Creative Light - Issue 36 by Guild of Photographers

Guild Awards 2019 - SPECIAL Master Craftsman - Tina Stobbs Master Craftsman - Gavin Prest Master Craftsman - Helen Walker Master Craftsman - Kath Evans Master Craftsman - Sharon Wallis Gurushots Top 100 - Photogenic Guild Gold Awards

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Creative Light Magazine

Prints as good as it looks The Epson SureColor SC-P700 and SC-P900 photo printers are as pleasing to the eye as the prints they produce. These professional-level, compact A3+ and A2+ printers produce sharper detail and smoother gradations using the deepest blacks and superb blue tones. For more information on how Epson has redefined the design and output of professional photo printers, visit www.epson.co.uk/professional-photography

Creative Light Magazine

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Contents 6

Covid-19 Help for your Business

16 21 28

Top 10 Photographers 2019 Category Winners

54 58

Lynne Harper All Round Photographer of the Year Sarah Wilkes Photographer of the Year Nick Brown Founders Cup Winner Kate Wise Special Achievement Award

60 62

Ronan Ryle Special Achievement Award

70 97 106

Helen Walker Master Craftsman

Ann Aveyard Special Achievement Award

Photogenic Competition GuruShots Kath Evans Master Crafsman

Tina Stobbs Master Crafsman

123 130

Sharon Wallis Master Crafsman

106

Gavin Prest Master Crafsman

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more prints,more profit Just imagine a world where you could sell more prints to your clients and make more profit as a result. Well our clients don’t have to because they’re already doing it! Get a copy of our free booklet where photographers from all over the world tell their stories on how they’ve brought their sales to a new level by adding a folio box to their product mix. DOWNLOAD THE STORYBOOK

Creative Light Magazine

Photo: Alexandra Rätzer

3XM

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STEVE & LESLEY THIRSK The Guild of Photographers

We are in unprecedented times, and it’s important for everyone to do their bit in tackling this global emergency,

which is why the Guild is open for business as usual though our wonderful team are now in the safety of their homes. Our 24/7 365 legal helpline is also open for business to support members, though obviously not from its normal physical location. ‘Pro’ Guild members have direct access to advice in these challenging times, and that advice covers anything ‘legal’ including contractual issues. It’s times like this when the support of our services can be so useful…We hope you don’t need them of course, but it’s reassuring to know they are there if you do! We say ‘business as usual’, but in reality, it’s far from it. Here at the Guild, we have adapted what we deliver to support members through this difficult period. Most of us will be in self-isolation at the moment. This has challenges, of course, but it also offers positive opportunities to Plan, Adapt, Learn and Share to prepare to come off the other side, stronger and more prepared than we ever were! With that in mind, we have created the Guild PALS group to help photographers get through the current situation and to Plan, Adapt, Learn and Share. This will ensure that when we come off the other side (and we will), photographers (and photography businesses) will be stronger than ever before. We obviously cannot deliver any in-person training at this point, so we have done two things. Firstly, we have postponed all pending events and refunded everyone what they have paid for those events, knowing that money can be ‘tight’ at the moment. We will be rescheduling, and those had booked for the pending events will get an early booking opportunity to re-secure their places, in the interests of fairness. We are digressing here, but we are disappointed to see, and personally experience, how some companies are not treating everyone similarly. We should all be helping each other as much as possible, as we are all very much in this together! Secondly, as members cannot go to any training, we have decided to bring the training to them. We have just invested in and launched a comprehensive online webinar-based training programme. We hope that in the coming weeks this will cover all elements of photography and business-related skills, delivered by some extra-ordinarily talented individuals….and it is all be free for members! Yet again, the Guild delivers a ‘first’, offering what other associations don’t! As well as helping people and businesses develop, we firmly believe this will help with our mental health and wellbeing too and while on those lines, we are adding virtual pub and quiz nights as well as virtual regional meetings and more. We CAN make the most of this time in a positive way! Speaking of positivity … this edition of Creative Light is packed with it, as it focuses on some of the people who achieved great success in last year’s challenging ‘Image of the Month’. Enjoy the read, and above all, in these difficult times look out for each other and lend a helping hand where we can. Stay safe! - Steve & Lesley

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“Many photographers in business have been concerned about income. Others confused by what the Government is offering in terms of support, so we thought it only right to outline the current situation in the UK (it does change quickly so we can only outline how it is when going to press in March 2020)” - Steve Thirsk

HELP FOR YOUR BUSINESS Small Business Grant Funding The Government is providing funding for Local Authorities to support small businesses that already pay little or no business rates because of small business rate relief (SBRR), rural rate relief (RRR) and tapered relief. This will provide a one-off grant of £10,000 to eligible businesses to help meet their ongoing business costs. You will be eligible if: 1. Your business is based in England AND 2. In receipt of Small Business Rate Relief or Rural Rate Relief as of 11 March AND 3. You are a business that occupies property Your Local Authority will write to you if you are eligible for this grant. The Scottish Government is offering pretty much the same package called the ‘Business Support Fund’. The Northern Ireland Executive has a Small Business Support Grant Scheme. This offers a one-off grant of £10,000 to businesses that are currently in receipt of Small Business Rate Relief (SBRR), subject to some exclusions (e.g. unoccupied buildings). Businesses with multiple premises will only be eligible for one grant of £10,000 in total. Also, ALL businesses will pay zero rates for the next three months The Welsh Governments package also provides a £10,000 grant to all businesses eligible for Small Business Rates Relief with a rateable value of £12,000 or less. They are also launching The Economic Resilience Fund, which is offering a £10,000 grant to small businesses with up to 9 staff and up to £100,000 to those with 10-249 staff. The full details of this scheme have yet to be published.

The Self-employment Income Support Scheme (SEISS) This will support self-employed individuals (including members of partnerships) whose income has been negatively impacted by COVID-19. The scheme will provide a grant to self-employed individuals or partnerships, worth 80% of their trading profits up to a cap of £2,500 per month. HMRC will use the average profits from tax returns in 2016-17, 2017-18 and 2018-19 to calculate the size of the grant. The scheme will be open to those where the majority of their income comes from selfemployment and who have trading profits of less than £50,000. The scheme will be open for an initial three months with people able to make their first claim by the beginning of June.

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To be eligible for the scheme you must meet all the criteria below: Be self-employed or a member of partnership: 1. Have lost trading/partnership trading profits due to COVID-19; 2. Filed a tax return for 2018-19 as self-employed or a member of a trading partnership. Those who have not yet filed for 2018-19 will have an additional four weeks from this announcement to do so; 3. Have traded in 2019-20; be currently trading at the point of application (or would be except for COVID-19) and intend to continue to trade in the tax year 2020 to 2021 4. Have trading profits of less than £50,000 and more than half of your total income come from selfemployment? Please note that this scheme does NOT seem to apply to those who have created Limited Companies and pay themselves an income through Dividends. We have raised this with the Government and will continue to press for them to offer support to the many businesses in such circumstances. Others are petitioning the Government too.

HELP WITH EMPLOYEES The Coronavirus Job Retention Scheme This is a temporary scheme open to all UK employers for at least three months starting from 1 March 2020. It is designed to support employers whose operations have been severely affected by coronavirus (COVID-19). Employers can use a portal to claim for 80% of ‘furloughed employees’* usual monthly wage costs, up to £2,500 a month, plus the associated Employer National Insurance contributions and minimum automatic enrolment employer pension contributions on that wage. Also, employees who have more than one job can be furloughed for each job separately, so could be furloughed for one and not the other. *Furloughed Employees are employees placed on a leave of absence from the business and must have been on the payroll on 28 February 2020. The scheme covers full-time, part-time and zero-hour contract employees, plus it can include employees made redundant since 28 February if they are re-hired. The employees retain the same employment rights while on furlough leave. Employees cannot work for the employer while furloughed, so employees working on reduced pay or for reduced hours will not qualify. That said, employees can, undertake training or do voluntary work on behalf of their employer - provided they are not generating any income for their employer. The minimum period for which an employee can be furloughed is three weeks, so you can take staff on and off furlough leave (with their agreement) if particular staff are needed for critical tasks, subject to that minimum period.

Statutory Sick Pay Rebate The Government is allowing small and medium-sized businesses to reclaim Statutory Sick Pay (SSP) paid for staff sickness absence due to coronavirus. This refund will cover up to 2 weeks’ SSP per eligible employee who has been off work because of coronavirus, and SSP will start on day one not day four as is the norm. You will be eligible if: 1. Your business is UK based AND 2. Your business is a small or medium-sized and employs fewer than 250 employees as of 28 February 2020.

LOANS Coronavirus Business Interruption Loan Scheme The temporary Coronavirus Business Interruption Loan Scheme supports small and medium-sized businesses with access to loans, overdrafts, invoice finance and asset finance of up to £5 million and for up to six years.

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The Government will also make a Business Interruption Payment to cover the first 12 months of interest payments and any lender-levied fees, so smaller businesses will benefit from no upfront costs and lower initial repayments. The scheme will be delivered through commercial lenders, backed by the Government-owned British Business Bank, and there are 40 accredited lenders able to offer the scheme, including all the major banks. To apply, you must be UK-based and have a borrowing proposal which the lender: a) would consider viable, were it not for the COVID-19 pandemic AND b) believes will enable you to trade out of any short-term to medium-term difficulty

DEFERRALS VAT Deferral The Government is deferring Valued Added Tax (VAT) payments due between 20 March 2020 and 30 June 2020. This is an automatic offer with no applications required. UK registered businesses will not need to make VAT payments normally due with VAT returns during this period. Taxpayers will be given until the end of the 2020-21 tax year to pay any liabilities that accumulate during the deferral period.

Deferral of Self-Assessment payment The Self- Assessment payment on account, that is ordinarily due to be paid to HMRC by 31 July 2020 may now be deferred until January 2021. If you are due to make a self- assessment payment on account on 31 July 2020 then you are eligible for the deferment. The deferment is optional and any persons still able to pay their second self-assessment payment on account on 31 July 2020 should still do so. This is an automatic offer with no applications required. No penalties or interest for late payment will be charged if you defer payment of your July 2020 payment on account until January 2021.

BENEFITS If none of the above particularly assist, you can apply for Universal Credit online. England, Scotland and Wales offer the same - Northern Ireland slightly different. If you do this and are approved, you could be eligible for a Council Tax reduction.

PLEASE NOTE The above was believed to be correct at the time of print, but things are changing quickly. To check on the most up to date information visit the following (based on where you live) ENGLAND:https://www.businesssupport.gov.uk/coronavirus-business-support/ NORTHERN IRELAND:https://www.gov.uk/government/news/covid-19-guidance-information-for-ni-businesses-employers SCOTLAND:https://www.gov.uk/guidance/coronavirus-covid-19-information-for-individuals-and-businesses-in-scotland WALES:https://www.gov.uk/guidance/coronavirus-covid-19-information-for-individuals-and-businesses-inwales#business

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Creative Light Magazine

Editor “You can look at a picture for a week and never think of it again. You can also look at a picture for a second and think of for all of your life.” - Joan Miro

julie oswin

My Editors Choice this month is the fantastic image captured by Rob Dolton, demonstrating that with a little ‘sprinkling of fairy dust’ the mood and emotion of the subject leaps out of the photograph. Congratulations to a worthy Gold Award Rob. We also feature in this edition ‘The World’s greatest Photography Game.’ Join fresh daily photo challenges and become a Photo Guru! We have the latest 100 top-ranked photos of Guru Shots ‘Photogenic’ challenge. Take a look! Page. 97. If you have any suggestions of photographers you would like to see featured in forthcoming editions, please send them to me, and, no they do not have to be members of The Guild of Photographers. With the Covid-19 virus situation, please listen to the daily updates and not the spin. Protect the NHS and stay at home.

© Julie Oswin Many traditional Peruvian houses along the Amazon river are built on stilts to protect from seasonal flooding. Houses are made from materials gathered directly from the rainforest. Peruvian roofs are constructed from woven palm leaves. Open windows allow a breeze to flow through. Canoes are created from hollowed out trees. Photo taken on the Amazon, Peru. Creative Light Magazine

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editors choice Rob Dolton Awarded Gold - January 2020

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TRANSFORM YOUR CREATIVE WORKFLOW WITH LOUPEDECK+

MEET ADAM KARNACZ OF FIRST MAN PHOTOGRAPHY

of natural talent, hard work is the key to everything. Ever since I

Adam is a British landscape photographer and filmmaker. It was

creation of art and the business sides of being a pro photographer.

in North Yorkshire, England where he developed a true passion for

Its a journey that requires patience and a pragmatic approach to

nature and the outdoors. Adam’s professional experience ranges

opportunities both big and small.

merely considered going professional, working harder than the next guy or girl has been my base ethos. This includes with my

from wedding photography to developing himself into a full-time landscape photographer, which he enthusiastically documents on

How would you describe your style of photography?

his Youtube channel, @FirstManPhotography. Every Sunday, Adam

I am not sure the word “style” is descriptive enough. My “photographic

shares with his fans inspiring content from his travels and provides

personality” is made up of various styles that consists of using

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Natural landscapes are definitely a signature of my work, but I aim for my images to tell the story of the landscape and evoke emotions

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DISCOVER HOW ADAM TRANSFORMED HIS CREATIVE WORKFLOW WITH LOUPEDECK+ What sparked your interest in Loupedeck?

What technical element of Loupedeck+ improved your editing experience? The placement of the controls is very well thought out straight out of the box. For example, the controls for white balance, that include temperature and tint, are located right next to each other.

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creativity. Itâ&#x20AC;&#x2122;s a really natural experience!

the hope of increasing productivity and making the connection between my hands and my work on the screen feel more natural. My search for this led me to Loupedeck+.

What key functions of Loupedeck+ would you recommend to other professional photographers? I was a big fan of the control settings straight out -the-box but

How has Loupedeck+ affected your creativity when editing?

the software allows the photographer to customise the controls

Using the Loupedeck+ has been an exciting experience. Having

as they see fit using the custom mode. The additional dedicated

used a keyboard and mouse for many years, improvements in

custom buttons are also extremely useful and all my most regular

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

Lightroom functions can be added to them such as changing

new console. Creatively, the improvements were immediate.

between the Library and Develop module.

Having the tactile connection to individual controls produced a more natural and artistic experience. I am now able edit without taking my eyes off of the image, which has become an invaluable part of my creative process.

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Wex Photo Video, Amazon.co.uk.

subscribe to his social channels! firstmanphotography.com

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Creative Light Magazine

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 14

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Front Cover â&#x20AC;&#x153;

One Canada Square. I found a location at Canary Wharf that provided a simple symmetrical profile of One Canada Square with neighbouring buildings leading you in towards it. The light was hitting the iconic roof, and when I looked at the back of the camera, I knew immediately how I wanted to represent the building in the final edit, making the roof the stand out focal point without losing the detail in the facade.â&#x20AC;?

nick brown

- Nick Brown

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Image of the Month Top Ten Photographers - 2019 OPEN CATEGORY Sponsored by Colorworld

PETS CATEGORY Sponsored by Digitalab

1. Winner: Ian Knaggs 2. Runner-Up: Heather Burns 3. Andrew Ford + Nick Brown 5. Debbie Longmore 6. Claire Osborne 7. Chris Chambers 8. Gaille Gray 9. Sue Dudley 10.Ed Burrows

1. Winner: Jason Allison 2. Runner-Up: Karen Riches 3. Stephanie Chapman 4. Debbie Longmore 5. Jackie Eke 6. Helen Walker + Stacy Joyner 8. Nikki Goodeve 9. Dawn Cotterell 10.Iain Poole

PEOPLE CATEGORY Sponsored by Colorworld

WEDDING CATEGORY Sponsored by SIM Imaging 1. Winner: Chris Chambers 2. Runner-Up: Lee Hatherall 3. Ann Aveyard 4. Lynn Stanfield, David Conway, Simon Newbury and Ani Evans 8. Victoria Amrose 9. Stacey Oliver 10.Lisa Wildgoose

Photo: Lynda Haney

1. Winner: Sarah Wilkes 2. Runner-Up: Lynne Harper 3. Roxanne Bunn 4. Debbie Longmore 5. Martin Clark + Iain Poole 7. Helen Walker 8. Claire Osborne 9. Lynne Williams 10.Nikki Goodeve

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THE NATURAL WORLD CATEGORY Sponsored by SIM Imaging 1. Winner: Henry Ransby 2. Runner-Up: Ann Aveyard 3. Jayne Bond 4. Gary Neville 5. Chris Chambers + Duncan Graham 7. Claire Norman 8. Iain Poole 9. Tim Wilde 10.Sue Dudley

MATERNITY, NEWBORN & BABY CATEGORY Sponsored by Digitalab 1. Winner: Lynne Harper 2. Runner-Up: Anneka Harden 3. Clare Wilson + Debbie Longmore 5. Tina Stobbs 6. Sarah Wilkes 7. Sarah Smith 8. Alison Connolly 9. Laura Spence 10.Clare Perry

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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.

Sponsored By In order to capture this image I had to leave a camera trap in position for 1 month, around Epson 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.” 18

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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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The Guildâ&#x20AC;&#x2122;s All Round Photographer Mark Lynham of the Year - 2019 Photographer of the Year

Lynne Harper Sponsored by Loupedeck

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Creative Light Magazine

GUILD SPOTLIGHT Lynne Harper “I have been capturing images of newborn babies for over five years, working mainly from my home studio in Kilmarnock, Ayrshire, Scotland. My main passion and specialism is styled newborn art and have won several national awards for my work. As a mum of two beautiful girls, I fully appreciate the importance of capturing and treasuring all of the tiny details of new babies and documenting this incredibly special time. My newborn work has two different sides to its style. I have a light, colourful, pastel side that appeals to many of my clients, and my darker side that makes my heart sing. My posing and style are consistent through both palettes; however, both give different facets to my work and allows me to appeal to a broader audience. I am so thankful for now have returning clients with their second babies and also have clients travelling over 30 miles for me to photograph their newborn babies.” On the night of the Guild awards, I went along to the ceremony quite happy that I’d worked hard this year and had improved on my scores from the previous year. I was in third place in the newborn category the previous two years, but I didn’t want to let myself believe that I had a chance of winning Newborn POTY. To be Newborn POTY was my ultimate dream, so I was over the moon when I heard my name being read out as winner…..and the rest that followed was just unbelievable. Hearing my name called for both winner and runner up for Newborn Image of the Year and runner up for the People category image of the year was mind-blowing. The standard of imagery in the award book is outstanding, so I am utterly thankful to the judges for choosing to award my images. I had no clue that I was even in the Top Ten for the People category. It was my first year entering this category and had set myself the goal of achieving my bar, so to be runner up was a complete and utter shock! And as for being the Overall All-Round Photographer of the Year…..what can I say? It just doesn’t feel real. It was the night of my life and one that I will never forget. What an honour! “ - Lynne Harper 22

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Q: What do you like most about being a member of the

Q: Do you prefer IPS (in-person sales) for your portrait

I love the community spirit that the Guild creates. It’s such a warm and welcoming association, and through attending their Photohubs events, I made so many new friends. Through my buddy group, Image of the Month competition and Guild training opportunities I’ve been given a chance to grow my skills beyond what I could ever have imagined.

At the moment, I do a bit of both but working towards full IPS sessions very soon. I currently provide galleries, but we talk through all of the products during the session.

Q: A top tip for members entering the Image of the

Colour. I do love black and white images, but when presented with a choice side-by-side, I will always lean towards colour. I like to use colour in my pictures and feel like my style is often lost in a black and white image.

Guild of Photographers

Month?

My top tip is to get feedback on your images through mentors and a buddy group. Always take criticism on the chin, learn from your mistakes and work hard to better your scores month on month.

Q: One piece of equipment that you couldn’t do with out?

My light meter! I’d be lost without it and saves me hours in post-processing.

Q: Post-processing and Photoshop, how important is it to your work?

I have trained extensively in newborn safety and posing and lighting techniques to make sure that I get as much right in-camera as possible. I meter my light and use a grey card which gives me consistency, and therefore I do very little in photoshop unless it’s a creative composite. The majority of my images have the baby’s skin retouched to remove any blemishes and a general ‘tidy-up’ of stray hairs and uneven skin tones etc.

Q: Where do you get your inspiration for your photography, especially during the last year.

As the majority of my babies are of Scottish heritage, many of my clients bring me their family tartan in the form of a kilt, plaid or scarf. Before the session, I research their tartan and use this as inspiration to build a colour palette for their session, and choose props and themes that will complement their heritage tartan. Other than this, I find my inspiration in the most random places. I never know when something is going to stop me in my tracks and inspire an image.

Q: Favourite lens and why?

This is tricky as I have a favourite portrait lens and a favourite lens for my newborn images. For portraits, it has to be my Canon 85mm and for newborns my Sigma Art 35mm. I prefer prime lenses, but with the 35mm, I have to ensure that I give enough distance between the baby and me to avoid any distortion. My main reason for choosing the 35mm prime for newborns is that I like to be assured that I am within arms distance at all times, which using my 50mm doesn’t allow. Safety first!.

Q: Lighting equipment, what is your preferred choice? I use an Elinchrom D-lite One with a Rotalux 135 octobox to give me the softest light possible for my newborns.

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customers or an online gallery?

Q: Personally, do you prefer colour or black & white images?

Q: Who inspires you?

My girls! My journey into newborn photography started when I had my babies, and as they grow, I am drawn to photographing their age and stage. And they get older, I have ventured into children’s portraiture. My girls give me the drive to photograph them (as in my eyes they are just beautiful and something that I want to capture), which leads to me venturing into new styles of lighting, editing and posing, and in turn learning so many new skills.

Q: Mentoring. How important to your photography has it been?

Mentoring has played a massive part in my photography journey. I feel like my style developed through the mentoring process and by creating a craftsman panel. It helps to train your eye to be able to fine-tune your images and learn from your mistakes at a much faster rate.

Q: What’s your favourite bit of kit worth under £50?

It has to be my ‘Baby Shusher’. It costs £30 and creates an atmosphere of complete calm in the studio (and saves me ‘shushing’ the baby myself). More often than not, parents will buy one online before they even leave the studio.

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

A book that was an excellent resource for me when starting in newborn photography was ‘Natural Newborn Baby Photography: A Guide to Posing, Shooting, and Business’ by Robin Long. Another excellent book for portrait photographers is ‘The Photographer’s Guide to Posing’ by Lindsay Adler. This book is an excellent resource for posing techniques and one that I still refer to for inspiration and to polish my skills now and then.

Q: As you a Newborn Photographer, what is your favourite backdrop of choice?

I love BabyPropShop vinyl backdrops and use them in every session. I have around ten different colours that I use (they’re taking over my studio). I especially love vintage styles.

Q: Three individual words that describe you? Passionate, Creative & Determined.

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Q: Do you offer bespoke digital backdrops for your clients to have on their images?

No, I’ve never used a digital background. I have thought at times that I should create digital backgrounds for my use as I spend so much time creating my set-ups, but I like every session to be unique so even if it’s just a little tweak on an image that a client has requested from my portfolio, I want them to be different.

Q: Do you use textures when editing your images?

I like to create my textures by photographing different tartans or Celtic jewellery to apply to my images which helps give them a unique twist for competition. I rarely use textures in client images, but for wall arts or fine art prints then I like to use LSP or Definitely Dreaming textures

Photoshop or Lightroom or both?

I use both although the only thing I do in LR is correct my white balance from my grey card and apply lens corrections. I like to then batch edit in Photoshop.

Q: Do you prefer working with Photoshop Actions or Lightroom Presets? I don’t use Lightroom Presets as I do very little in there. I hand edit in Photoshop and like to create my actions to speed up my workflow, but I do have LSP actions which are great for specific tasks such as fixing blemished skin with frequency separation or correcting jaundice.

Q: Who inspired you to continue along the journey as a Newborn Baby Photographer?

My very first inspiration was Anne Geddes before I was even a photographer. I used to have her calendar on my wall, and I decided that I’d love to be able to create images like that. My first step to achieving this was training with Jillian Greenhill in newborn safety and posing in 2015. That very first course sparked something in me, and I knew instantly that this was what I wanted to do.

Q: Interesting facts about you?

I have a BA degree in Management Science and worked as a Business Analyst in IT after I graduated. I used to play keyboards and the accordion in a ceilidh band! Until Crewe, the only thing I had ever won was a funny face competition in a caravan park at the age of seven!

Q: Favourite food?

Oh, tough question…I love all food (except goats cheese!). I’m big into cooking, so as long as it’s cooked fresh, I’m happy!

Q: Favourite place in the world, and why?

Borneo! It was always my dream to go to the rainforest and see orangutans in the wild. I engineered my wedding date so that I could spend my honeymoon in Borneo and it was just incredible. I’d love to go back now that I can take photographs that are in focus and do it all again!

Q: Where next?

I love to help people learn new skills, so I plan to offer online editing training and 1-2-1 training in the future. I’d like to build relationships with photographers who are passionate about working hard to perfect their craft and help them achieve their goals in newborn photography.

Thank you Lynne for sharing an insight into your Newborn & Baby Photography with the readers of Creative Light Magazine . - Julie Oswin, Editor

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The Guildâ&#x20AC;&#x2122;s Photographer of the Year - 2019 Mark Lynham Photographer of the Year Sarah Wilkes

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GUILD SPOTLIGHT Sarah Wilkes

“As well as being a full-time photographer, I am a busy Mum of two rapidly growing, keep-me-on-my-toes boys. I adore and admire their pure spirit and innocent nature, and I strive to capture that in my photographs. I love photography as I get to capture those perfect moments for eternity, especially the ones that would otherwise be lost forever. As they grow, I continually look back and relive those moments through the eyes of a proud Mum. Previously, as a Nursery nurse, I always loved working with children. So when I went into photography, this genre was a natural progression, and I still love it. I always had an interest in photography, but it wasn’t until I had my 2nd child in 2008. I found a real passion for it. I then responded to my true calling, and in 2010 - Sarah Wilkes Photography was born. I was totally taken aback at Crewe Hall on the Awards night! I had made the decision not to enter any competitions in 2020 so attaining the Overall Photographer of the Year was amazing and it felt brilliant to go out with a bang! There are so many amazing talented photographers within the Guild which made the award even more special” - Sarah Wilkes 30

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Q: What do you like most about being a member of the Guild of Photographers?

I love the fact the guild has a family feel to it. It also has a fabulous support network.

Q: Sarah’s ‘Top Tip’ for members entering the Image of the Month?

Check your images at 100% all over! It only takes that one dust spot or that miss of a millimetre of cloning to bring your images down.

Q: One piece of equipment that you couldn’t do without?

I want to say my camera, but that’s obvious ha-ha. I am going to say my light-meter I would be lost without it.

Q: Post-processing and Photoshop, how important is it to your work?

Oh, essential. It all part of the creativity and the whole process. I could not do without it.

Q: Who inspires you?

I guess the people that make me go WOW and want to create are Gemmy Woud-Binnendijk and Kirsty Mitchell.

Q: If you could give your younger self one bit of advice, what would it be?

Do photography from leaving school! I have wasted too many years!

Q: What’s your favourite bit of kit worth under £50?

Ha-ha, that is a tough one! I don’t think I own any kit under £50? Oh yes I do my trigger so I can put the camera on a tripod and trigger the camera without pushing the button. Came in very useful when i needed smoke behind my Male Faces Project models as I stood to the side of the vaping and blowing.

Q: What did you do before working in photography? I was a Nursery Nurse looking after children in a Nursery.

Q: Can you recommend any photography books to the Q: Where do you get your inspiration for your photography, especially during the last year.

My inspiration comes from all around. From everyday things I see to looking at the paintings of the Masters to things that stick with me when browsing online. My mind must hold them all and then when in bed it comes up with ideas for shoots etc.

Q: Lighting equipment, what is your preferred choice? I use all Elinchrom Lighting from lights to modifiers

Q: Q: Do you prefer IPS (in-person sales) for your portrait customers or an online gallery?

Oh, IPS completely. I want to be in control of how my clients see their images and talk them through the wall art that I sell.

Q: Do you prefer colour or black & white images?

That’s a tough one a majority of my images are colour but Black and white images when done right can be spectacular. 32

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readers?

Do you know what I actually can’t. I don’t read photography books ‘hangs head in shame’..

Q: As you a photographer, what is your favourite backdrop of choice?

Oh, I love my canvas backdrop from Bespoke Backdrops, But I have my signature collection of backdrops coming out from Click Backdrops so that answer may change! I can’t wait to try them out.

Q: Do you offer bespoke digital backdrops for your clients using their images?

I make my own digital backdrops, and if I have an image that I think would be great for one after their session, I do it for their gallery. They are not bespoke for each client though per se.

Q: Interesting fact about you?

I really like mayonnaise, and it has to be Helman’s. In fact, if I go out for a meal, I carry it in my handbag as I I can’t eat a salad without it.

Q: Your favourite go-to lens for your portraits? I think it will have to be my Nikon 85 mm 1.4

Q: Do you use a tripod? And, if so, how important is it to your work?

I do if I am doing specific composites but apart from that no. I find it limits me too much.

Q: Three individual words that describe you? Loving, Competitive, Loyal

Q: Three words that describe you? Conscientious. Creative. Lovely.

Q: Favourite food?

The Lasagne I make its awesome ha-ha.

Q: Favourite place in the world, and why?

I have not travelled at all really, but one place that I visited that I really did love was Kalkan In Turkey. It was just beautiful, and the people are so friendly. I guess it is also because it was the first time my children have been on a plane and to another country on holiday.

Q: Where next?

To keep growing and following where my photography journey takes me. Thank you Sarah for sharing an insight into your Newborn & Baby Photography with the readers of Creative Light Magazine . - Julie Oswin, Editor

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Image of the Year Baby & Toddler Category WINNER - Annie Griggs RUNNER-UP - Anneka Harden

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Image of the Year Birds Category WINNER - Laura Galbraith RUNNER-UP - Henry Ransby

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Image of the Year Childrenâ&#x20AC;&#x2122;s Portraiture Category WINNER - Clare Wilson RUNNER-UP - Lynne Harper

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Image of the Year Classical Portraiture Category WINNER - Jason Allison RUNNER-UP -Sarah Wilkes

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Image of the Year Commercial Category WINNER - Neil Bremner RUNNER-UP - Ian Knaggs

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Image of the Year Contemporary Category WINNER - Paul Smith RUNNER-UP - Emma Whittenbury

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Image of the Year Creative & Digiral Art Category WINNER - Helen Trust RUNNER-UP - Ivan Trotman

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Image of the Year Equine Category WINNER - Dawn Cotterell RUNNER-UP - Emma Campbell

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Image of the Year Event, Sport & Action Category WINNER - Michael Peat RUNNER-UP - Arron Gent

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Image of the Year Flora & Insect Category WINNER - Ruth Morris RUNNER-UP -Nick Brown

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Image of the Year Landscape Category WINNER - Helen Trust RUNNER-UP - Neil Pitchford

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Image of the Year Maternity Category WINNER - Natasha Ince RUNNER-UP - Eva White

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Image of the Year Nature & Wildlife Category WINNER - Claire Norman RUNNER-UP - Helen Walker

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Image of the Year Newborn Category WINNER - Lynne Harper RUNNER-UP - Lynne Harper

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Image of the Year Pets Category WINNER - Jason Allison RUNNER-UP - Stephanie Chapman

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Image of the Year Urban Category WINNER - Nick Brown RUNNER-UP - Nick Brown

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Image of the Year Wedding Category WINNER - David Bostock RUNNER-UP - Chris Chambers

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Photographers Bar Winners

“

In each month of the Guild’s competition points are awarded to the higher scoring images. The ‘Photographers Bar’ is awarded to those photographers who obtain the equivalent of a point an image from their pre-chosen 24 entries throughout the year.

Photo: Jason Allison

Angela Adams -- Jason Allison -- Victoria Amrose -- Ian Austin -- Ann Aveyard -Joanna Banks -- Mark Bannister -- Paula Beaumont -- Nizar Birch -- Sharon Bolt -Jayne Bond -- Ian Bower -- Magda Bright -- Nick Brown -- Roxanne Bunn -- Heather Burns -- Ed Burrows--Emma Campbell -- Chris Chambers -- Stephanie Chapman -Kayra Cinar -- Martin Clark -- Alison Connolly -- David Conway -- Catriona Corrigan -- Dawn Cotterell -- Victoria Cracknell -- Lorraine Dale -- Sue Dudley -- Paul Eccles -- Jackie Eke -- Emily Endean -- Ani Evans -- Steve Evans -- Antje Farmer -- Peter Farrington -- Andrew Ford -- Cheryl Foreman -- Vicky Glanvill -- Nikki Goodeve -Duncan Graham -- Phil Green -- Danny Hampton -- Anneka Harden -- Lynne Harper -- Hayley Harraden -- Lee Hatherall -- Nigel Hepplewhite -- Jane Hodges -- Molly Hollman -- Dora Horvath -- Dave Jagger -- Malcolm Jenkins -- Stacy Joyner -- Ian Knaggs -- Debbie Longmore -- Michael Love -- Tracey Lund -- Stephanie McGahan -- Tracy Main -- Suzanne McGowan -- Lucy McGrath -- Ruth Morris -- Gary Neville -Simon Newbury -- Claire Norman -- Vicky Norton -- Debra O’Connor -- Staey Oliver -- Tom Ormerod -- Claire Osborne -- Edward Payne -- Clare Perry -- Neil Pitchford -Iain Poole -- Sandie Powner -- Bernard Pretorius -- Henry Ransby -- Ceridwen Raynor -- John Retter -- Karen Riches -- Christine Russell -- Sian Shipley -- Alice Slee -- Andy Smith -- Matthew Smith -- Sarah Smith -- Laura Spence -- Cliff Spooner -- Lynn Stanfield -- Tina Stobbs -- Mel Taylor -- Ivan Trotman -- Helen Walker -- Clare Walpole -- Deanne Ward -- Tim Wilde -- Lisa Wildgoose -- Sarah Wilkes --Annette Willacy -- Lynne Williams -- Erin Wilmshurst-Smith -- Clare Wilson -- Katrina Wilson -- Kate Wise -- Helen Woodland -- Peter Woods -- Philip Yale -- Micheala Young

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Image of the Year Members Choice WINNER - Claire Norman RUNNER-UP - Sarah Smith & Sally Masson

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Image of the Year Judges Choice WINNER - Nick Brown RUNNER-UP - Jason Allison & Claire Norman

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WINNER: Nick Brown

Photo: Barbara MacFerrin

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The Founder’s Cup Sponsored by Datacolor

The Guild of Photographers started life at the Guild of Wedding Photographers in 1988 and It’s founders were Roy Doorbar and Ian Gee. They both sadly passed away in late 2016, and the ‘Founders Cup’ is a prestigious photography award which acknowledges what they started, and their aims of supporting photographers and raising standards in the industry by encouraging personal development Entry comprises of a 3 image themed body of work, which is intitially entered digitally. Following initial judging those selected as finalists then resubmit their work in a printed format for final assessment. The competition is restricted to those who have not won a national competition before and have not attained the level of Craftsman with the Guild (or equivalent elsewhere).

WINNER: Nick Brown RUNNER-UP: Barbara MacFerrin Issue 36

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Special Contribution Award Kate Wise Kate was nominated by Connie Doull who says… “I’ve been an active member of the Guild for 7 and a half years but it’s an understatement to say that my last 20 months or so have not gone according to plan. I should have been walking and growing my photography business – Instead I have been battling a cruel, debilitating and relatively rare illness Elhers Danlos. (Elhers Danlos is a condition that affects connective tissues and the symptoms can be life-threatening.) My initial connection to Kate came from the fact she has the condition too. I had posted about a pending op and received a message from Kate reassuring me. She came to visit me during my initial recovery following my operation, and once home she messaged me and called to see how things were going. Soon after I was readmitted and was operated on 5 times in less than 2 weeks to try and beat the multiple infections and rejection my body was going through. I really was in a precarious position. Everyone sees me as confident, bubbly and cheerful, but I battle daily with anxiety and at times severe depression. Whilst at hospital, I was in isolation in a room with no tv – just my phone. Most of the time I was alone with my thoughts, and very scared. Kate worked at the hospital I was in. She would finish long and tiring shifts in theatre and visit me straight after, staying for several hours! On one occasion Kate was at home and I messaged that I was in tears due to the pain from some antibiotic side effects. Kate went and bought the cream she knew I needed and then delivered it to me so I could have it. She got out of bed to do this as it was around midnight. There are so many other instances where Kate helped me too, but I hope you get the picture. Kate made my 6 weeks of hospital bearable…and I found a lifelong friend! In November, after much persuasion from Steve and Lesley, who knew of my situation, I agreed to go to Coventry PhotoHubs. This was a big step for me as anxiety, fear and paranoia really is as crippling as my physical condition. The only way I could do this was to go with Kate. She was by my side all day and literally, didn’t wander off at any point. I thoroughly enjoyed myself at Coventry and having missed the last few Awards Nights due to my anxiety, I am here tonight and that’s all down to Kate! Whilst this has been a personal and heartfelt thanks from me, I need to emphasise that Kate’s kindness goes way beyond me… I know of many others in the Guild who she has helped also, and indeed, still helps. She consistently and selflessly offers her strength, advice and care to anyone who needs it….and she does it in such an understated way. No fanfares and bragging…just a genuine desire to help! Kate Wise is a very special person. Dare we say she is an ‘Angel’. She is someone who doesn’t big up herself at all, and does all this and more, despite suffering just as much with Elhers Danlos as I, she epitomises what the Guild is about! We are a family…” - Connie Doull

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Special Contribution Award RONAN RYLE

Everyone will have held a product that Ronan, his family and fabulous team at Photovalue and 3XM in Ireland have created. When you hold a nice shiny toothpaste box or other similar product, there’s a very good chance that Ronan and team made the packaging. On top of that for nearly 40 years Ronan’s business, Photovalue, has been the leading manufacturer and supplier of quality photo mounts in the UK and Ireland. They produce over 12 million Mounts per year (a million a month), and they are used by professional school, event, portrait and wedding photographers as well as labs. We could give him an award for his business acumen or for being a genuinely nice person but Lesley and I want to acknowledge his desire to ‘pay it forward’ and help photographers succeed. About 10 years ago, Ronan decided to increase his focus on helping photographers - 3XM was born, the name born out of the idea of taking the three letter ‘M’s from the phrase ‘make more money’ (3 X M). More recently, Ronan has taken his focus on helping photographers to another level. He has a Masters in Sales Management, three Post Graduate Diplomas for Digital Marketing, International Selling and Strategy, Change Management and Leadership. He is also an authorised “Profit First” professional and certified “Storybrand” Ambassador. Based on his learning and experience, he’s developed a business training programme that is unique in the industry and it has helped hundreds if not thousands of photographers to realise the true potential of their work. He has shared this knowledge in different ways across the globe and it’s not brand driven . He is ‘paying it forward.’ His contribution to the industry and photographers themselves has been and continues to be immense. Steve & Lesley Thirsk Directors The Guild of Photographers

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Special Contribution Award ANN AVEYARD

The more you put into the Guild, the more you get out of it! Ann is a person who has thrown themselves into the Guild of Photographers since shed joined in 2013. She has pushed herself photographically, becoming a Craftsman, and I’m sure she could go one stage further, being the talented person, she is. Ann has also continually challenged herself in the Guilds Image of the Month competition. And, this year she has entered four genres in the competition. Ann obtained the Bar in all FOUR of those categories and has now received the Photographers Bar THIRTEEN times. En-route to doing this, she has justifiably earned much recognition in the competition. Her work is quite simply consistently outstanding! However, it is not her fabulous photography that we wanted to acknowledge. It’s Ann as a person. She is a very giving person, generous with her time, always looking for ways to ‘pay it forward’. When we launched the Guild Regions 15 months ago, she was one of the very first Regional Admins and has since planned, organised and been involved in several successful and enjoyable events for members. Last year she put forward the idea of a stand at the Coventry PhotoHubs event, where members could sell and exchange pre-loved equipment. She not only suggested it but offered to run it as well. We have just launched our Members Ambassadors scheme (where experienced Members give a little time to help new Members settle into the Guild and get the most from their membership. Ann was one of the first volunteers for this! Obviously, what we have mentioned here is the public side of Ann helping the Guild, but we know there is a behind the scenes side too, where she freely gives advice, support and friendship to fellow members. We wanted to take this opportunity to thank Ann for what she has given and continues to give. Steve & Lesley Thirsk Directors The Guild of Photographers

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Helen Walker

Master Craftsman

“

A Medieval Tale I had been looking for inspiration for a panel to submit for Master Craftsman for a while. Last September I happened to visit the Rijksmuseum in Amsterdam and found the inspiration I had been looking for. I had never previously paid much attention to the Old Masters, but the museum and its art are truly beautiful, and I was enthralled. In particular, I found myself mesmerized by the paintings of Rembrandt and by the beautiful light, highlights, and details in his brush strokes. His paintings took my breath away, and I found myself wanting to know more. On returning home, I experimented with recreating some Dutch portraits and knew I wanted to do something like this for my panel, but I wanted to create something of my own, something different. (There was also the difficulty of tracking down costumes and backdrops that would be suitable, outside of the Netherlands) Then it occurred to me that England’s history at a comparable time was rich in its imagery and that right on my doorstep, there were many examples of medieval architecture. York and Skipton were both critical in the Medieval history of Yorkshire, and I live between the two. And it meant I had the opportunity to learn something of the area’s history. When I looked at medieval art, I found English medieval imagery consisted largely of two-dimensional drawings with nothing of the realism I had so much admired in the Rijksmuseum. I decided to bring the Dutch Masters to England and apply something of their style to English heritage to bring that era to life. There were several significant aspects of the Dutch and Rembrandt style that I wanted to incorporate. Light would have been from windows and candlelight, and often rooms were dark and gloomy. There was little use of light to separate the subject from the background, and not until Caravaggio was there the concept of using shiny surfaces to reflect light onto subjects for paintings. I achieved separation using colour, texture or perspective. Although Rembrandt is famous for his lighting technique which he created by the window layout in his studio, I was surprised to discover a great many of his images, as with many of his contemporaries, were broad lit, and this included portrait of ladies. Also, Rembrandt used light, detail and contrast to direct the eye towards the important part of his subjects. It is said that Rembrandt could not paint hands. But he made them ill-defined to draw attention away from them and toward the face. He also used bright highlights to depict jewellery, fabrics and fine details. His subjects were painted with warmer tones compared to cooler backgrounds and backgrounds themselves were flat, lacking in detail and contrast, and painterly. Paintings had a low range of colours and a narrower colour space than modern photographs. Mixing paints could not provide pure black so painterly “black” is more of a muddy brown-black. Artists used the red, yellow, blue colour wheel, and many pigments were very expensive, for example, purple. Colours and the placement of objects in paintings often had symbolic meaning in Dutch paintings, often religious or allegoric. In designing and processing my images, I tried to use the colours, styles and limited pallet that would have been used at the time.

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I enquired with several museums and manor houses and found I was unable to use strobe lighting with the old furnishings, and that without lighting, ambient light levels were too low to shoot with a model. In any case, I knew I did not want sharp backgrounds or to shoot on a “set”; for the models to look as if they were in fancy dress in a modern photograph. I wanted an old fashioned, painterly look to my images. I decided to photograph various locations and use the images like digital backdrops in an artistic way, to create unique “fantasy” sets for my subjects. I wanted the photographs to look like paintings, by recreating the painterly, indistinct backgrounds of Rembrandt, using a hint of surroundings to provide context and suggestion of the characters’ story. So I embarked on something of a medieval pilgrimage. I visited Ilkley Manor House, the deserted village at Wharram Percy, Otley Manor House, Skipton Castle, Bolling Hall, Townley Hall, Barley Hall, Micklegate and Monkgate Bar in York, York City Walls, the Merchant Adventurers’ Hall, and Bolton Castle. I talked to a lot of interesting people, ran into a ghost at Bolling Hall that drained my battery, (as apparently, he or she had done to many photographers before), and even got invited to join a historical re-enactment society. I photographed, using a tripod and long exposures where necessary, a range of doors, windows, furniture, castle walls, wooden and slate floors, and medieval furnishings, to create a library of resources to use. I discovered lots of fascinating history too. Who knew that Lord Clifford of Skipton Castle held out for three years as the last Royalist stand in the North against the Roundheads? Just before Christmas in 1651 they rode in full armour and colours down Skipton High Street to their surrender. What a sight that would have been. A beautiful photograph it would have made - but it did seem a bit beyond my resources to recreate! I studied contemporary images and read about medieval life in order to come up with stories in the shots. The period covered is the late medieval from the fourteenth century to the middle of the sixteenth, including a couple of the early Tudor fashions and characters. This medieval period was rich in colour and, for the wealthy, very ornate. I used theatre costume and hire companies which provided detailed replicas of original costumes. I was careful to avoid fancy dress type costumes that are readily available but look inauthentic and modern. Most of the characters are portrayed by friends, colleagues, and fellow photographers; anyone who had the misfortune to know me and had a certain “medieval” look. Nonetheless, they seemed to have a lot of fun dressing up and seeing themselves as never before! We even hired a suit of armour – an accurate replica of the Duke of Clarence’s armour (brother to Henry V) worn at Agincourt in 1415. The chain mail itself was almost too heavy to lift let alone with the armour. The models were shot in studio on a grey background using a 150cm indirect soft-box to give very soft shadows. Soft even lighting and gradual transitions in the shadows. A fill-light behind the camera bounced off a white wall behind. This gave a very soft fill to the shadows and avoided a catch light. On some of the shots, I used slight graduation to the backdrop with a third light if the costume was particularly dark. To process the images, I used parts of different background shots composited together and transformed to create “sets” that fit in with the character and the light and to create the impression of a three-dimensional background around the subject. After inserting the background, I reduced the opacity to 9-15%, to leave only a hint of the surroundings and then added various textures to create an indistinct, painterly feel, with low contrast and detail. I used curves adjustments to dodge and burn the subject while keeping contrast on the background low and then added some detail with Topaz Adjust Fine Detail to some areas of the subject to enhance the details in a similar way to Rembrandt’s technique. I choose Hahnemuhle Fine Art Baryta 325gsm paper which has a clear texture and a slight gloss finish which enhances the shadows and closely replicates the finish found on the oil paintings of the Old Masters. Choosing suitable mats to frame the images was difficult as most looked too modern or bright for the style of photograph. Many of the Dutch paintings in the Rijksmuseum are framed in dark plain wood which helps the shadow detail and colour to show up well, so I decided on a dark mat in keeping with this style. I shot a variety of ages of characters and costume styles ranging from peasants to kings, jesters, doctors, ladies and gents, servants, children and even animals. My horse is wearing the livery in the King’s colours and fulfilling his lifetime ambition to be a destrier (warhorse), and my friend’s dog was keen to be a mistress’s companion. I had fully edited around five shots of each character and choosing the final selection was hard. Still, my final selection tries to balance poses, colours, and characters to give a cohesive but comprehensive view of the Middle Ages in a colourful tapestry. I hope I’ve successfully created little vignettes that represent the variety of the medieval period in all its magnificence.” - Helen Walker Master Craftsman - February 2020 Issue 36

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JANUARY - FEBRUARY 2020

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Margot looked up to the moon.

Today felt different, despite receiving the telegram only days before she couldn’t help but believe that Arthur was still with her - watching over her. Dear Mrs. Botham, May I be permitted to express my own and the squadrons sincere sympathy with you in the sad news concerning your husband Sergeant Arthur Botham. The aircraft of which he was the entering enemy territory over France has disappeared. You may be aware that in quite a large percentage of cases aircrew reported missing are eventually reported prisoner of war, and I hope that this may give you some comfort in your anxiety. Your husband’s effects have been collected and will be forwarded to you in due course through the appropriate channels. Once again please accept the deep sympathy of us all, and let us hope that we may soon have some good news of the safety of your husband. Yours very sincerely, Donald Bridlington It wasn’t over - their lives were just beginning! She just knew he was looking at the same moon she was.

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It was 6 months before Margot got word Arthur was alive and what felt like an eternity until she was stood, at the train station waiting for him. So much had changed in the world around her but her heart had remained true. The train arrived and couple after couple were reunited with their loves. A cacophony of whoops, cheers and children calling out to find their fathers. The station became quieter and emptier and Margot’s heart dropped and then, stepping through the steam from the train - Arthur….her Arthur! Arthur’s heart skipped a beat, he wasn’t sure she would come - it had been so long but there she was, exactly as he had remember on those dark, cold nights. He walked slowly towards her, drinking her in. As he got closer her smile grew and she threw herself at him, Arthur dipped her in their excitement and her red hat fell from her head. Margot laughed. Arthur, kissed her reverently. He was home.

Story By Fiona Millington-Pipe

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Sharon Bolt

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PHOTOGENIC

Antoinette Do

~ Ke

Cosmics One

Konstantin Slobodchuk

~ Laos ~

~ Russia ~

Catherin

The Guru Shotsâ&#x20AC;&#x2122; Photogenicâ&#x20AC;&#x2122; challenge is, as they say, beauty is in the eye of the beholder. In this theme, the challenge was for the members of Guru Shots to explore the idea of what it means to be photogenic.

~ Fra

Dinara

Adrian Minda

Alex Armando Torres

Alexander Tarasenkov

~ Germany ~

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Amy Chesley

Anca Bunea

Andre Miranda

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~ Brazil ~

~ United

Andrejs Travkins

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Ann Katrine Sandengen

Fabio

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~ La

~ It

Arnaud Dionisio

Bart Buckalew

Carmen Watkins

~ France ~

~ United States ~

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Christy Anderson Bernstein

David Hayden

Derek Kanaswood

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~ United States ~

Smagare

Dominic Howarth

Doug Horspool

Dúddi Photo Art

atvia ~

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Ellen Geiger

Elżbieta Rogaczewska

Erik Ersson

d States ~

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Fahad Al

François Biajoux

George Snow

~ Kuwait ~

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Hanno van Wyk

Helkoryo Photography

Helmut Jeels

~ Great Britain ~

~ Sweden ~

~ Germ

Israel Weiss

Jack Julius

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Jeff

~ Israel ~

~ United States ~

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~ It

Jo Stewart

Judit Dombovari

Just Me

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Kelly Mitchell-Tucker

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Kur

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Luca Nebuloni

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Ĺ ukasz Rad

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many ~

~ Norway ~

~ Russia ~

~ Hungary ~

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Jimmy Adams

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~ Netherlands ~

~ United States ~

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Leigh Sommer

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Martina Herstusova

Matt Specht

Menachem Ganon

Michael

~ Czechia ~

~ United States ~

~ United

Paul Belue

Paul Jackson

Paula Sarmento Manacas

Raimond

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Paolo Barozzi

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~ Germany ~

~ Georgia ~

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do Jereb

Robert Martens

Robert Żełaniec

Robyn Doyle

~ Poland ~

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Sidney Eisner

Štefan Németh

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Africa ~

~ Israel ~

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Timothy Smith

Tom Rehor

Tracey Broadhead

~ United States ~

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~ New Zealand ~

aly ~

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~ Austria ~

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Nigel Doherty Qualified Guild Photographer

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Suzanne McGowan

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Kath Evans

Craftsman UPGRADED to Master Craftsman Guild of Newborn & Baby Photography

“

Since having my first child in 2008, seeing how tiny and small, she was, I knew then that I wanted

to pursue a career in newborn photography. I’ve always had a love for photography since completing my A levels and knew this was the route I wanted to take. It felt like home having a camera (and a baby) in my arms I started my newborn photographic journey in 2009. Completely unaware of just how much knowledge I needed, I started attending training courses to ensure I knew what I was doing and that I was doing it safely. For years I would use various colours, props and poses, and let the clients tell me what they wanted, and it wasn’t until 2016 that I found a style that made my heart happy and my customer base increase. For me, I have always been drawn to more earthy, natural and organic colours and bringing this into my work made me feel like this is where I needed to be. This was when my journey started. I was excited again, that finally what I was photographing made my heart happy. I adore newborns in wooden props with pops of colour form layers and dried flowers. My husband custom makes my props so that the vision I have in my mind can be created as I want it. My posing is soft, and I like to keep it natural but pleasing to the viewer. Sometimes tiny hands don’t uncurl, little eyes don’t want to sleep, and I try to embrace this in my style. In 2018 I decided I wanted to push myself in gaining qualifications, and I achieved my qualified status with the Guild. Little did I know this would be the start of my journey to be the best that I could be. I was so excited putting this panel together, seeing how each of my sessions complemented each other and how my style is apparent in each image. I adore the characteristics of each baby and how different they all. Some of my favourite props are used in this panel, and my go-to pose, chin on hands. I do feel so much emotion when I see my panel together. I feel immensely proud of where I have come and where I am to go. It certainly hasn’t been an easy road, but one that has taught me so much which I shall be forever grateful for to those who’ve supported me and pushed me to keep going when I’ve felt like giving up. I intend to continue with my earthy, natural organic style, and I hope my vision is clear to you as my work is here for you to view. I decided to go for a Fine Art omega rag paper as I felt it complimented my style and my shadows beautifully. I wanted to create timeless portraits, and I feel this paper was made for my style. My love for newborns and photography will continue to grow, and I hope that my passion for my career shows in each of these images. I am excited to see what my future holds and how much more I can grow.”

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Ciara Doone Rush Qualified Guild Professional Photographer

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Joanna Banks

Qualified Guild Photographer

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Nike Koch

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Anneka Harden

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WALL DISPLAY

IT’S WHAT WE DO

ll Art a W s ’ tiful n Today u o b ties are ins to i n u t r o opp t marg n e l l e c x with e e. be mad g offe n i g a ion Im verse an s i V e On ost di m e h t rodu f p t r A one o l l nal Wa ndustry o i t p e c i ex in the s e g n ra

Image credits: Jordan Banks

Image credits: Grahame Smith

Image credits: Jocelyn Conway

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Image credits: Nazmul Islam

O!)

Image credits: Damian McGillicuddy

Image credits: Gary Walsh

fer nd duct y.

02476 440 404 WWW.ONEVISIONIMAGING.COM HERALD WAY, COVENTRY, CV3: 2NY Issue 36 - Creative Light Magazine 119

Vira Betch Qualified Guild Photographer

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Tina Stobbs “My tribute to Rainbow Babies” Craftsman UPGRADED to Master Craftsman

“

Firstly, thank you for considering my panel for newborn Craftsman status. What you will see is a

rainbow of colour, and that in itself is the entire essence – rainbow babies – being the baby born after the storm of a loss. My craftsman panel is a tribute to the 51 babies I've met as a volunteer for Remember My Baby, through the celebration of the rainbows that follow. I am a very proud volunteer for the charity Remember by Baby, having been with them for nearly five years and met over 50 families. Some of the Mums that I have through this service have become my friends. This has sometimes about provided the opportunity to return to them in happier times to photograph their rainbow babies. I choose not to charge them, partly because they have been through enough, and partly for me to close the circle, I find it very cathartic to see them in happier times. Rainbow baby shoots are a completely different vibe to other newborn shoots, it's hard to put into words why, but they are. There are tears of gratitude and loss, what could have been. I meet these families in their darkest hours, walking into a room filled with grief, heartbreak, and their beautiful baby. And when their rainbow babies arrive, there is so much joy in seeing them smiling, being allowed to smile again. So, my craftsman panel is a tribute to the babies lost, through the celebration of the rainbows that follow. It just means so much to me, more than the families realise to be able to go back and see them, and that joy of the rainbow. However, not all the babies in my panel are rainbows, but they are diverse in their backgrounds as that seemed important, in that no one is immune to being touched by loss. These babies are French, Canadian, African, Scottish, Irish, Chinese and of course, British. What has been brilliant is that talking with the Mum's of all these babies about my panel and tribute, which felt necessary with such a tricky subject, not one hesitated to support me. I think that is such an acknowledgement of the bravery the families face when they consider trying for a rainbow baby. I decided that a mix of newborn and sitting babies was essential to represent the ongoing joy or the delay in the celebration that another baby can bring to a family. I have found that some Mum's after such stressful pregnancies, and anxiety over delivery, don't often fully enjoy their little one till a bit later when the reality hits that their baby is here to stay. As the process of preparing for panel takes some time, I have inevitably undertaken sessions for Remember My Baby during the same period. It has been overwhelming how vital photos can be. It sharpened my desire to ensure this panel is the best I can produce as a fitting tribute for those 51 families. I've been a full-time newborn photographer for just over five years achieving Qualified status with the Guild in 2016! It's taken a LONG time for me to get to a place where I feel confident enough to go for my Craftsman status. Previously I was HR Director with Berghaus (the outdoor clothing people) and McLaren Automotive. These were big demanding jobs, and the later with Berghaus required a lot of international travel which, with a young family, became too much of a conflict. I walked away and picked up the camera, not just as a passionate hobby, but as a job. Unsure of what genre I tried landscape (love the solitude), people (love the emotion) but babies – well they are little landscapes, and the emotion comes in bucketfuls! continued...

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I offer a mobile service to new parents in their homes; I don't have my studio environment to get lights and settings consistent as every house I walk into is a new studio. I think this is what has slowed down my progress and hit my confidence as I have learnt the technical adjustments needed to deal with different coloured walls and varying levels of space! However, this journey did give me the confidence to join Remember My Baby as a volunteer photographer as a way of giving back after my own loss. Shooting this panel has been a challenge for many many reasons. Technically shooting so many colours, twice, and getting them to look like they were shot together. Finding ten compliant sitting babies that could hold a pose or be coaxed to pose, eye contact, all the hands and feet in the right place. I had a clear map of the shots from the beginning as I knew I wanted the right and left-hand sides to be lit the same way on both rows, and I wanted symmetry of the shots from the outside in, so the two sides mirror. My photoshop skills have been tested, especially with skin tones as I did suffer a bit of colour casting, and loads of other things which I'm not going to draw your eye too at this stage! Now I find that I shoot differently in the first place, my eye is more critical of styling, shadow, placement in the back of the camera so I can make adjustments before hitting the digital darkroom. My editing eye is much more refined to unnecessary distraction now; I have a whole new bunch of skills to enhance an image that I didn't have before. It has made me a more refined photographer; I can't wait to see what creatively flows now! I have loved the mentoring process. I've smelt the fear and done it anyway! Although my fear of failure and self-doubt has been rife, I want this; it feels like it's the step I need to feel authentic in calling myself a real photographer. Joanna has been so patient with me, with just the right touch to push me when I wobbled. My constant earworm from her has been 'hold your nerve girl!' In closing, please enjoy the tribute to the 51 babies I've met through my rainbow baby Craftsman panel, if allowed I would play you 'The Last Lullaby' which has the most beautiful lyrics and sums up exactly what I struggle to convey.

- Tina Stobbs MCr Awarded Master Craftsman - February 2020

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Photos ÂŠ Tina Stobbs, Captured Forever Photography

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Master Craftsman A little piece of my Soul “ I opened the doors to my first studio in April 2008, a substantial size studio based in a residential area of Stockport, almost 5 miles from the centre of Manchester. I enjoyed working there for six years of photographing children and families. Eventually, I felt that the business needed to raise its profile if I wanted to continue to pursue this career professionally. My husband and I decided to relocate the studio to Bramhall, a small lucrative village, a couple of miles away in the heart of Cheshire. A leafy suburb surrounded by popular little towns like Alderley Edge, Knutsford and Wilmslow. I hit the ground running in Bramhall and served its community of families, young and old for five years and built a healthy client base of over 1500 customers. I ran a busy studio that was open five days a week and on average undertaking 10-15 sessions per week, including in-person sales appointments. I was responsible for a large amount of in-house printing using leading-edge large format printing Canon equipment. My husband built and supplied my frames and various wall art for my customers.

sharon wallis

In November 2017, my husband suddenly passed away, plunging me into a very dark place, with two teenagers to consider and a mortgage. I had some serious thinking to do. As my lease was up for renewal, I knew I needed to relinquish any stress in my life, so I decided to relocate my studio. I chose a beautiful location on The Norbury Farm Estate, just 5 minutes drive from Bramhall Village. It was here that I began to heal and nurture my business. I have settled into the farm location and will be celebrating my second year this month (April 2020). Even though I felt like I was jumping off a cliff moving from a High Street studio, I knew that with a well established and a healthy client base and a lot of hard work, I was confident that I was capable of achieving positive results. Thankfully I have.

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I want my work to capture the first precious moments of a new life. Something that many of us take for granted. I want my clients to invest in me and my natural, earthy and organic style of photography. I carefully think through every session I undertake, from colour palettes, textures and lighting. I use studio lights in my studio so that I am in control of the available light. My work is recognisable as elegant, soft and dreamy, a style that I find is very popular with clients. My sessions are completely baby-led and can vary from 3-4 hours long, depending on my clients and baby, of course. Once I have completed the photoshoot session, we invite our clients back to the studio for their preview session, where we are fortunate enough to have a devoted preview suite equipped with the latest leading-edge viewing software. My photography has become my therapy, and the self- satisfaction I gain from capturing these images has helped with my healing. I look forward to continuing my work, capturing life’s precious memories for many years to come.”

- Sharon Wallis Awarded Master Craftsman - February 2020 Creative Light Magazine

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Gavin Prest

Master Craftsman - February 2020

A Yorkshireman from Hornsea on the East Coast, Gavin’s passion for creating still images came alive again in 2012 after several years away from the camera. Working primarily in black and white his work has gained him international recognition with several prestigious awards to his name. Having explored several different photographic genres Gavin has settled on his own style and found who he is as a photographer. A style that is instantly recognisable, based around intrigue, passion, seduction, fashion and romance and shot with a very voyeuristic approach. His images speak to a very dark space that lives deep within many of us. A provocative photographer of the highest order. Powerful styling, powerful narratives and hard editing. It is inspiring that he is bold enough to present it in an art form.

“P

hotography has always been a passion of mine. Creating images with narratives is something that has developed over my photographic career. I have experimented with various aspects of photography and now find myself happy with who I am as a photographer. I have always had a love of black and white images. This started in my film processing days and developing images in the darkroom. The black and white image for me has a depth. It can create power without distraction. An intense documentary emotive that adds to the viewer’s experience and the interpretation of what they are looking at. An image should move the viewer in one of two ways; they either like it, or they hate it. Both are great results. In my opinion, for a photograph not to affect a viewer means it’s not successful. The style of the work you see in my panel is one that has evolved as I have grown as a photographer and have been influenced by artists and photographers. The narratives in my work can have an erotic and sometimes disturbing edge. They are aimed at creating an uncomfortable emotion with the viewer. Some people secretly relating to it but publicly denouncing it. Playing with peoples imaginations is always interesting, with them sometimes going to places in their thoughts I haven’t imagined the image taking them. I have been called many things during the public talks I give... “... exploitive, manipulative porn photographer” and a “photographer who incites violence against women” are just two. But, being called names means my work has struck a chord in the viewer’s mind. I create characters who go on adventures, who have an attitude, who live different lives to that of my own. This gives me the freedom to be creative and explore all sorts of different avenues and emotions. Although it has caught me out a few times in the past. When people look at your work, they often create a character of the author too. When people have met me for the first time, they have told me they were not expecting me to be like I am. However, no-one, as yet, has told me who they were expecting! I hope looking at these images today take you to somewhere else in your mind and make you ask questions.” - Gavin Prest Awarded his third Master Craftsman - February 2020

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Rita Morley Qualified Guild Photographer

February 2020

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Marketa Zvelebil Awarded Craftsman - February 2020

“

My panel is about life from a reflected point of view, the streets, the people, and nature all reflected back to us.”

My name is Marketa Zvelebil, and I am originally a political refugee from Czechoslovakia, having left on holiday to Italy the day before the Soviet invasion in August 1968, I am still on “holiday”. I was eight years old. All we had was our Skoda car, a few summer clothes and I had my small camera. This event led us to live in the UK, USA, Holland, and then I moved back to the UK and recently to France, giving me a broad perspective and appreciation of different cultures. However, the UK has been my home and will always be my home. This country welcomed us when we became refugees. I returned to finish my education and have lived here throughout my working life. In 1965 at the age of five, I started to have health problems. To make me feel better, my father gave me his father’s camera. My grandfather, who died before I was born, was a professional photographer and an artist. I was fascinated and took many photographs of people with their heads cut in half. Only later did I learn that what you saw in those viewfinders was not exactly what would come out on film. Throughout my childhood, I took photos, but I have no idea where they are now or how bad they were. As I grew older, I bought my first camera – a Pentax K1000, and I was allowed to use my brother’s darkroom. I loved seeing the photographs come to life on paper—the excitement when the images appeared slowly under the developer. I wanted to become a professional photojournalist. However, by that time, I was disabled, and photojournalism was not an easy profession to get into. I didn’t want to take photographs of village fetes. I wanted to go into war-torn countries. Photography took a back seat as I became a research scientist in Oncology and Bioinformatics and only since early retirement (due to my disability) I have taken up photography full time, seriously and passionately. It has given me great fulfilment and a new focus in my life. I have qualified at the New York Institute for Photography in Professional photography. I have had the excitement of being published by National Geographic travel magazine and other publications in print and online. I am still learning. Very critical of my work and I hope to continue to improve and learn via mentorships both through the Guild. I hope, eventually, to do some photography “professionally”. I am the official photographer for an animal sanctuary. I have been asked, on occasions, to do portraits, both animal and human. I have set up a small studio in my house. The set of photographs in this panel that I am submitting for Craftmanship is “Reflections”. Not reflections in water, however. Reflections in glass, in the street, in buildings, reflections from human-made structures all around us. I chose this topic, as, apart from the fact that I love reflections in photographs, I like the actual concept of reflections. I think it tells us a bit about the lives we lead, the way we see, and even how we see. We lead our lives reflected: Nearly everything we do is a reflection to the circumstance around us, a reflection of the interactions we have with other beings, whether human or other animals. We see ourselves only as a reflection in a mirror. Even in a photograph, we are but a reflection of what the photographer saw (a selfie is like a mirror). Therefore, my panel is about life from a reflected point of view, the streets, the people, and nature all reflected back to us. And then there is this ethereal beauty in reflections, the slight distortions of what is “real”. The sense that what we see in a reflection is in another dimension. And again, the distortions are manifestations of what we perceive in our daily lives. Each one of us distorts the words we hear, the stories that are told to us, the pictures we see to our own perception and understanding. - Marketa Zvelebil Craftsman

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Stu Leggett Awarded Craftsman - February 2020

“

CAP - Cricket Action Photography It is the game in play. It is social or village cricket. It is not First Class, Test or International Cricket and it is not portraiture, despite providing a glimpse into the player’s motivations and lifestyle. I have chosen to make Cricket the subject of my Craftsman submission because it is a sport I have never played, and always puzzled me as a child. Played at a relatively leisurely pace in comparison to other sports, Cricket is a sport where all individuals in the team are encouraged to perform to the highest standards. It is not about individuals scoring centuries or taking six wickets every game. It is a sport with a clear social context and etiquette. Cricket is about decision making and tactics, shaped by the knowledge of the rules, the ground and your teammates’ strength and weaknesses. These factors change and develop from hour to hour, day to day and week to week during the domestic season. For me, the form or shape of the cricket player matches well with the basics of photography. It is all about the visualisation, timing, lighting, composition, and above all, respect for effort of others. It has not been a comfortable journey to deliver a professional service. For numerous reasons, it has been necessary to refine a personal philosophy drawn from other life experiences. My philosophy, at present, can be summed up as follows:• keep it safe, keep it simple; • collaborate with others; • acknowledge my current limits; • set realistic goals and targets; • promote respect and privacy; • try to learn something new every day; • adapt my thinking and approach where needed;

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

XXL Landscape Photo Book

XL Square Photo Book

Our largest landscape photo album is perfect for those projects

Ideal for professionals and talented hobbyists alike, our XL

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

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portraits.

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CEWE are proud to be a trade partner of The Guild of Photographers We are a European market and technology leading, innovative photo printing and online service provider. With over 50 years of experience, we are renowned for our dedication to outstanding print quality.

hexxas Give your home a unique look with hexxas. Each hexagonal tile is made of exceptionally high-quality, rigid foam board. With two sizes to choose from, they are designed with flexibility in mind. Our magnetic hanging system means you can reposition your pictures whenever you like. Plus, you can add to your collage

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giving you more options as to how your images are presented.

*T’s and C’s apply. Offer available on any size and format CEWE PHOTOBOOK and any size or format CEWE WALL ART until 31st January 2021. Does not include p&p and cannot be used in conjunction with any other offer.

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The Guild’s Partners & Membership Benefits ALAMY

The leading online photographic library for stock images. Guild members arn the first £500 commission free. www.alamy.com

APPLESTORE

Save up to 10% in store or online, as well as on refurbs and offers. www.apple.com/uk

CEWE

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LSP ACTIONS

35% OFF everything Lemon Sky. Photoshop/ Lightroom Suite with 35% discount for members of The Guild, including sale items. www.lsp-actions.com

The largest European producer of photobooks is now available int he UK pro market. Guild members get an exclusive 20% off any CEWE photobook and wall art. www.cewe-photoworld.com

nPHOTO

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Digitalab deliver high quality printing, frames and presentation products. They offer Guild members 50% OFF any sample products. www.digitalab.co.uk

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HANDEPAY Guaranteed savings for Guild members on card processing fees. Discounted quotes for Guild members. www.handepay.co.uk INFOCUS PHOTOGRAPHY INSURANCE Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk

Special deal exclusively for Guild members of up to 60% discount. www.nphoto.co.uk

ONE VISION IMAGING

PIXSY - ACT AGAINST COPYRIGHT

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PHANTOM FLIGHT DRONE SCHOOL

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SYTNER AFFINITY (Auto Dealers)

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WILKINSON CAMERAS

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Guild Members receive double points on every product order. www.3XMsolutions.com

Online e-brochure worth £350 free to Guild website clients. www.lemonadedesign.co 10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com 160 : Creative Light Magazine - Issue 36

3XM

ZENFOLIO

Guild members receive 30% discount and a further 10% for referrals. www.zenfolio.com/uk

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 36

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FREE FOR ALL MEMBERS WHILST IN LOCKDOWN WITH COVID-19 PANDEMIC GET ONLINE TO LEARN MORE ABOUT PHOTOGRAPHY

THE GUILD ARE PROUD TO LAUNCH - VIRTUAL EVENTS FOR PHOTOGRAPHERS ONLINE PHOTOGRAPHIC LEARNING, INTERVIEWS AND EXHIBITIONS FIND OUT MORE HERE: [click here]

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Liz Greenhalgh

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