Creative Light - Issue 32 by Guild of Photographers

PhotoHubs 2019 - Coventry Household Cavalry - Chris Taylor Master Craftsman - Jean Rolfe Master Craftsman - Heather Burns Master Craftsman - Sue Dudley Master Craftsman - Lynne Harper Master Craftsman - Mel Taylor www.photoguild.co.uk

New Panel Member - Scott Johnson Issue 32

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Contents 08 22 30

Photohubs Coventry

Mel Taylor ‘Mad Dog Lady’ Successful Master Craftsman Panel

Heather Burns Successful Master Craftsman Panel

Gold Awards May & June 2019

Lynne Harper Successful Master Craftsman Panel

84 92

Angela Adams Why I hate headshots!

104

Jean Rolfe Successful Craftsman Panel

110 124

Sue Dudley Successful Master Craftsman Panel

Photo: Jenny McDonnell

Chris Taylor Household Cavalry Filming Sian Lewis Successful Craftsman Panel

Photo: Angela Adams

Scott Johnson New Panel Member

Diary Dates Regional Upcoming Events

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Editor For three weeks every year, the British ‘Army’s Household Cavalry Mounted Regiment move from their London base to Norfolk for a summer camp and take part in various ride-outs on the Norfolk Coast. This year the Household Cavalry arrived at the beginning of July and to mark the retirement of Major Richard Chambers, Norfolk photographer Chris Taylor accompanied them for two-days to record their ride-outs on Holkham Beach. As soon as I saw the footage, I contacted Chris, and he kindly agreed for Creative Light to feature the finished video footage and photography. The film, created with stills, video and drone coverage is just a beautiful piece of work. Please view the article and the film on page 22. The image below is one that I captured on my iPhone in the town of Aguas Calientes, Peru — attracted by the vibrancy of the analogous colours typical of the culture.

julie oswin

Get in touch with me and share your stories with Creative Light - julie@julieoswin. co.uk.

Photo: Julie Oswin

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editors choice Alison Connolly Awarded Silver - June 2019

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Steve & Lesley Thirsk

The Guild of Photographers

We thought we would focus on just two pieces of News this month – The ‘Founders Cup’ launch and the announcement of the line-up at Photohubs Coventry! An important piece of news for Guild members is that ‘The Founders Cup’ is now open for entries! The Guild of Photographers started life at the Guild of Wedding Photographers in 1988 and it’s founders were Roy Doorbar and Ian Gee Their aims for the Guild were to support photographers and raise standards in the industry by encouraging personal development, and they achieved a huge amount, including the introduction of something all photography businesses take for granted today – PL and PI insurance (helped greatly by who we know as InFocus insurance). Roy and Ian both sadly passed away in late 2016, and the ‘Founders Cup’ is a prestigious photography award which acknowledges what they started, and their aims. Entry requires the submission of a three mini portfolio or Panel (ie three images that are themed or link together in an obvious way). Importantly, entry is restricted to ‘Registered’ and ‘Qualified’ Guild members only (on 1st October of the competition year in question). Those who have achieved Fellowship or Associate with other photographic bodies are also not permitted to enter. The competition is also restricted to those who have NOT previously WON any regional, national or international photography competitions run by photographic bodies (such as the Guild’s Image and Photographer of the Year Titles). There are more details on the Guild’s website – www.photoguild.co.uk

PHOTOHUBS 2019 We thought we’d also let you know more about the exciting PhotoHubs 2 day event taking place in Coventry on the 6th and 7th November this year – sponsored by Epson, Loxley Colour and Profoto. This event has 5 speakers on a stunning Main Stage each day situated in a Hall with some of our Trade friends situated around the outside, giving you the opportunity to see what’s new on the market and chat about opportunities during the intervals. There are also half-day workshops covering many different genres (including newborn, portrait, wedding, commercial and dog photography to name but a few).

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In short it really does offer some amazing learning opportunities, as well as great social side too (there’s even a social evening on the 6th in the stunning medieval Guild Hall nearby)!

This year really does have a world class line-up including … Brett Florens, an internationally acclaimed South African photographer, regarded by Nikon as “one of the world’s most influential photographers”.

Charlie Waite, firmly established as one of the world’s leading landscape photographers. Danny Clifford, a world-renowned Rock and Roll photographer will be presenting and running a workshop – This is a world first.

Elli Cassidy, a a Fujifilm X-photographer and highly regarded specialist newborn, maternity and portrait photographer.

Gavin Prest, a ‘Master’ of narrative based black and white images of people. Ian Knaggs, an internationally recognised creative commercial photographer and educator. Jason Allison, one of the UK’s most talented Pet Portrait photographers. Kate Hopewell-Smith & Brent Kirkman, Storytellers and specialists in luxury photography and cinematography, as well as global educators and European Imaging Ambassadors.

Scott Johnston,, a contemporary and fine art wedding photographer and educator respected worldwide, as well a Fujifilm X-Photographer.

Tara Pretty, a highly successful photography studio owner who really understands the practicalities of business.

Tina Eisen, an editorial and commercial beauty and fashion photographer, as well as a global educator for many major photographic brands.

The cost of a Day Pass to see 5 speakers on the Main Stage is normally £65 including lunch and refreshments, but, as an ‘Early Bird’ offer, until the end of August 2019, this is reduced to just £45 each day for Creative Light readers with the code CL20! Don’t miss out on this ‘Early Bird’ opportunity as it’s amazing value… just £45 to see 5 amazing speakers, meet the Trade, and even your lunch and refreshments are included! Obviously if you come both days you get to see all 10 presentations! Entry to the various workshops vary in price from £125-£195, and include your lunch, refreshments AND a FREE Day Pass so you can watch the Main Stage for the remainder of the day. As an ‘Early Bird’ offer, Creative Light readers will save £30 off any workshop with the code CL30. Remember, that there are limited places at each of the workshops and this offer is only valid until the end of August 2019! Members of the Guild of Photographers get further discounts – members should contact the office to find out more! There are more details about this exciting event in this edition of Creative Light and on the PhotoHubs website – www.photohubs.co.uk We hope to see you there! - Steve & Lesley

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PhotoHubs - 2019

Photo Danny Clifford

INSPIRATIONAL SPEAKERS Two ‘DO NOT MISS’ Days - One Gre

Kate Hopewell-Smith

Scott Johnson

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Tara Pretty

Jason Allison

Brett Florens

eat Location

Charlie Waite

Ellli Cassidy

Ian Knaggs

Danny Clifford

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Tina Eisen

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Photo: Charlie Waite

Since then, Brett’s devotion to photography has taken him from photojournalism to a highly successful wedding, commercial, and fashion photographer. Brett has achieved numerous accolades and speaks at international conventions and online including for the prestigious CreativeLive.

Photo: Scott Johnson

He has also published 7 popular tutorial DVD’s, 5 books on wedding photography and other publications include the book “Perfect Weekend” which features some of South Africa’s most famous personalities, including Bishop Desmond Tutu, FW de Klerk and others. https://brettflorens.com

Photo: Scott Johnson

Brett Florens Regarded by Nikon as “one of the world’s most influential photographers”! Internationally acclaimed South African photographer, Brett Florens, launched his career in 1992 while in the Police riot unit. Fortuitously, a photographic unit was formed to document political changes and Brett jumped at the chance to join it. His unit evolved into a department dealing with politically motivated crimes and township violence, and photography was necessary to record this important slice of South Africa’s history. Brett soon found himself in the thick of newsworthy events, creating images that found a ready market in newspapers and other media and having his work published around the globe. His passion for photography had begun.

Creative Light Magazine

Firmly established as one of the world’s leading landscape photographers! Charlie actually started out as a professional actor and remained an actor for ten years, but soon began a sideline photographing his fellow actors including Ralph Fiennes, Helena Bonham-Carter, Amelia Fox and Catherine Zeta-Jones amongst others.

THE SPEAKERS

Charlie Waite

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Throughout his time in the theatre, Waite became fascinated by theatrical lighting and design, but gradually the landscape and the way it can be revealed through light and shade stole him away from the acting profession. As a professional photographer, Waite has established a worldwide reputation for his particular approach to his work. His style is unique in that his photographs convey a spiritual quality of serenity and calm. He has published no less than 28 books on photography and held over 30 solo exhibitions across Europe, the USA, Japan and Australia…plus his work is held in private

and corporate collections throughout the world. His bestselling book The Making of Landscape Photographs was ground breaking in the way that it addressed the ‘business of making landscape images’ and is now required reading for all students of landscape photography.

Gavin Prest

Charlie is the recipient of numerous and is frequently invited all over the world to give lectures on landscape photography. He has also written columns for newspapers and presented on TV, as well as starting the annual UK & USA Landscape Photographer of the Year Awards plus much more. https://www.charliewaite.com/

Danny Clifford A world-renowned Rock and Roll photographer! Danny Clifford has spent his illustrious career as a ‘fly on the wall’ to the most iconic musical artists of the last 40 years. From his big break, aged 20, as Bob Dylan’s official photographer in the late 1970s, through his close working relationships with many ‘greats’ the stories he has amassed over the years are just as vivid, colourful and dramatic as his photographs. The countless shots taken on and offstage, behind the scenes and during historic performances are just a fractional glimpse into the Danny Clifford archive. Danny’s images are held in the highest esteem by artists and appreciators alike – plus they are rarely exhibited and highly collectible! He is a ‘great’ himself! Photo: Gavin Prest

His Clients include BOB DYLAN / THE WHO / STATUS QUO / QUEEN / ERIC CLAPTON / RORY GALLAGHER / IRON MAIDEN / SQUEEZE / OASIS / JOHNNY CASH / PINK FLOYD / DAME SHIRLEY BASSEY / AMY WINEHOUSE / BEYONCE / SIR PAUL MCCARTNEY / PAUL WELLER / LILY ALLEN / NELSON MANDELA / KINGS OF LEON / THE BOOMTOWN RATS / LADY GAGA / ALICE COOPER / BRITNEY SPEARS / PIXIE LOTT / FREDDIE MERCURY / FRANK SINATRA / KATY PERRY / MADNESS / MICHAEL JACKSON / PHARRELL WILLIAMS / RINGO STARR / MADONNA / BOY GEORGE / PINK / PETE DOHERTY / PALOMA FAITH / TOM JONES / JESSIE J / CHRISTINA AGUILERA / ANNIE LENNOX / DIANA ROSS / RIHANNA / ADELE / ELTON JOHN / JOHNNY CASH / JUSTIN TIMBERLAKE / JAY-Z / MARILYN MANSON And many many more …

Photo:Danny Clifford

http://www.dannyclifford.com/

Photo:Elli Cassidy

Photo: Tara Pretty

Photo: Jason Allison

continued...

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Elli Cassidy A highly regarded specialist newborn, maternity and portrait photographer! Elli run a s portrait studio. She is a Fujifilm X-photographer and a Loxley Colour and Elinchrom Ambassador. As well as teaching newborn posing and portrait lighting, Elli teaches business skills, recognising that this is one of the most important elements of running a successful portrait studio and one that is frequently overlooked.

Photo: Brett Florens

Elli is highly valued for her style and approach in providing carefully crafted training courses. She mentors many professional photographers each year both in the UK and overseas. Her classes are relaxed and welcoming, yet no nonsense and straight to the point, giving real help and advice that will make a difference to your portrait business. http://www.minimemories.co.uk/

Gavin Prest A Master of narrative based black and white images of people! Gavin started his photographic career shooting with film, which he feels gives him a fundamental grounding in photography. After having several years away from the camera Gavin started creating images again in 2011 only this time digitally. With a passion for capturing people and story telling in his images this has led to Gavin receiving international recognition in photographic circles. He is a winner of several National and international photography titles and is a two time Master Craftsman with the Guild of Photographers. He has a passion for ‘paying it forward’ and educating others, mainly through direct mentoring, and he is also an internationally respected Judge

Photo: Elli Cassidy

However, Gavin is best known for his individual approach to creating powerful black and white images of people which tell stories, yet leave you asking questions! https://www.gavinprest.com/

Ian Knaggs An internationally recognised creative commercial photographer and educator! Ian has been recognised with national and international recognition for his highly creative still life and product images. High quality images are borne from shaping and controlling light, and Ian is known for his deep understanding of the behaviour and control of light – as well as his unique creativity. Generous with his knowledge, Ian is a talented educator too, delivering many online tutorials and articles, including for the highly respected Photigy photography school website. He not only holds Craftsman status with the Guild of Photographers but is the current Image of the Year title holder in the Commercial category for the 2nd successive year! https://ianknaggs.com/ 12

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Photo: Tina Eisen

Photo: Kate Hopewell-Smith

Kate Hopewell-Smith & Brent Kirkman Storytellers and specialists in luxury photography and cinematography, as well as global educators and European Imaging Ambassadors Kate has a background in TV marketing, fine art publishing and brand consultancy. She has run her photography business specialising in Portraits, Weddings and Boudoir since 2010 and since then has always played an active role in the photography industry, establishing a huge following and regularly writing features for magazines and talking at events. Brent, her husband, also had a strong entrepreneurial spirit – building and running companies in Europe, Africa and the Middle East before finally focusing on his true passion of cinematography, photography and aerial film. He is a man who can multi task - flipping from stills to film without hesitation. He loves to fly and now uses his pilot’s license when drone work is commissioned. Together, Kate and Brent are directors of the photography school Training byLUMIERE, including a luxury destination brand, and they represent Sony as European Imaging Ambassadors. www.trainingbylumiere.co.uk

Jason Allison One of the UK’s most talented Pet Portrait photographers! Although Jason has been a photographer since he was a child, it is only more recently that he has achieved National and International recognition from The Guild of Photographers for his studio Pet photography. Jason not only holds Craftsman status with the Guild but is their current Image of the Year title holder in the Pets genre. He is known for consistently delivering timeless images of exceptional quality…and whilst pets are his main interest, Jason also likes people portraiture and other forms of photography. In short, for Jason photography is both a full-time business and a lifelong hobby, with a contagious passion at the centre of all he does. http://jasonallison.co.uk/ Issue 32

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Scott Johnston A contemporary and fine art wedding photographer and educator respected worldwide, as well a Fujifilm X-Photographer. Scott Johnson is an Internationally recognised, award-winning photographer who has photographed weddings across most of Europe. Known for being fun and energetic, Scott also travels the world as an educator, judge and mentor. He is also one of only a handful of official Fujifilm X-Photographers. Also known for his fine art wedding portraits, he is still as passionate about photography today as he was when he first started back in 2003. He has been fortunate enough to win a few awards along the way, and most recently, was the only British winner at WPPI in Las Vegas where he won first place in the Wedding Contemporary category at their annual print competition, receiving plaudits from across the photography world. He holds two Fellowships with the British Institute of Professional Photography (BIPP) and was made ‘Master Photographer’ with The Society of Wedding and Portrait Photographers (SWPP) in 2018. He is also the current overall Wedding Photographer of the Year with The Guild of Photographers, and one of only four photographers to hold two Master Craftsman qualifications with them. https://www.theedgephotography.co.uk/

Tara Pretty A highly successful photography studio owner who really understands the practicalities of business Over the years Tara and her team have won over 25 photography awards in multiple genres for her photography – including portraits, fashion, boudoir and pets. However, it is her business approach she is best known for, with a primary focus on the sale of high quality Wall Art to families. She has an Honours degree in Fashion Design and Marketing and opened her studio in Chelmsford in 2010. In the 9 years since, her Studio has photographed over 7000 families…a figure that speaks for itself in many ways! Tara is passionate that photographers can, and should, make a good living from their skills, and generously shares her knowledge as to how this can be done. https://www.hammonds-studio.com/

Tina Eisen An editorial and commercial beauty and fashion photographer, as well as a global educator for many major photographic brands Tina Eisen is an editorial and commercial beauty and fashion photographer based in London, UK. With over 10 years of experience in the industry, Tina has worked with clients such as MaxFactor, Sephora, Ciate, Superdrug, Harvey Nichols, ASOS, Marks & Spencer, ITV, Amazon, Barbour and numerous other well-known global brands and magazines. Tina’s Beauty Photography workshops in Europe and North America, her publications and online tutorials are popular amongst a global audience. Tina is a regular speaker and educator for photography equipment and software brands such as Canon, Profoto, Capture One and Three Legged Thing and is regularly showcasing her craft at national and international tradeshows. http://tinaeisen.com/ 14

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Photo: Tina Eisen Issue 32

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DAY ONE - MAIN STAGE TIMETABLE 0930-1030 - Brett Florens 1100-1200 - Tara Pretty ‘Make Money Selling Your Wall Art’ Learn how just £9 could generate a great income, selling your work as Wall Art

1300-1400 - Brent Kirkman ‘Take Your Photography To New Heights’ Learn how drone photography and filmmaking can give you a new perspective. Also find out what’s involved to add it to your portfolio.

1430-1530 - Kate Hopewell-Smith ‘Shedding Light On Weddings And Portraits’ Light is the most fundamental element of photography and weddings are full of challenging scenarios. Kate will explain when and how to use artificial lighting across the day for both photography and videography.

1600-1700 - Danny Clifford ‘Rock Stars Don’t Smile!’ Persistence and Self-Value are so important as you will find out in this ‘World First’ – a seminar by probably the most in demand fine art music photographer. A photographer to so many legends!

DAY TWO - MAIN STAGE TIMETABLE 0930-1030 - Charlie Waite ‘Great Landscapes - The Importance Of Light And Shade’ Charlie will show images he has taken around the world in city and rural environments, demonstrating the importance of contrasts when creating great landscape images.

1100-1200 - Tina Eisen ‘Shaping The Light’ Tina will give a demonstration on how to use light to create impact!

1300-1400 - Elli Cassidy ‘Profitable Portraits’ Elli will explain how small changes to the service you provide can make a big difference to the profit you make!

1430-1530 - Gavin Prest ’32 Shades of Grey’ Gavin will demonstrate how he gets his black and white images to look the way they do (something he’s regularly asked)!

1600-1700 - Brett Florens ‘Posing for the more affluent market’ Discover shooting styles and techniques that appeal to a more affluent market. Also, get an invaluable insight into Brett’s tried and trusted techniques that get his subjects to buy into the images he wants to create. 16

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DAY ONE - WORKSHOP TIMETABLE 0900-1200 Danny Clifford ‘Getting THE Shot’ 0900-1200 Kate Hopewell Smith & Brent Kirkman ‘Where there is darkness, let there be light’ 0900-1200 Ian Knaggs ‘Making The Ordinary EXTRA-ORDINARY’ 1300-1600 Brett Florens “ The Importance of the engagement shoot & more” Photo: Brett Florens

1300-1600 Elli Cassidy ‘Magical Maternity’ 1300-1600 Scott Johnstone ‘Lighting On Location’ IN ALL CASES LUNCH INCLUDED 1200-1300 FREE DRINKS AVAILABLE AT 0900, 1030 AND WITH LUNCH

DAY TWO - WORKSHOP TIMETABLE 0900-1200 Brett Florens Photo: Brent Kirkman

‘Posing for the more affluent market’ 0900-1200 Elli Cassidy ‘Newborns in a Nutshell’ 1300-1415 Charlie Waite ‘Absorb Yourself In Landscapes – Session 1’ 1300-1600 Tina Eisen ‘The Beauty Experience’ 1300-1600 Jason Allison ‘Timeless Dog Portraiture, From A-Z’ 1430-1545 Charlie Waite ‘Absorb Yourself In Landscapes – Session 2’ IN ALL CASES LUNCH INCLUDED 1200-1300

Photo: Charlie Waite

FREE DRINKS AVAILABLE AT 0900, 1030 AND WITH LUNCH

The cost of a DAY PASS to see FIVE speakers on the Main Stage is normally £65 including lunch and refreshments, but, as an “EARLY BIRD’ offer, until the end of August 2019, this is reduced to just £45 each day for Creative Light readers with the code CL20 Don’t miss out on this ‘Early Bird’ opportunity as it’s amazing value… just £45 to see 5 amazing speakers, meet the Trade, and even your lunch and refreshments are included!

For ALL details and how to BOOK:

www.photohubs.co.uk Issue 32

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N E W E S T P R O D U C T F R O M LOX L E Y CO LO U R

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Front Cover “

The image of my ‘Lupins in Blue ‘ was taken in my home studio. I wanted to capture the range of tones in the flower heads and to reflect their pure beauty. I placed the flowers in the complimentary subtle blue vases and chose to use two subjects rather than the usual three as I felt the composition just worked. I then placed two fallen flowers to add some additional interest and processed my image in a soft style to capture the delicacy yet the vibrancy of the lupins. Keeping the colour palette simple allowed the flowers to sing for themselves.

gaille gray

- Gaille Gray

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Be free to create Profoto Connect & A1X Profoto Connect and the A1X are a powerful and easy to use combination. Profoto Connect is a button-free trigger with just three settings; auto, manual and off. So itâ&#x20AC;&#x2122;s never been easier to be creative and make the most of the natural and beautiful light of the A1X. Discover more at profoto.com Issue 32

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Chris Taylor Norfolk Photographer & Filmaker

Chris Taylor has been a professional photographer for 15 years and a CAA Licensed Commercial Drone operator since 2015. Born & bred in North Norfolk, Chris covers many local events as well as photographing a handful of weddings annually and producing architectural images for local estate agents & holiday let companies. As a result of making short videos with the use of drones Chris has branched into commercial video production and has contracts this year to produce a series of short films promoting North Norfolk for Visit North Norfolk, films for the Deep History Coast and documenting a £20M sandscaping project on the coast to attempt to limit coastal erosion. When not behind a camera Chris is a Helmsman at RNLI Sheringham Lifeboat, a member of the for 19 years, a Police Support Volunteer with the Norfolk Constabulary, a father of two and owner of four cats!

“A massive thank you to the Household Cavalry for granting us this incredible access and particularly to Major Chambers and Captain Perera who even drove us to the beach to save our legs. It was a huge privilege to meet them all. A real credit to the British Army. Our special thanks to Jason and Graham from Norfolk Constabulary who came down on the Thursday to police the beach for any rogue drone users and to keep an eye on things. And, finally, a big thank you to our friends Leigh and Steve who helped us - Steve was my drone-spotter for the day and didn’t take his eye off the drone one! And, finally to Leigh, for assisting Leanne as she filmed some incredible footage - especially the filming from the army truck as they sped alongside the horses at full gallop. These two days on Holkham Beach have been such an incredible experience, opportunity and memories that will be with us forever.” - Chris Taylor [website] Issue 32

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Chris and his partner Leanne (Samphire Films) captured this fantastic record of the Blues & Royals

and the Life Guards on Holkham Beach on the Norfolk Coast, July 2019.

Opportunities of this scale donâ&#x20AC;&#x2122;t come along very often in our area of work, and although Chris has photographed the Household Cavalry three times before, and granted permission in 2017 to fly his drone, this is definitely one that tops all of the ride-outs he has captured previously. Chris organised access to the two regiments of the Household Cavalry, the Life Guards and the Blues and Royals and the necessary permissions to be allowed to fly his drone at Holkham Beach again. Over the two days at the beginning of July 2019, blessed with incredible weather, they took some stunning photographs and amazing video footage. Leanne filmed the ground-based footage to add to the aerial footage. As there is a rare nesting colony of Little Terns at the west end of the bay of on Holkham Beach, Chris had to make sure he didnâ&#x20AC;&#x2122;t fly his drone too close. To minimise the disturbance to the wildlife, clearance to Chris to fly his drone was given only for the first day. The second day Chris photographed the ride-out with his DSLR and a long lens. - Julie Oswin, Editor

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GRAND GALLERY PHOTO BOO NOW AVAILABLE!

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OK N E W PRODUCT

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Siân Lewis

Successful Craftsman May 2019 “The uniform makes for brotherhood, since when universally adopted it covers up all differences of class and country” - Robert Baden-Powell

“

My original intention for my panel was to put together a series of images of people in uniform. This evolved into a series of portraits of people involved with the scouting movement. I wanted to create a series of simple but striking classically lit portraits which would focus both on the uniform and the person wearing it. All the images were shot in my studio using the same background and one light set up. Each image was then processed using my own custom-made presets in Lightroom, Photoshop and Alien Skin to ensure consistency throughout the panel. The people featured in my panel come from all walks of life. Some relaxed in front of the camera and others needed a little time to warm up. I found that children were keen to talk about their badges and what they had achieved. ortrThis certainly helped those who were camera-shy to relax and engage more with the camera. I used my 100mm lens on all of the child portraits and the adults with my 50mm. Both of these lenses are my go-to lenses when shooting studio portraits. Using both of them for my panel ensured I had the same focal length for each photograph, which contributed to the congruence of the final images. Completing my panel has been a rewarding and enjoyable experience and has also helped me to focus on finding and refining a definitive style. - Sian Lewis

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multi award winning

P R I N T & WA L L A RT est. 1949 Proud Trade Partners of the Guild of Photographers

www.digitalab.co.uk | 0191 2323558

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Dawn Cotterell

Qualified Guild Photographer

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July 2019

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Owen Clements Qualified Guild Photographer

June 2019

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Jenny McDonnell Qualified Guild Newborn & Baby Photographer

July 2019

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L E M O N ADE DE SIGN CO CREATING A KILLER HOME PAGE

oday’s clients are super savy when it comes to looking and booking a photographer, whether they are looking for a wedding photographer to capture their wedding day, a newborn photographer to capture their baby, a portrait photographer for some family photograph’s or a pet photographer to capture their fur-baby!

From the very first image to the very last piece of information that is on the page. Your home page needs to be easy to navigate, have an overview of who you are, what you do, and what others think of you, with ‘calls to actions’ or links to read or see more of your portfolio. Your contact details need to be visible, and not just an email address or a contact form, if you do not want to put your email or phone number on the website then consider embedding something like ‘Calendy’ which is free of charge and allows the user to select a time that suites them and you to schedule a call. Make sure that the imagery you select is the best that it can be, and that it has been airbrushed, no one wants to see a photo of a bride with a spot on her chin! Check how long the page loads using something like Tools Pingdom, and if its slow consider getting it speeded up. And finally make sure that the user experience on a mobile is good, as most consumers look on a mobile before they look on a desktop.

WWW.LEMONADEDESIGN.CO E: yvette@lemonadedesign.co T: 07984 470 415 42

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

With busy lives today’s consumer wants to make up their minds about a service or a product as quickly as they can, so it is vital that your home page WOWs them from the moment that they land on it!

My Client’s

SOME OF MY RECENT WORK

So there has never been a better time to make sure that your website is mobile ready... Especially when GUILD MEMBERS enjoy 10% discount off any new website. In addition the first 5 members who book a new website in August/Sept, will have Facebook Pixels and a re-target Facebook advert set up, which is normally £195.00 - Just quote GUILD10/pixel5

GET IN TOUCH... WWW.LEMONADEDESIGN.CO T: 07984 470 415 Issue 32

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Regional Meet-Up Who: Yorkshire and The Humber Regional Group Where: Calecotes and Winscar Reservoir with Caro Dell When: 26th February 2019 Author: Rita Morley Attendees: Rita Morley, Lorraine Dale, Gail Barton and Martina Hardiman

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We all met up at a tiny village of Carlecotes, close to the Haworth Moor to join our host and fabulous Guild member Caro Dell. After a short introduction, we headed out with Caroâ&#x20AC;&#x2122;s three dogs. It was a fabulous opportunity to get shots of working dogs - my goodness did they run fast. We had a pleasant walk over the moors then headed a little further afield to Winscar Reservoir, so the dogs have some fun in the water. We had a great time too; watching them play and taking photos, again at quite a high speed. After a delicious lunch and a comfort break, we set about the afternoon for a session taking poochy portraits in the barn. All too soon, the time came for us to head home. We all got some fantastic shots and had a brilliant day. What more could you ask, a lovely group of members, gorgeous doggies and a huge thank you to Caro for organising and hosting the event. - Rita Morley

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TAKE YOUR WORK TO NEW HEIGHTS WITH LOUPEDECK+

FLORIAN LEDOUX - POLAR AND WILDLIFE PHOTOGRAPHER Florian Ledoux is an internationally recognized French drone photographer and wildlife conservationist based in Norway. Self-taught since the age of 12, his passion for photography evolved into a successful career documenting the magnificent landscapes and wildlife of the Arctic, as well as the harsh effects of climate change and devastation currently unfolding. Florian’s mission is to “Witness, Document and Protect the fragile Arctic” through his work.

As a photographer, you have set out to bring a new perspective to nature photography with drones that showcase the wider habitat of the animals featured in your work. How did your work evolve to incorporating dronebased imagery? Things never happen overnight, so this was a long process and journey to integrate drone’s unique point of view in my work. I can recall, I always wanted to bring a different angle and I was looking at how I could show the beauty of nature’s line. Drones even allow me to be where a helicopter could not. I got a lot of inspiration when younger I was flying over the arctic and always been in awe

Having won multiple awards, including the Drone Awards 2019 Wildlife category. Florian’s work has gained worldwide attention, and can be seen in major publications and was even featured in the Netflix series, Our Planet. Loupedeck+, the photo and video editing console is on a mission to provide a faster, more intuitive approach to editing so photographers like Florian can focus on creating images that impact the world.

with the patterns on earth. How do you feel about the distance that drone photography creates between you and your subject? It definitely creates a distance that you don’t live and see it directly, but because it is so intense and beautiful. I always get excited by what I see. I am so much in my screen that it is like seeing it directly with my eyes, so intense! It is also why I would always keep normal photography where I can stand myself closer to the wildlife.

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Another major success is your collaboration with Netflix.

How has Loupedeck+ affected your creativity when editing?

What can you share with us about this new exciting endeavor?

Using the Loupedeck+ has been an exciting experience. Having used a keyboard and mouse for many years, improvements in

Indeed, last spring I had three of my images in “Our Planet”. First

efficiency were not immediate, as it took some time to learn the

of all, I was thrilled when I knew the foreword was done by Sir

new console. Creatively, the improvements were immediate.

David Attenborough, the producer of Planet Earth, Blue Planet.

Having the tactile connection to individual controls produced a

Later when I saw the series I was moved and happy to be part of

more natural and artistic experience. I am now able edit without

this beautiful project. I was also very grateful to find work amongst

taking my eyes off of the image, which has become an invaluable

photographers such as Paul Nicklen and Vincent Munier that are

part of my creative process.

both my mentors from my childhood (and still they are).

DISCOVER HOW LOUPEDECK+ INSPIRED FLORIAN’S CREATIVE WORKFLOW What sparked your interest in Loupedeck? For a while I had been looking for a control surface to introduce into my workflow for post-production in both photography and video. I wanted to move away from the mouse and keyboard in the hope of increasing productivity and making the connection

How has using Loupedeck+ changed your editing experience? Are there any major improvements in your workflow from the point of image capture to the final edited image? Loupedeck+ is a beautiful tool that unlocks the creativity of your work and allows to work faster. It has become part of my production chain with my computer, calibrated screen, and printer. I hope to be even able to take it on a future expedition to work directly in the field!

between my hands and my work on the screen feel more natural. My search for this led me to Loupedeck+.

...THE TACTILE CONNECTION TO CONTROLS PRODUCED

A MORE NATURAL AND ARTISTIC EXPERIENCE.

Loupedeck+ is available for purchase at Loupedeck.com, Wex

Be sure to check out Florian Ledoux’s personal website and

Photo Video, and Amazon.co.uk (£219)

subscribe to his social channels! florian-ledoux.com

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Master Craftsman ‘Mad Dog Lady’ That is, according to my friends... My friends call me the “Mad Dog Lady” all I wanted as a kid was a dog. I got a rabbit! Flop, I loved him but it’s not quite the same. Dogs are a very big part of my life and hopefully always will be. I have three of my own which I do competitive agility with, I do regular Dog Portrait shoots and I have a small dog training business. A dog becomes part of the family. To a dog owner they are not “Just a dog” in the same way as a child is not “Just a child” to its parents. Through my connections with dogs on a daily basis I see the overwhelming amount of love there is between a dog and their owner. This quote sums it up for me, “Dogs are like wine, their value increases as it gets older and older” - author unknown. A dogs love and devotion is unconditional and lasts forever. After passing my Craftsman in 2018 I was determined to continue my development and work towards producing a panel for my Master Craftsman.

I wanted to create a body

of work to celebrate older dogs. “Golden Oldies”. They are often overlooked, sadly often cast to one side or worse put out on the street. The images I take of dogs are more often than not are of puppies or fit younger dogs. I have often heard people say that they wish they had a nice image of their dog in later life.

mel taylor

Sadly dogs have a much shorter lifespan than us, 8-13 yrs and so the “Golden Oldie”

criteria was set at 13 yrs or above. I made one exception to this, a Great Dane at 12 yrs old as their life expectancy is 8-10 yrs. I have lost several dogs and they all live a big hole in your heart. I had the privilege of photographing 28 dogs for the project ranging from 13 years to 17 years across multiple breeds between October 2018 and February 2019. All the dogs were either deaf or hard of hearing, partially blind or had cataracts, all had mobility issues. However, they all tried so hard to do what was asked of them. It was also evident that dogs over the age of 13 yrs have forgotten most or all of their past training! My saviour was that the sense of smell was still strong! Creative Light Magazine

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Creative Light Magazine

Just after starting my panel I got an email from Georges Mum... Hi Mel, Could I request that, if you do want to use George as a “model” you see him sooner rather than later..... before the New Year would be better as his legs are getting increasingly wobbly and you know where I am going with this. No worries if he is not suitable, just if he is sooner would be better. The reality of the precious time left with these dogs hit home. Sadly since photographing the panel 5 of the dogs have passed over to rainbow bridge. George was one of these. This is what Georges Mum said about him. George - George was the most loyal, loving and gentle dog I have ever had the privilege of owning. As a pet and companion he was not just something to me, he was everything, and my world is a little duller without him in it. My aim was create a panel of images that would leave the viewer guessing the age of each of the “Golden Oldies” and that the owner would know that at that moment in time the dog was focused on them, even if helped by a little bit of sausage! Can you guess which is the oldest dog? We had fun, we had our patience tested, we moved lights or backgrounds rather than the dogs and we had a few embarrassing accidents but the thing I remember most of all is how much devotion there was between dog and owner in all the sessions. I was delighted to have been awarded my Master Craftsman. It was a great journey for me. I won’t lie, it was hard work and at times very stressful. The normal struggles of work life balance became immense at times. My family are glad to have my focus back on them. Like many, I am full of self doubt, very critical of my own work but there is a lot of support offered by the Guild for you to succeed you just have to want to do it. - Mel Taylor MCrGPPxxxxxx

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Creative Light Magazine

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Regional Meet-Up Who: South Central Regional Group Where: Siaran Coates’ Inspire Studio, Salisbury When: 9th June 2019 Author: Ann Aveyard Attendees: Seventeen Guild Members Siaran Coates kindly opened up her studio in Salisbury to host 17 Guild members whom travelled some distance on a sunny June Sunday to be there. Primarily a social get together, in true Guild fashion - turned into a day of sharing knowledge and tuition! First up, Imelda Bell gave a truly inspirational talk titled “Triumph through Adversity”. Centred on emotions in photography and Imelda’s journey to create her master craftsman panel, “Faces of Cancer”.

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Ed Burrows followed with a talk on his image processing technique – I’m sure we all came away having learnt new editing techniques. Ed followed this up by providing further tuition for a smaller group of members a few weeks later. After lunch Neil Bremner guided us all through the basics of studio lighting using Siaran’s infinity studio and Broncolor lights. We were fortunate to have a model so were able to see and practice the techniques there and then. I am sure Neil’s talk will have motivated others to try studio lighting for themselves. Ed and I also took our Craftsman panels along to answer lots of questions on applying for the qualification and putting a panel together. A huge thank you to Siaran for hosting the event at her studio. To Imelda, Ed and Neil for their contributions to the day. We cannot forget to thank Siarian’s partner Andy too, for coffee and biscuits (even taking care of the washing up!) And finally thank you to all those whom attended, it was lovely to put faces to names and the day wouldn’t have been a success without you. Feedback from all was incredibly positive! - Ann Aveyard, South Central Regional Group

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Creative Light Magazine

Andrew Bramah

Qualified Guild Professional Photographer March 2019 58

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Regional Meet-Up Who: South West and South Wales Regional Group Where: Somerset When: 26th February 2019 Author: Ed Burrows

On the 26th February, a group of Guild members from the South West and South Wales group, also from the South Central group, converged on a beautiful Somerset village for our first meet of the new regional groups. Guild member, and all-round lovely person, Tessa Chapman hosted us all for a varied day at her home studio. Gemma Varney very kindly ran a day-long studio training session covering the basics of studio lighting. Panel Member, Clive Hall travelled from Swindon to spend the whole day with us providing short critique sessions. Both sessions were quickly over-subscribed and very well received. Another small group enjoyed a walk around the local area. There was lots of chatting, excellent food for breaktime, which was prepared by members. All the training provided gratis for those that attended. Thank you to Gemma, Clive and Tessa and to all those that attended. We all had such a brilliant day. - Ed Burrows, South West & South Wales Regional Group Issue 32

Creative Light Magazine

Master Craftsman Through the Mind’s Eye… I’d like to know what goes on in your head! It stands as probably one of the most frequently asked questions in photography, “How do I find my style.” The honest answer is you don’t; your style will eventually find you. Your unique style comes from within, it’s all of the things that surround and influence you in life, and ultimately the essential foundations upon which your art is based. So who is Heather Burns? Well, I love all things Gothic! What could be better than snuggling up on the sofa on a Saturday night with a classic Hammer Horror Film featuring Peter Cushing and Christopher Lee? I love the idea of Time travel. HG Wells’ The Time Machine’, has the most fabulous sequence where the attire of a female mannequin in the shop window display changes through the ages as the man known only as ‘The Time Traveler’ moves forward in time to discover a distant new world inhabited by the Eloi and Morlocks. Bram Stoker, Mary Shelly and Conan Doyle all feed my imagination with tales of shadowy darkness, brilliant detectives, medical experimentation and the afterlife.

heather burns

We are active members of the Steampunk movement. It is a subgenre of science fiction

or science fantasy that incorporates technology and aesthetic designs inspired by 19th Century industrial steam-powered machinery. I draw a lot of influence and inspiration to realize some of my ideas into images through the characters we meet and locations we visit. You will see as you look through my work some common themes: Eye’s feature prominently, signifying the window to the soul. Often I will add a scene within the iris of the eye as a representation to the persons thought or location. Clocks and Cogs which add science fantasy to the pieces. The Green Man, a symbol representing resurrection and rebirth, often associated with woodlands. continued...

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Creative Light Magazine

Birds often feature too, giving the images movement while representing a sense of freedom. Lastly, the colour palette. I always use colours that please me, which tend to be earthy tones enriching the look and feel of the image. The subject matter that I choose to form the foundations for my images surrounds us all. They are ordinary, yet extraordinary everyday things such as an eye or perhaps a light bulb, a battery, a ship, an hourglass, a skull, a forlorn old tree or even a circle of cold, prehistoric stones. At any given moment, on any ordinary day, firstly an instinctive split-second of inspiration, and then the spontaneous capture via the simple opening of a shutter establishing the initial foundation for the beginning of another creative work of art. (Usually followed by the comment …” I can do something with that”) I am aware almost immediately the direction in which I require the finished piece of art to develop. Sometimes this happens instantly and to plan, and on other occasions, the image itself speaks out and demands to evolve into something entirely different. Some photos are finalized within minutes; some are created over a few hours, others possibly after weeks or even months of thought and re-visitation. So what magic is involved in bringing it all together? All my images are created in Photoshop, starting with a base image containing the focal point of the finished piece. Enhanced layers of textures and brushwork, and in some instances, you will see some of my pictures are intertwined. Often I will incorporate one finished piece of art into another, added as a texture to the background or used as a feature to offset or enhance. My collection ‘Through the Mind’s Eye’ is merely a series of whimsical dreams realized into images designed to delight and possibly even to challenge the senses just a little. - Heather Burns MCrGP

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Creative Light Magazine

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Creative Light Magazine

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

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

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

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

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

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

SAVED ME MONEY “Shuttertax has definitely saved me money in my first year and with Paul's help, I am sure my business will grow and grow.” “Paul took most of the tedium of accounting off my hands, and in completing two tax assessments for me so far, has certainly saved me more money than I've paid Shuttertax.” 66

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

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

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

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

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

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

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

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

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

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https://shuttertax.co.uk

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MAY - JUNE 2019

Hardik Pandya

Iain Poole

Karen Riches 68

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Katrina -

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Bernard Pretorius

Chris Chambers

Ian Knaggs

Neil Bremner

Laura Galbraith Issue 32

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Neil Bremner

Roxanne Bunn

Stephanie Chapman

Heather Burns

Henry Ransby 70

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Ian Knaggs -

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Sarah Wilkes

Heather Burns

Helen Walker

Ivan Trotman

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“THE ROTOLIGHT NEO 2 IS THE SOLUTION, TO SO MANY LIGHTING CHALLENGES” L I T W I T H T H E N E O 2 & A E O S B Y M A S T E R O F L I G H T T E R R Y D O N N E L LY DESIGNED FOR PORTRAIT / LOCATION PHOTO & VIDEO

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BEST ON-CAMERA FLASH

Jason Allison

Lynne Harper

Michelle Campbell

Tim Wilde

Sarah Wilkes Issue 32

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PRESS RELEASE Wednesday 10th July 2019 WILKINSON CAMERAS ACQUIRES CAMERA SOLUTIONS, CHESTER Wilkinson Cameras continues growth, with acquisition of Camera Solutions store in Chester

Wilkinson Cameras is delighted to announce the acquisition of Camera Solutions, located in Frodsham Street, Chester – bringing its total number of retail stores across the North West to ten. Formerly owned by Ray Fisher, Camera Solutions has been the traditional go-to camera store in the city for over 20 years – working hard to serve the needs of photographers in the city. Ray is now looking forward to his retirement, knowing that his business is being transferred not only into safe hands, but with a strong investment and commitment to its future growth and success going forward under the Wilkinson brand.

Pictured (L-R): Paul Edmondson – Company Director, Wilkinson Cameras; David Parkinson – Managing Director, Wilkinson Cameras; Ray Fisher – former owner of Camera Solutions; Alex Wilkinson - Company Director, Wilkinson Cameras.

‘It will be a sad day for me to walk away from a business that I am passionate about, that I have cared for and nurtured for the past 21 years, however I have reached that time in

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life where I have to consider my family and move on into retirement,’ said Ray. ‘I am delighted to be able to pass Camera Solutions over to the safe hands of Wilkinson Cameras, it is a positive move for the business, my loyal members of staff and a great way forward for all of Camera Solution's customers both past and present. ‘It pleases me that the business it will now be brought under the Wilkinson Cameras brand – in order to move the business forwards with their expertise and dedicated approach to customer service and customer relationships. Wilkinson Cameras is a retail company that I believe will add value to the existing business and will provide a great service to all of Camera Solutions customers, Chester and its surrounding area.’ David Parkinson, Managing Director at Wilkinson Cameras said: ‘We are excited to further expand our city-based stores – especially as Chester is one of the iconic cities of the North West of England, popular with shoppers and thousands of visitors to the historic walled city every year. ‘With an experienced team of staff already in- store, plus the support of our brand partners, we have big ambitions for the new Wilkinson branch - further strengthening our position as one of the truly independent photographic retailers in the UK.’ The change of ownership is effective from 5th August 2019, with significant investment planned including full store refit and new storefront before the end of this year. The store currently employs 4 full time staff, all of which Wilkinson Cameras hopes to retain. To keep up with the latest news, you can also join Wilkinson Cameras on social media at: Twitter:

@wilkicameras

Facebook:

Wilkinson Cameras

Instagram:

WilkinsonCameras

Ends  For more info please contact Kerry Hendry at Capture PR on 07971 987708 or email kerry@capture-pr.com

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Master Craftsman Craftsman Submission Upgraded Newborn styled art has always been my passion and to pay tribute to the babyâ&#x20AC;&#x2122;s Scottish heritage, my clients bring with them their family tartan in the form of a kilt, plaid or scarf. I take great pride in creating a signature image for them and then tone the rest of the photographs in their gallery to this piece of fabric. My panel aimed to show my Scottish Heritage aspect of my photography work; to show that the signature pieces are unique through the tartan and kilts. I then compliment the tartan by using a harmonious colour palette throughout the gallery, often using greys, blues, heather purples and yellow. I am a studio photographer, specialising in newborns and childrenâ&#x20AC;&#x2122;s portraiture and work from my home studio in Ayrshire, Scotland. In May 2019, I presented a panel of my newborn photography work to The Guild of Photographers for assessment for the qualification of Craftsman. I was thrilled that my panel was successful as a Craftsman but then overjoyed when the Judges upgraded the panel to Master Craftsman. My journey to Master Craftsman status has been such an incredible learning experience and one that I will never forget. To pass my Craftsman qualification would have meant the

lynne harper

world to me, but to be upgraded to Master Craftsman status has been mind-blowing.

I am very proud to be one of only four Guild photographers who have been awarded Master Craftsman for Newborn & Baby Photography and also the first person in Scotland. - Lynne Harper Website: www.lynneharper.com

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Creative Light Magazine

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Creative Light Magazine

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Creative Light Magazine

Why I Hate Headshots! Angela Adams

An accomplished professional with a successful track record of assisting business professionals. Angela’s academic background is in Photography, plus English and American Literature in which she holds a Bachelor’s Degree. Her Diploma in Professional Interior Design assists in designing client sets and experiences. A freelance career in non-fiction writing and photography spanning three decades provides her clients with an insight into which picture styles and copy work in a constantly-changing business market. Angela’s work has been featured online and in the national press. She provides content for local and international publications, book covers and websites, and writes a column for Professional Imagemaker Magazine. Her company aim is to provide a professional product and outstanding customer service. www.angelaadamsphotography.co.uk

ith the abundance of social media platforms available to assist your business, it’s more important than ever to be headshot savvy! So why do I hate headshots? Actually, I don’t, I feel they’re a fabulous marketing tool, but I do hate the term headshot as it feels throwaway and somehow lacking in importance... This may be the ex-English graduate in me coming to the fore, but language and how we choose to use it in our business can be incredibly important. For me, there is no such thing as, just a headshot, they’re so much greater than the sum of their parts. And for this reason, I always refer to them as business portraits when chatting with clients. Market research and Psychologists inform that we’re judgmental creatures who make decisions about an individual within five seconds looking at their portrait and within a minute or two of a face-to-face meeting. With this in mind, why do so many take so little care to make a great first impression, with their business portrait and/or social media avatars? What does your website business portrait and your social media avatars say about you? Many years ago, a response on one of my client feedback forms not only made me smile, but really got me thinking about the importance of the business portrait: ‘I liked your work, but you looked like a nice person in your website picture.’ Really? I’d honestly never thought about this before it was brought to my attention. As a business owner and the face of your business, have you?

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If you don’t have your portrait on your website, you could be missing out on commissions. We’re inquisitive by nature, so why miss out on engaging with potential customers through your portrait! Ask yourself what story or image, you’re aiming to portray with the portrait you place on LinkedIn versus the one you place on Facebook or Instagram. Put simply, the picture needs to fit the platform - one size doesn’t fit all in the world of social media. For example, a) selling the service you provide to the marketplace you want work within i.e. the style of portrait which will give you (and your client) the best chance of engagement, and b) because you need to educate your clients to understand what works in a constantly changing business environment - not only to get them seen but more importantly, seen in a way which will engage with their tribe or the tribe they wish to gain as clients. Learning what’s best for each platform isn’t difficult, but thought and consideration for each and every picture is essential. If you’re a networker, I would wager you’ve overheard business people chatting at networking meetings discussing business portraits (this usually occurs when people think I’m out of earshot, however, I still have the ability to hear what’s going on behind me whilst focusing on what’s in front of me from my days spent in a classroom). The common statement is, ‘what’s the point of a professional headshot, my phone takes great pictures’, they then laugh and change the topic of conversation. They don’t get it! To be fair, why should they? Many have not been taught or educated themselves about how to make a great first impression with a professionally photographed business portrait. I never challenge these conversations but I can’t help researching their profiles on social media, as I’m genuinely interested to see what they think is an acceptable picture for their chosen platform. Sometimes they get it right, sometimes the picture chosen is inappropriate i.e. a holiday snap, a picture taken in casual clothing in their garden and poorly lit pictures which hide their features. At the moment, there seems to be a run on pictures of people participating in their favourite hobby or sport - great if you are a sports coach! However, will a picture of you in your hockey kit sell your skills as a photographer or copywriter? What’s best for marketing, text or pictures? Ideally, a little of both. However, when you click on a web page, are you drawn to look at the picture first or do you read the text? In our fast-paced busy lives, we read much less and our attention spans are shorter. We filter information in the first few lines of reading, then decide whether to continue. An appropriate picture, accompanied by a great tagline, can be immensely powerful in providing your business with a professional edge, either by adding impact, wow factor or simply by drawing attention.

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We’re very much an image-driven, visually-aware society, so don’t lose business by hiding behind text, get your business portrait out there and allow potential clients to put a face to a name. Fundamentally, people really do buy people! Let your customers know who they’re doing business with; don’t underestimate the value of a professional business portrait. And lastly, if you’re a photographer who wants to provide a business-portrait service, do your homework and educate your clients on why they should commission you! Five Top Tips for Better Business Portraits - For Clients 1. Discuss clothing choices with your photographer - clothing should ideally mirror your occupation or what you wear for work - avoid patterns and logos which may distract whenever possible. Colour is important too and can have a psychological effect on people who view your portrait. 2. Take a hairbrush - it’s easier for your photographer to get it right in-camera than spend time editing stray hairs for a polished end result, which could raise the fee. 3. People can have a best-side, so ask your photographer to take your picture from both sides. 4. Ask to see your pictures on the back of the camera, then work together to create a picture you like. Remember, this won’t be the finished picture you receive as each photograph will be individually professionally, post-processed. 5. Try and relax, to talk to your photographer and give yourself time to feel comfortable (around 80% of my business portrait clients’ first sentences start with, I hate having my photograph taken - if you feel this way, be assured, you’re not alone). Five Top Tips for Better Business Portraits - For Photographers 1. Viewpoint is important - ensure you photograph your clients from the correct height, dependent on whether you’re taking a headshot, 3/4 length or full-length portrait. 2. Pay attention to how you frame and compose your portrait, the lighting pattern you create on the client’s face and how you pose them. 3. Always be aware of background conflict i.e. trees growing out of heads, horizons cutting through necks etc. 4. Attempt to capture the client’s personality if possible, not just their likeness. 5. Ensure your choice of lens is flattering (85mm+, if you have space, as it adds compression to the picture). Think background, expression and pose before you even press the shutter button.

- Angela Adams

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Scott Johnson

New Panel Member

Scott Johnson FBIPP FSWPP Master of SWPP MCGWP MCGPP is an Internationally recognised, award-winning photographer based in Essex and has photographed weddings all over the world. Known for being fun and energetic, Scott also travels the world as a judge, educator and mentor. Scott is one of only 19 wedding photographers to achieve a Fellowship in Wedding Photography with the British Institute of Professional Photographers (BIPP) since 1901. One of only a handful that has achieved his Fellowship in two separate fields, his second being in Documentary Photography which was on Auschwitz, photographed entirely on film. Scott is one of only three photographers to hold two Master Craftsman with The Guild of Photographers and was awarded his Fellowship with the SWPP (Society of Wedding & Portrait Photographers).

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Q: What motivates you to get up in the morning to create your beautiful wedding photography? I love the challenge of the wedding day – no two weddings are the same. Even if I’m at the same venue twice in a row, it’s the people that make the day. How relaxed the couple are can affect the rest of the guests, and it’s my job to make them comfortable enough, so everyone enjoys there day!

Q: One piece of equipment that you couldn’t do without and why? Camera!? Haha?! In all seriousness, probably my iPad Pro. I use it on the day to take a look at images after using the Wifi to transfer from the camera during the wedding breakfast.

Q: What is your favourite go-to lens? Can I have two?! I shoot with two bodies all day, and 90% of the time I have the FujiFilm XF8-16 2.8 on one body and Fujifilm XF35 1.4 on the other. I shoot with primes, so I change throughout the day, but I use these more than most.

What have you found the most challenging with your photography?

When I first started, pretty much everything, but now it’s managing expectations. I’m lucky that people book for my style and feel of the images, and sometimes I have to explain that some venues, at certain times of the year, images that are my style are sometimes hard to achieve.

Camera equipment, as a Fuji X Photographer, what are your preferred combinations of lens/camera and why?

As mentioned above, I shoot with two bodies all day, the Fujifilm X-T3… it’s a beast of a camera and suits my style and workflow perfectly. I tend to shoot with the wider lens on my left, and longer on my right – why, who knows! Issue 32

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What advice would you give to photographers about shooting Wedding Photography in today’s highly competitive marketplace? Be yourself. Don’t try and copy someone else’s style – it’ll never look good as it, not YOUR style… take inspiration of course, but going out and trying to copy someone else’s work is doing both your and the industry no favours. It takes time to develop your style, sometimes years, but enjoy the ride - you’ll thank me for it at the other end.

Do you use a tripod? If so, how essential is it to your imagery?

I take one with me to all weddings in the back of the car, but I have never used it!

Developing your marketplace, how important was it to create your brand, The Edge Photography? Branding is key to any business – without it, we’re just people with cameras. I wanted to have a team of photographers when I first started, so I didn’t want to use my name as people would always ask for the guy whose name is above the door, so felt an umbrella name would work best. It turns out; people still wanted me! Finding your place in the market is tough; people want to start charging big fees right from the start and wonder why they aren’t getting booked. Slow and steady wins the race. Build up a following, from doing a few weddings and once you get a reputation, then start putting the price. I could go into this more, but I don’t want to bore the readers!

Do you work alone at weddings?

Yes. I used to have an assistant/second shooter at all weddings but found I was getting lazy so stopped. I’d say about 10-15 weddings a year now couples book a second photographer.

Which is your preferred working environment for you’re wedding photography, and what do you look for? My main driving force is light, as long as there is good light – anything can happen! I’ve shot in ditches, car parks, back alleys. I don’t worry too much about location – but the light HAS to be right.

Q: Who inspires you? I take inspiration from all people, not just photographers. Initially, I was inspired by the work of Jerry Ghionis, Adam Alex in the photography world, as I saw there work and thought “wow, that’s the type of images I want to take”, so draw inspiration from their work. Now, I take a lot of influence from people like Lisa Visser, Sarah Ferrara and other amazing portrait photographers as their posing is sublime. Posing is always an area to improve upon.

Apart from sheer hard work and dedication, what would you say is the main ingredient to your success? Passion. Without that, what’s the point. Everybody wants the big buck, but it seems few are prepared to work for it – there is an expectation in today’s work that things happen. Do good things come to those that wait? No, good things come to those that get up and get them. 94

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

I’ve got a ‘fine art’ style of photography, so I have been told, which is awesome. I like the word ‘timeless’, as in 50 years you’ll look back and still love the images. I shoot clean, no filters, HDR or effect, and as natural as possible.

Q: Can you recommend any photography books for the readers?

I have a shelf of books! I love them all. The one I would recommend to the readers is ‘Magnum contact sheets’. It’s a big book with pages and pages of world-famous images, and the contact sheet of negatives from the roll it was taken. It shows all the mistakes, test shots, etc., and the world-famous pictures. It is proof that you don’t have to be perfect in every to get a good one.

Interesting facts about you? I have a 6-year-old daughter that keeps me on my toes, happily married, and a German Shepard called Rodney! I box for fun, and back in my youth, won national championships in Karate and graded to 2nd Dan black belt before my knees gave up!

Favourite place in the world and why? Italy. I’m very fortunate to spend a lot of time here running workshops, and it’s where I’ve shot my most amount of destination weddings. I love the pace of life, scenery, and of course, the food and wine!

Three words that describe you?

Fun. Loud. Character.

You favourite food?

If I were on Death Row, I’d ask for a roast beef dinner with all the trimmings!

Q: As a Judge and a Panel Member of The Guild of Photographers, what advice would you give members about entering Image of the Month in the wedding category?

Don’t get disheartened when you don’t get the results you think you should get. When I was entering, I’d swear just like you when the image I thought should be Gold gets a Bronze. It is all part of the learning process. We’re all here to help. We WANT you to get better, and in return, the standard of the photographic industry gets better. That is good for all of us. Q: And finally, where next? Still shooting, teaching more, and working towards a Master at WPPI, it’s going to be tough, but I’ll get it.

“Thank you Scott for giving the members an insight into your photography and sharing your thoughts. We wish you every success in the future.” - Julie Oswin Editor, Creative Light Magazine 96

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STREAMLINING YOUR AS A SPOR an inte WORKFLOW Cory, tell us a little about yourself, background, anything personal youâ&#x20AC;&#x2122;d like to share and how you got into photography? I started photography back in college in the late 90s. I hold a minor degree in photography along with a BFA in Illustration from Ringling College of Art and Design. Here I learned all of the traditional techniques from photo 101 through studio classes, medium and large format work and lots of dark room experience with film. I married my wife in 2002 and she is a big part of my business. She shoots with me and helps with everyday business stuff to keep things going. It really helps to have a partner that truly supports you. In 2018 I shot 58 events. I am busy but I like it that way. I enjoy the chaos of the early mornings and all the logistical planning that goes into each event. I also shoot field sports. Most recently with the Capital One Orange Bowl and the new NFL league, Alliance of American Football (AAF). How did you get your start photographing races specifically? My first job in event photography was back when I was in college and I was hired for a weekend gig shooting team and individual sports. This was my first taste with volume shooting and I hated it. Absolutely hated it and vowed never to do it again. Fast forward 10 years and I reluctantly started doing it again. After graduating college I landed a job doing graphic design in the newsprint/ publishing industry which I still work today. I didnâ&#x20AC;&#x2122;t shoot much until the digital revolution came around as film was just too expensive. In 2007, I started photography again and picked

up a Cano and I was weddings and natur everything 2009, loo an ad to s World for I showed overwhelm amount o assignmen comfort z and broke never to d month wh back askin Sure why the RunDi years. Sinc to other c eventually shooting r

What doe event loo

A typical the night for an eve go wrong up and re site, all I h shooting. an hour an time for m get that c the finish locations race direc changes. I to shoot f then wait company minute ins will updat last minut credential promotion race starts the day ju

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RTS EVENT PHOTOGRAPHER

erview with Cory Knowlton | Fixed Focus Photography

on 30D. This blew me away hooked again. I shot some s, portrait sessions, travel re stuff and anything and g I could. I think it was around oking for real jobs, I answered shoot a marathon at Disney r Action Sports International. up and was completely med with the event, the of people and with the nt. I was completely out of my zone. I finished the day beaten en and once again vowed do it again...until the next hen I surprisingly got a call ng if I wanted to shoot again. not. I continued to shoot isney events for the next 7 ce then I have branched out companies, other events and y starting my own business races.

What’s your process for uploading and processing images after an event? How do you identify the runners in the photos?

What I can make in net profit comes down to a lot of factors. I offer two forms of services which include speculation (shooting for free and speculating people will buy) and branded images (advanced payment for photos, via event or event sponsor). I find over the course of a year, the spec races outperform the branded image races. I shoot small to medium level events and that performance is based on smaller scale events. A typical triathlon that I shoot with 8001000 participants can bring in a net $1500-$2500. My larger events can triple those figures. That is based on location, how affluent the participants are, and package options available. I have also netted as low as $400 off an event, as well as $8000 off of a large triathlon but those are far and few between.

After the event and after I have released photographers and collected all media, if I am within 2 hours drive time of home, I will drive home and relax a bit. If I am longer than 2 hours out, I will download media on site and start the process of file size reduction for transmission. This typically can take a couple of hours. File size reduction is necessary to quickly transmit files for tagging via FTP. I outsource my keyword tagging and this is the biggest time bottleneck so anything that can

How has Zenfolio helped your business? What do you like best about our service?

es the typical morning of an ok like?

race morning for me starts before. I like to over prepare ent and expect something to g. I have everything packed eady to go so when I am on have to do is set up and start Race morning usually starts nd a half before the start me. I am on site very early to coveted parking spot close to line. I scope out the course and make contact with the ctors on any last minute If it is an event that I am hired for another company, I will for the team lead for that to show up and give any last structions. If it is my event, I te my photographers with any te changes, hand out media, ls, and start shoot candids or nal photography. Once the s, things go very quickly and ust shifts to autopilot.

0% OFF YOUR SITE

Zenfolio isn’t perfect and it has had its set of challenges over the past 6 months. But compared to all of the other companies offering similar service, Zenfolio’s value is second to none. The things I like most are aesthetics, the back end platform, mini sites and the ability to upload participant metadata CSV sheets. The tax reporting is top notch as well as customer service. Zenfolio has helped my business by being a turnkey platform for photo delivery. I don’t have to cobble multiple sites together, worry about merchant accounts, delivery of prints or sales notifications to customers. Time cost money and Zenfolio saves me a lot of time. I have been a member for 10 years now and hope that continues into the future.

be made more efficient I try and do. We tag each bib number on each participant using a mix of manual taggings and automation for the most accurate results. Once images are tagged by my vendor, I receive a CSV sheet with those tagged file names. I then use scripts to apply those tags to the image metadata. I then import into Lightroom for batch processing and output. From there, it is a matter of setting up the event site in Zenfolio, creating galleries, home page and then doing the actual upload. My typical turn around without major travel is 2436 hours after the event ends. What can you make on a race, on average, presumably this depends on the number of participants and type of race?

USE CODE GUILD50 AT ZENFOLIO.CO.UK/GUILD Issue 32

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Successful Craftsman Panel Jean Rolfe “I am a UK Wildlife Photographer through and through. A quote that sums up my passion for wildlife photography was by William Shakespeare. It is both simple, concise and exactly why I love wildlife photography so much:

“One touch of nature makes the whole world kin.” I’m a self-confessed wildlife and nature addict! Having studied Countryside Management for three years, I went on to achieve a postgraduate in Environmental Management from London University. I spent 12 years as a Countryside Ranger before moving into the charity sector. hese days I support the Lorica Trust, a 120-acre farm in the heart of the South Downs National Park. They don’t farm T animals and crops but work with disadvantaged people. Through land-based activities, they help rebuild self-confidence and self-esteem. I bring my passion for photography and love watching the young people engage and grow while capturing some very stunning images. But most importantly, together, we help people to develop a sense of connection and belonging – an anchor point in the often crazy frenetic world they live in.

The Wilding Deer I am fortunate to live on the edge of the UK’s first-ever, and one of Europe’s largest, re-wilding projects- Knepp Estate, in West Sussex. The land since 2001 – once intensively farmed, has been devoted to a pioneering re-wilding project using grazing animals as the drivers of habitat creation. The project has seen extraordinary increases in wildlife. With the arrival of extremely rare species such as Turtle Doves, Nightingales, Peregrine Falcons and Purple Emperor butterflies who are now breeding on Knepp. The population numbers of our more common species are increasing. Grazing animals are fundamental to the re-wilding project, as they are a necessary force of natural disturbance. Animal disturbance and subsequent vegetation succession generate habitat complexity and biodiversity. We have forgotten about the vast numbers of megafauna – many of the species now extinct – that would have played a hugely influential part in our ecology. Reintroduction of some of these animals to the landscape, using domestic descendants as proxies for some of the extinct species – is the key to the re-wilding success. Longhorn Cattle; Tamworth Pigs; Exmoor Ponies; Fallow; Red and Roe Deer all play an essential part in recreating natural disturbance. The Deer is the focus of my photography submission. My images have been carefully chosen to convey the sense of wonder and delight when happening upon a herd of Fallow or a lone Red Stag. They are not easy to find, hidden amongst 3500 acres of woodland, overgrown grassland and scrubland - but when you do find them, it is always spellbinding. There is a sense of connection with a wild and free spirit, who’s predecessors roamed the Earth long before man even existed - truly magical.” Facebook page: www.facebook.com/wbnphotography Website: www.wildbynature.co.uk

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Master Craftsman Craftsman Submission Upgraded “I joined The Guild in September 2017, having been inspired by the monthly IOM album a friend had shared. I had had some modest success in national competition and had a very small dog photography business, but was very lacking in confidence in my own abilities. I was entirely selftaught and had no yardstick to measure my abilities against. I attended the Qualification Preparation Course and was inspired to submit a panel for Qualified Status. Having had a mentoring session with the wonderful Kevin Pengelly, I took a possible panel to him at PhotoHubs that November, and was astonished when he took it to show some other judges then told me that I would still have to go through the formal process, but in effect I had already passed. I was amazed at the validation of my abilities, but when I had calmed down I realised that Qualified simply means I can use a camera competently. I knew I could use a camera, so after much soul-searching I decided that Q didn’t actually tell me much about my abilities as a photographer as opposed to a camera operator, and that I had better work towards my Craftsman. I put my name down for the May 19 panel, and had another couple of mentoring sessions with Kevin. Although he seemed positive, the very serious “I can’t guarantee you will pass” put a large seed of doubt into my mind. By the time the panel came round I could see nothing but faults in my photos and was convinced I would fail. The judges seemed to take a lifetime before I was called up for the result, and I was genuinely speechless when told that my panel had been upgraded to Master Craftsman. Although I had in the back of my mind that I might try for MC in the future, I thought that was a long way off and that I had much learning to do first.

sue dudley

The main thing that MC status has given me is confidence. Although I still feel a bit of a fraud,

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especially when I see the awesome work of other Master Craftsmen, I am now pretty confident that I really can do this photography lark, and that I have valid opinions when critiquing other’s work etc. It has yet to make much difference to my business as we have just moved and I am having to start again from scratch, but having MC means that I am now confident enough to offer tuition as well as photography. Would I recommend qualifications? Most definitely. I learned a vast amount about putting panels together and printing, and it is a wonderful independent measure of one’s abilities that has given me vastly more confidence to put myself out these amongst the photographic community and to promote my business. On the other hand, I now feel I have a very high standard to live up to and that I really ought to be doing better in IOM.”

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

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

“I had long wanted a more interesting perspective on a little owl photo, one of my favourite of the owl species. My opportunity came with a nesting pair in an old abandoned farmhouse I had access to. In order to capture this image I had to leave a camera trap in position for 1 month, around an hour and a half drive from home, checking in on it once a week to change batteries. During that month, the camera only recorded two photos that were usable. This one at sunrise was the most striking of the two.” 118

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

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

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

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Cmercrƒt MAY/JUNE 2019

MAKING THE BIG TIME

FIGHTING EXTINCTION

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

CHRIS TAYLOR TAKES A TRIP TO AFRICA TO BENEFIT WILDLIFE CONSERVATION

YERBURY SILVER

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

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IN ASSOCIATION WITH

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

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

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

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

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

The big move

Silver

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

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

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

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

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

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

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

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

30 May/June 2019 Cameracraft

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

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

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

Trevo r & Fa ye Yer bury

IN ASSOCIATION WITH

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

CAM ERAC RAFT PORT FOLIO

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

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

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

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Issue 32

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DIARY DATES UPCOMING REGIONAL EVENTS SOUTH WEST & SOUTH WALES REGIONAL GROUP Where: Bristol, Brunel’s Buttery near to M-Shed Time: 09:45am When: 5th September 2019 The morning will be spent in small groups exploring the harbourside practising off-camera flash. The groupare hoping to be able to provide a model, either on a TFP (time for prints) basis, or for a small charge. The afternoon will be spent wandering the streets. The whole harbourside area is great for street photography and around Millennium Square. For those that are interested you can take in a gallery or two.

EAST MIDLANDS & LINCOLNSHIRE REGIONAL GROUP When: October 6th 2019 Where: Wollaton Park, Wollaton, NG8 2AE Nottingham, United Kingdom Time: 07:00am Location of meeting point will be confirmed nearer to the time.

DEER RUTTING PHOTOGRAPHY & SOCIAL OPPORTUNITY - An early start to capture the magnificent stags in the Rutting Season. Meeting at 7am prompt for photography followed by Coffee in the Courtyard Cafe.

EAST OF ENGLAND REGIONAL GROUP When: Tuesday 20th August 2019 Where: Joanna Bradley’s Beach Hut with the kettle on at 11.30am! Location: Beach Hut 115, Seaview Ave, West Mersea, Colchester CO5 8DA Kevin Pengelly is organising a model for some portraits, but Mersea itself is very beautiful to photograph so you have an ideal choice of things to do. The day can include fish and chips by the sea!

SOUTH CENTRAL REGIONAL GROUP Places are limited and going extremely quickly - so get in touch as soon as possible if you are interested! When: Monday 2nd September 2019 Where: A private photoshoot exclusive for any interested Guild members - please contact Jill Windmill, Clayton, West Sussex BN6 9PG. This is a fantastic opportunity to gain private access to the windmill and its grounds without the usual throng of other visitors. With spectacular views across the Sussex Weald to the West and to the North West. Jill Windmill and her site have proved to be a very popular location for both professional and amateur photographers alike. You must book though, with Chris Waddell as tickets are limited. Email: chris@christographer.co.uk. 126

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THE GUILD OF PHOTOGRAPHERS “No other photographic body offers what the Guild does... get an incredible package of business support, training and mentoring by some of the most respected names in the industry, insurance, legal protection and the rights to use our respected membership logos”

Professional Membership costs £129 and Regular Membership costs £99

Let the Guild help you with your photographic journey like it has done for many others! The Guild is suitable for those in business, contemplating a career in photography, undertaking photography related courses, or even those who simply love using their camera.

EMAIL info@photoguild.co.uk CALL 01782 970323 / 07982 613985 Issue 32

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BACK PAGE BRONZE - Ann Aveyard -

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