asked for anyone better to help me with my website and I’m totally in love with it. I have no idea about websites or hosting, domain it was massive mind field but over the past few months Yvette has educated me talked me through any issues I have had and I’m now getting clients through my site. Thank you”. Helen Rowe - ROWE STUDIO UK “Yvette has been incredibly helpful and efficient from the very first time I spoke to her. I am thrilled with my new website! It’s exactly what I wanted. She was really patient with me and made me feel like nothing was too much trouble. She works very efficiently and always had things ready for me sooner than I was expecting I can’t recommend her enough. The techy stuff really goes over my head but she was great at explaining things and offering solutions. I will definitely be using Lemonade Design again when I’m ready to develop my second website. Great work Yvette – thank you so much again xx” Sandra Ace SANDRA ACE PHOTOGRAPHY

LEMONADEDESIGN.CO YVETTE@LEMONADEDESIGN.CO T: +44 (1)233 642 733 M: +44 (0)7984 470415

Creating beautiful websites & brands Hi, I’m Yvette Craig, some of you may already know the name, as I am a member of the Guild and until two-years ago I was a full time Professional Photographer with over 14 years experience until I had spinal surgery that went wrong. Having always had a keen eye for design (I worked as an Interior Designer in Canada) and with a basic knowledge of websites I decided to re-train as a web designer. Twenty months ago I started my own business called Lemonade Design Co and I also work freelance for Melissa Love, who was instrumental in me learning all about website. I now specialise in websites for photographers and the creative industry. Lemonade Design Co, is a full-service design & social media marketing agency. Based in Kent and servicing small to medium clients across the UK and the world. With clients in the USA, Cambodia, Canada, Sweden, Oslo, Dubai, Monaco, France, Spain, Portugal & Ireland.

LEMONADEDESIGN.CO YVETTE@LEMONADEDESIGN.CO T: +44 (1)233 642 733 M: +44 (0)7984 470415 Because you don’t get a

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LEMONADEDESIGN.CO YVETTE@LEMONADEDESIGN.CO T: +44 (1)233 642 733 M: +44 (0)7984 470415

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“

I had been in London for a couple of days photographing every building possible, as I sell more pictures of windows and doors than anything else. So, I had been taking pictures of all these buildings, doors and windows and whenever I’m doing this I always find the security camera, look up at it and smile so they can see my face and see that I’m not hiding anything. Anyway, I found this big archway with a set of steps at the front of the building and instead of shooting it from the pavement; I set my tripod up on the steps inside the building and photographed it. Then I walked along the pavement and started taking a few photos of the Tate Modern. All of a sudden, this car screeches to a halt behind me and out climb three officers in full gear and point guns at my head! I said ‘Er evening chaps, what’s going on?’ They asked me ‘Have you been photographing things?’ to which I replied, as sarcastic as I am, ‘Don’t you think the tripod and camera give it away a little bit?’ They weren’t impressed, ‘Yeah, funny guy, have you been photographing the building down there?’ ‘Yes, I have.’ ‘Which one?’ ‘Loads!’ ‘You’ve photographed every building?’ ‘No, just the ones I like.’ ‘What about the one down there?’ ‘Which one?’ ‘We can’t tell you it’s a secret.’ ‘Well if it’s a secret, how am I meant to know?’ ‘Everyone knows!’ ‘Well if everyone knows it can’t be a secret’ ‘You really don’t know what it is?’ ‘I live in Manchester of course I don’t know what it is!’ The officers then asked to see my camera, and they looked through the photographs. ‘What do you do for a living?’ It took a couple of attempts to tell them that I’m a book-cover photographer as they didn’t believe it was a real job. After they realised I was being serious and that everything I’d told them added up, they took my details so that if I got stopped again the police would know who I was and that I wasn’t a terrorist or anything! When I got home, I put up a post on my private Facebook page telling my story and posted a couple of the photographs of the ‘secret’ building. A couple of my friends commented on the post and happily informed me that building was in fact MI5”. - Dave Wall

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Photographing Book Covers

Dave Wall

Dave Wall has been a professional photographer for over 25 years. His work has predominantly encompassed the commercial side of the industry, but his business also includes Portrait and Wedding Photography. Dave is especially well known however, for his work as a Book Cover Photographer, specialising in horror and crime novels. For over 10 years Dave has become one of the top selling stock photographers with his specialist work covering novels for authors such as Tess Gerittsen, James Herbert and Simon Beckett. As well as all this, Dave also works as a trainer, passing on his extensive knowledge of Adobe Photoshop and Lightroom as an Adobe Influencer and Adobe Community Professional. Read Daveâ&#x20AC;&#x2122;s fascinating insight into his Photography on the next few pages.

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Dave Wall talks to Creative Light Magazine Q:

How did you start off in Photography and has it always been commercial?

I instantly went into Commercial Photography on the advertising side as Manchester was a hub for catalogue photography and it was a hive of activity for that industry back when I started out 26 years ago. It wasn’t until I became self-employed that I did any social photography. I’ve done some weddings and portraits but I don’t really like it and by that I mean that as a commercial photographer you’re in command of everything whereas socially, you have to control the general public. This can be difficult at events like weddings… sometimes the guests are just more interested in the bar! I love my job now as a stock photographer. I have the freedom to be as creative as I want to be and shoot what I want, when I want and where I want and get paid for it, which is a great thing to achieve.

Q: How do you go about photographing for the Book Covers and where do your ideas come from?

Lots of places really – movies, music, Google, Pinterest… I can be watching a movie or music video and just see it. For example, I’m working on a piece now that I’ve created from something I saw on Pinterest yesterday. My inspiration has to come from a range of places because my stock is very specialist and there has to be a narrative behind every piece. It has to catch the eye and tell a story.

Q: How do you get to all the unusual places to get these images? In general I use my car and I specifically bought one that has really low mileage because of all the travelling. Having said that, I do go to a lot of rough areas and to get in and out quickly. I bought a scooter so I can literally hop off, take the picture and then hop back on and get out! If I walk around for too long with my camera people start to notice what you’re doing and then sometimes follow you. The scooter enables me to get away from problems like that without people noticing I’m there.

Q: What’s your favourite lens? I’m a zoom boy! I like a wide angled zoom equivalent of a 24x70 usually with Cannon but I find the bodies and lenses a bit heavy for what I need do to. At the minute I’m with Fuji as they’re really light weight but the zooms that I want from them won’t be released for another couple of months. If I had to pick one favourite lens it would probably be my Fuji 14mm as it’s possible the sharpest wide angled lens I’ve ever used.

Q: Do you have a particular genre of Book Cover that you photograph for? Yes, Crime/Thriller is my thing – everything splattered in blood!

Q: What do you use for blood? I make my own. It consists of corn syrup, red food dye, a dash of green food dye and if it needs to be bit more watery then also a little bit of milk. Then after that, it’s created in Photoshop [laughs]. I don’t think you’d want to search me if you’re a policeman! In my camera bag there’ll be one camera and then everything else from handcuffs, blood, skulls to shackles and hand grenades! My camera bag is practically a murderer’s tool kit!!

Q: You do a lot of lectures on Photoshop and Lightroom, but which do you prefer for your editing?

I use them both equally. I use Lightroom to process all my images and to organise them and then Photoshop for retouching and also for creative editing.

Q: In the area of Commercial Photography, do you have any tips to pass on to Guild Members within this field?

Go above and beyond for the client. If they want ‘X’ then give them ‘X’, ‘Y’, and ‘Z’. Commercial Photography is different in that in Social Photography, you tend to only deal with the client once, whereas in commercial your aim is to keep that client. For example, I’ve got three clients that I took on the week I became self-employed and I’ve still got them today. It’s down to keeping the clients happy at all costs.

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Q: In which format do you sell your work? For my commercial work, the copyright stays with me and it depends on the job for which I have a pricing structure. They get to use the images for the purpose that they tell me when I quote them the job. For example, if they want the image for an A4 brochure then that’s what they’re quoted for. If they want it for a billboard then they’re charged extra. I size It accordingly in the format and resolution that they ask for so they can’t crop it badly or print it the wrong way.

Q: How important is your website to you and your business? I’d love to say it’s super important but for me personally, it’s not. I am however rebuilding it again myself and I do update it regularly, however I don’t get that much traffic through it for the commercial work. As its stock, it goes through the stock agency and not through me. I do have a good web presence but usually, a lot of the people who contact me via the website are for my training.

Q: So overall, what kind of photographer would you class yourself as?

I think I’d class myself as a Commercial Photographer as that’s what I’ve always been. Realistically, I’m a Stock Photographer and Trainer.

Q: What areas of training do you offer? Mainly, my training is Photoshop and Lightroom based because I’m one of the few in the UK who is an Adobe Influencer as well as an Adobe Community Professional. It’s like an invite-only club and there aren’t many of us around. I also do a mentoring programme where I mentor people on Lightroom and Photoshop each month for a twelve month period so that they can further their skills. In addition I offer retouching as a professional service.

Q: How would you summarise you profession as a Book-Cover Photographer?

The book-cover work is very specialist and I think that I’m very lucky that there aren’t many ‘niche markets’ out there anymore and I’ve managed to find one. I started the book covers in 2006 when no one else was doing it and there was only one library in the whole world that serviced that area, now there are about three. Eight years later, I’m quite high up in that area and really it’s down to my determination and that I’ve developed a style that publishers want. - Julie Oswin

Dave Wall Photographer | Educator | Retoucher | Digital Artist www.davewallphoto.co.uk

SEE DAVE AT THE NEXT PHOTOHUBS Dave Wall will be running a Workshop at the November PhotoHubs Event and readers will get a 20% off when using the code GUILD20. See page 33 of this magazine for details. Issue 21 - Creative Light Magazine :

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congratulations Heulwyn Roberts Qualified Guild Professional July 2017

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congratulations Debbie Longmore Qualified Newborn Baby Photographer June 2017 96 : Creative Light Magazine - Issue 21

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