Creative Light Magazine - Issue 38 by Guild of Photographers

‘CELEBRATION OF SUCCESS ISSUE’ GURUSHOTS TOP 100 - OUT IN THE URBAN CHALLENGE QUALIFICATION SUBMISSIONS DURING LOCKDOWN BRAND PHOTOGRAPHY - GILLIAN DEVINE DOG PHOTOGRAPHY - JASON ALLISON WEDDINGS - LIZ GREENHALGH DOCUMENTARY PHOTOGRAPHY - CLAIRE ARMITAGE TRAVEL PHOTOGRAPHY - IVAN TROTMAN

Issue 38 - July/August 2020 :

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Contents 15

Gold Awards May and June 2020

Fab Five New Panel Members

37 48

GuruShots Out in the Urban - Challenge

70 86 98 112

Dog Photography Jason Allison Gillian Devine Brand Photography Saved Me Liz Greenhalgh Wedding & Portrait Photographer Claire Armitage Documentary Photography

Guild Spotlight Ivan Trotman

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Steve & Lesley Thirsk The Guild of Photographers

We are all beginning to emerge from the lockdown phase associated with the current pandemic and entering strange new times - different to what we’ve just been through, but still very different to where we were before. During lockdown, the Guild of Photographers ran many webinars to help people develop their skills, learn something new and equally importantly have something to look forward to everyday, whilst remaining at home. In fact, we hosted over 120 such sessions, and we are incredibly grateful to everyone that contributed to them, freely sharing their knowledge, insights, and experiences with webinars. We are also very grateful to the vast numbers regularly supporting the sessions! Now people are increasingly returning to some sort of normality, focusing on work and other commitments, we are gradually reducing the frequency of new ones, but they will continue to be part of what we offer members, as long as the interest continues. All the previous webinars were recorded and now form a large library which can be watched ‘on demand’, accessible from the member’s area of the Guild website! One of the things we ran, was a simple to follow 10-part business course run by ‘Profit First’ coach Ronan Ryle. It is designed to help you turn your art into a profitable and sustainable business. We are now connecting the key content of this course to a Guild Business Qualification as we feel it can help everyone to fulfil their ambitions. At the same as launching this we have launched a new Guild Drone Qualification. Like the other Guild Qualifications, this is about the standard of the imagery achieved with a Drone so will have Qualified Status, Craftsman and Master Craftsman levels as the others do. The relevant legislative requirements will naturally be a requirement as well. Something else we produced recently, was a ‘Return to Work’ Guide, designed to help people prepare for this new phase and operate businesses effectively and safely, at the same time offering reassurance to all. It is simple to follow and is based around conducting a risk assessment and tweaking working practices knowing Covid 19 still produces a real danger. Incidentally, those in business may feel it is a good time to reconsider current sales approaches. Perhaps, now is the time to offer interest free purchase options to clients, helping them achieve the purchases they want by spreading the payments (as many people do today). It an established fact that offering this service can lead to significant business growth. The Guild has an interest free credit scheme linked to it, where you will get paid upfront minus the finance houses small Commission. If you want to know more details just contact the office. We have just launched the prestigious Founders Cup competition, which commemorates Ian Gee and Roy Doorbar who founded the Guild over 30 years ago. It is a competition only open to Registered and Qualified members, who have not won a national competition, and is based around the submission of 3 themed images - a mini panel in effect. We have also just launched a ‘Straight Out Of Camera’ competition. Once the button has been pressed nothing more can be done to the image. The winners of this free to enter competition will be acknowledged at our next Awards Ceremony in 2021. Last, but far from least, we are delighted that Gary Hill and Panikos Hajistily have recently joined the Guild’s Panel. There is more information about these incredibly talented photographers and trainers, in this edition of Creative Light. In the past few months, we have seen a huge increase in the number of people submitting for Qualified Status. We are acknowledging 35 of those who have passed in the last few weeks, as well as 101 winners from a GuruShot’s competition, making this an edition that is a bumper celebration of success! Do enjoy looking at these peoples work, as well as reading the articles and spotlights … - Steve & Lesley Issue 38 - July/August 2020 :

Editor Julie Oswin For my Editors Choice I have chosen the cracking shot of a Gannet in flight captured by Guild Member Cliff Spooner. The diagonals of the composition work brilliantly. The image was awarded a Silver in the Guild’s Image of the Month competition for March 2020. We have five ‘Guild Spotlight’ features in this edition covering a wide range of genre’s from documentary to pet photography. If you know or are inspired by a photographer’s work and would like to see an article featured on them, please get in touch. {Email me julie@photoguild.co.uk and in the subject write Creative Light Magazine 2020]

The Calanais Standing Stones were first mentioned by John Morrison in 1680, a resident on the Isle of Lewis. He wrote that the purpose of the stones was for devotion. Located on a ridge above the waters of Loch Roag the Calanais stones are one of the most complete historic stone circles erected in the late Neolithic era. They are situated near to the village of Callanish on the west coast of Lewis and well worth a visit. A true testimony to the people of Callanish that the stones have stood for thousands of years, easily accessible and mostly undamaged. Unlike the standing stones at Stonehenge, which limit access to one hour, predominantly surrounded by fencing and virtually untouchable. The tranquil and peaceful setting of the stones has inspired generations of artists and photographers, me being one of them. Photo info: The starburst of light reflecting from a window from a house in the valley beyond the stones created an added dimension to the shot. The Isle of Lewis is situated in the Outer Hebrides, Scotland.

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Editors Choice Cliff Spooner Awarded Silver - March 2020

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Marie Sampson

Qualified Guild Professional Photographer May 2020

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Vicki Norton

Qualified Guild Photographer May 2020

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Peter Li is an award-winning photographer based in London. His architectural artwork received 1st place in the Architecture Category at the Epson International Pano Awards 2018 and was Commended at the Sony World Photography Awards 2018. His work has been featured in The Times, Time Out London and in various photography and art publications.

How did you get your start in photography? I started shooting with a DSLR camera back in 2013 when my first child was born. Like many dads out there, I wanted to document my growing family. Having a wife who studied art, she has a very artistic eye and I am very lucky to have someone who would give me an honest critique. In the early days, I was independently studying/self-teaching photography every day and practising on a daily basis.

What type of photography are you shooting and what motivated you to focus on that genre? In 2015, I met two aspiring photographers who shared their passion for architecture photography with me. Through their inspiration, I have learnt to be attentive in achieving symmetry and am mindful in my composition and line work. Living in London, we have all sorts of architecture; we often find a classic gem nestled amongst modern skyscrapers. I owe London for fuelling my passion for this genre.

What has been your biggest achievement or obstacle along the way? One of the biggest challenges is to photograph a space completely empty, and often it’s the hardest thing to do, so to prep for the best conditions I try to plan my visits on the days that are least busy, and getting up early to be the first person there. In London, interiors can be tricky because often they would not allow the use of tripods. But on the positive side, photographing around London I had trained myself to have a steady hand for a slow shutter exposure. 10

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‘Megamind’ Royal Albert Hall, London. The auditorium of London’s Royal Albert Hall during lighting preparation for an upcoming show. It is fascinating to see the hall from floor to ceiling in such flying colours. The stage spotlight cast such dramatic shadows across the seating area and transforms the space into something quite otherworldly. It is a difficult scene to photograph, but challenging conditions often make great photos.

Who and/or what inspires you most? I often look for inspiration from paintings, movies and games. I started gaming from a very young age, and I think it has impacted my photography more so than any other art form.

What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use? My work sits between realism and fantasy. Historical buildings such as Cathedrals or music theatres are often reminiscent of our history - they are intrinsically timeless and, in many ways, otherworldly.

‘Chessboard’ St Paul’s Cathedral, London. St Paul’s Cathedral is one of London’s finest Classic architecture gem, a masterpiece from Christopher Wren’s creations. My St Paul’s series has 3 parts, each section of the Cathedral has its very own style but marries seamlessly together. The chandeliers brighten the space evenly across the Nave, while the lack of deep shadows creates a minimalistic elegant scene.

With vertical panoramic photography (Vertorama), we are able to observe a three-dimensional space in its entirety, giving us a view/perspective beyond what the eye can see. It breaks us from reality, plays with our perception of shape and form and creates a sense of another world. Through my photography, I hope to impart fragments of fantasy to the viewer and encourage them to take a momentary step out of their reality

Why is accurate color important within your workflow? I print my work regularly, colour accuracy is very important, having a screen that could accurately render the colours will make the process much easier to manage. The subtle tonal difference of an image can convey a very different mood and message. https://amzn.to/2wDin8e Issue 38 - July/August 2020 :

Front Cover

vicki gardner

â&#x20AC;&#x153; Acer in the Wind is part of a series of images Iâ&#x20AC;&#x2122;ve been working on recently, exploring the wind as a force of nature. The project is part of my more extensive work that represents a huge and lifelong love for nature and landscape. I wanted to understand how wind can be photographed effectively, exposing the beautiful patterns and diverse movement that occur when the wind blows. The series initially concentrated on trees and then broadened out to include flowers. I also wanted to capture the vibrant spring colours of new leaves through these images, colours that make my heart sing. Acer in the Wind was captured in our village in south Devon during the lockdown. A beautiful place to live, especially for such a gorgeous spring we had this year. Despite the Covid-19 storm blowing all around us. I loved the contrast of the red leaves against the bright blue sky, and I had to work hard to avoid bright highlights from the sun. â&#x20AC;&#x153; - Vicki Gardner

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Vicki Gardner

Qualified Guild Professional Photographer May 2020

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MAY & JUNE 2020

Anneka Harden

Nick Brown

Hardik Pandya

Barrie Spence

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Dawn Cotterell

Karen Riches

Dawn Cotterell

Ed Burrows

Dawn Cotterell

Nick Brown Issue 38 - July/August 2020 :

Fiona Adamson

Jayne Bond

Nick Brown

Claire Osborne

Lynne Harper

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Steve Oldfield

Craig Cantwell

Emily Endean

Ian Knaggs

Lynne Harper

Amy Bray Issue 38 - July/August 2020 :

Andy Robinson

Lynne Williams

Ann Aveyard

Frances van der Merwe

Molly Hollman

Shaheen Ali

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Edward Allistone

Caroline Dell

Karen Riches

Mark Harris

Fiona Couser Issue 38 - July/August 2020 :

New Panel Member

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Charlotte Bellamy Charlotte’s photographic journey started with portraits and weddings over 10 years ago. However, in the last 5 years she has developed a specialism in ICM and creative landscape photography. She was awarded her Master Craftsman qualification in 2018 and has been a consistent award winner for over 5 years, including two ‘All Round Photographer of The Year’ titles and an Image of The Year award. Charlotte has lived in the Netherlands since 2012, photographing, offering workshops, mentoring and carrying out photographic tours. She loves to share her experience and knowledge with others. Her motto ‘take a moment to look at the normal; you might just see the incredible’ sums up her love of creating images that embody the use of all her senses, not just what she sees in front of her through the lens.

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New Panel Member

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Heather Burns

Heather has achieved two Master Craftsman awards with the Guild and is predominantly regarded for her Gothic images, created using composites and textures. She fell in love with photography whilst engaging in her other passion for music and she began to explore the creative side of combining multiple images to produce artwork for albums and posters. Over time, her love for storytelling and creative work completely over took the music and she uses her influences including HG Wells, Bram Stoker, Mary Shelly and Conan Doyle to inspire her imagination with tales of shadowy darkness, brilliant detectives and medical experimentation, media which are reflected in many of her images. Heather is passionate about inspiring others to â&#x20AC;&#x2DC;think out of the boxâ&#x20AC;&#x2122; and push their photography as far as their imagination will allow.

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New Panel Member

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Gary Hill

Gary has been a photographer for the last 11 years, following a career change. He is based in the North West where he specialises in bespoke portraiture for individuals and families. He is a Master Craftsman with the Guild as well as a Fellow of the Societies, and he has numerous awards to his name. Gary is a brand ambassador for Digitalab, Click Props and Backgrounds, a Friend of Graphistudio and a Sony Alpha Creator. He is however probably best known as an educator, being an exceptional trainer, especially in the areas of Lighting and Posing.

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New Panel Member

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Mark Lynham Mark is a hobbyist photographer who started his photographic journey at the ripe old age of 48, but since then has embraced it passionately. He is a Master Craftsman with The Guild and during his 6 years of entering the Image of the Month competition, his most notable achievements were; Photographer of The Year for 2016, 2017 & 2018, All Round Photographer of The Year for 2017 & 2018, Open Category Winner for 2013, 2016, 2017 & 2018, and an Image of the Year winner in the Action category in 2017.His main photography passions are modern military aviation and wildlife and likes nothing more than being outside the fence at an airbase or taking walks at nature reserves.

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New Panel Member

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Panikos Hajistilly

Panikos is based near London, and has won dozens of National Awards, including MPA Photographer of the Year in 2017/18. He is a Master Craftsman with the Guild, and a Fellow with the SWPP, BIPP and MPA. His work speaks for itself, and Panikos has vast experience in photographing everything from maternity, newborns, babies, families and pets of all types. He is an excellent tutor and mentor, as now spends most his time focusing on his role as an educator.

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Katie Hughes

Qualified Guild Professional Photographer June 2020

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Rachel Spence

Qualified Guild Photographer June 2020

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Cheryl Foreman

Qualified Guild Photographer May 2020

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Out in the Urban Challenge

Sly B ~ Fra

Micha Mettier ~ Switzerland ~

Luis Ruivo ~ Portugal ~

Krzysztof Skotnicki ~ Poland ~

Find out more about GuruShots by visiting their website. Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com

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Fabio Brocchi ~ Italy ~

Igal Shnaiderman ~ Israel ~

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Paula Sarmento Manacas ~ United Kingdom ~

Bart Buckalew ~ United States ~

Eran Nordmann ~ France ~

Mod ~ Gre

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Georgian Grigore ~ United States ~

Marian Nichitov ~ Romania ~

Colette ~ Nethe

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Margarida Afonso Silva ~ Portugal ~

Jay Shaw ~ Thailand ~

Angie Morris ~ United States ~

ne Messerli zerland ~

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Camera Raderie ~ United Kingdom ~

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Eric Sorenson ~ Canada ~

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Alex Ershov ~ United States ~

Eva Wiedemann ~ Austria ~

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Chris Eichman ~ United States ~

Andrew ~ Rus

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Shouvik Mukherjee ~ Germany ~

Jalmari Heikkonen ~ Finland ~

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Tinskengum ~ Republic of Lithuania ~

Dag Nystuen ~ Norway ~

Paolo Barozzi ~ Italy ~

Monica Merrit ~ United States ~

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Hannah McLune

Qualified Guild Wedding Photographers May 2020

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Qualified Guild Photographer May 2020

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GUILD SPOTLIGHT Jason Allison

The Dog Photographer

â&#x20AC;&#x153;

With all that has been going on over the past few months and me not being able to work, selling my house, temporarily moving belongings into storage, staying in the camper for a few nights and finally moving back into the house we lived in seven years ago, this year the Guild of Photographers competition and creating images has been difficult to say the least.â&#x20AC;&#x153; - Jason

Although Jason has been a photographer since he was a child, it is more recently that he has achieved National and International recognition from The Guild of Photographers for his studio Pet photography, recently winning The Guild of Photographers Pet photographer of the year for 2019 and 2018! He strives for perfection in all of his images and spends hours editing his images into unique works of art. Pets are his main interest but Jason also likes photographing portraiture and other genres. His photography is both a full-time business and a lifelong hobby.

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Q: Your number one go-to piece of equipment for your pet photography?

I tend to stick with the tried and tested, my 70-200mm 2.8L lens. Use it all the time and feel lost without it.

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

Very important! I always say 50% of my work is in camera and the remaining 50% in photoshop; I enjoy the post-processing as I am creating a piece of artwork.

Q: What is your favourite dog that you have photographed, and why?

The most challenging... The Hungarian Vizsla litter. A littler of nine puppies for a studio shoot. It was the most fun, nine puppies being the largest number I have ever photographed. I prefer the puppies to be six weeks old for photoshoots, anything over seven weeks becomes torture... and pure hard work because they are more active and more aware. But at six weeks they are a little more apprehensive, but they do poo and wee all over the place, knock over furniture, run around and then they go to sleep for half an hour. Then we wait and then start all over again. It takes patience and time to capture photographs of puppies.

Q: Lighting equipment, what is your preferred choice for outdoor shoots?

For outdoors, the majority of my shots are with natural light. Outdoor shoots are a small part of my business as I do concentrate my photography on the studio.

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

Image of the month competition and awards, the community and long-lasting friendships I have made in the last three years. I am a very competitive person and enjoy the competition which pushes the quality of my pictures. I have made a lot of friends through the Guild and many I speak to daily. I love the awards weekend, it has to be the pinnacle of the year, and it is just great to meet up with your mates and guild members.

Q: Your personal preference for pet portraits colour or black & white images, and why?

Colour, dark, classical, the most crucial part for me is capturing the expressions of the dogs and cats to bring out their personalities.

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

Photography – concentrate and try to perfect one genre of photography. Particularly for myself – looking back, I would say concentrate on photographing people.

Q: A photographer or person who has inspired you? Although I have been taking photographs since I was seven years old, the person who re-inspired me to start my most recent journey into photography was Glyn Dewis. I had been following him for over four years on YouTube and found out that he was one of the speakers at a Zenfolio Open Day in Leamington Spa in February 2017. I decided to take a couple of days off work, drive down, and stay overnight in a nice local hotel. The next morning, I had breakfast and went along early. I was first to arrive and ended up talking to Glyn for a good half an hour. He gave me encouragement and inspiration to start my second journey; by September, I had quit my job and set up my photography business. It was a good day!

Q: Best buy for under £50?

That has to be my camera strap (Optech) I have had it for years, and it has been one of the best things I have ever bought. [Optech Camera Strap]

Q: What did you do before starting your photographic journey?

I wanted to be a Veterinary Surgeon as a kid; I even decided to take Latin at school for this reason. However, my Mum & Dad had two pet shops, and after losing my Dad, my job was to look after one of the pet shops. I then went on to become involved in business systems software, which wasn’t where I wanted to be, but I did this for almost 30 years. So now I have gone full circle, back to my love of dogs and love taking pictures of them.

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

Too many to mention but I can’t think of one that stands out, any book on learning about photography and editing is worthwhile.

Q: Interesting facts about you?

I am a runner, and Marathons have been my nemesis. For any runners reading this, my pinnacle was achieving a time of 2 hours 45 at the London Marathon.

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

Yes... it is essential for my work. I am told I am a perfectionist; I am always looking for the ultimate in sharpness in my work.

Q: What have you found most challenging in being a pet photographer?

Knowing what to do business-wise and running a photography studio. Plus, the delicate balancing act of marketing, paperwork, editing, workflow, and taking the pictures! continued on page 54 Issue 38 - July/August 2020 :

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Q: To capture different dog breeds, do you

Q: Where do you find your inspiration to create

I Don’t research them as I prefer to experience the characteristics of the individual dog and breeds of a dog during the session.

I like the ‘classical’ look. A particular artist or painter hasn’t inspired me; it is just my personal preference and what I see personality-wise in the pets when they arrive at the studio for a photoshoot.

research the characters?

Q: Developing your marketplace. How

important was it to create your brand as a Pet Photographer? It is imperative to concentrate on creating your style, shoot one subject matter, get really good at it and build your reputation to be known as the local photography specialist for pet photography in the local area. I do enjoy photographing dogs.

Q: Instagram, how essential is it for your business?

Q: Apart from sheer hard work and dedication,

what would you say is the main ingredient to your success? Number one factor is the responsibility of being the primary breadwinner in the household and having to pay the bills associated with running a photographic business and looking after my family.

Q: Favourite place in the world, and why?

It isn’t essential at the moment; I am learning how to use Instagram! So, watch this space!

Sorrento, Italy. My Great, Great Grandmother was Italian. I just love the atmosphere, chaos and lifestyle over there.

Q: What motivates you to get up in the morning?

Q: Three individual words that describe you?

For me finding that unique balance from doing what I love (photography) making a living and having what I want out of family and leisure time. Ultimate puzzle and I am continually learning to make my business profitable and creating work/life balance.

Q: Do you prefer photographing dogs in your portrait studio or on location?

I am a perfectionist, patient, but very competitive!

Q: And finally, where next?

To continue to create the best pet portraits that I can. And, as a competitive photographer, I am in the quest for the Guild’s Image of the Month elusive platinum award.

Studio. Why? I love my studio and a more controlled environment.

www.jasonallison.co.uk

Q: What advice can you share for people

- Thank you, Jason, for giving the readers of Creative Light

interested in becoming a pet photographer, and what to avoid? You have to love dogs and understand the individual characters. Be patient at all times, and don’t stress because the dogs will become anxious, and the photographs just won’t work. A client told me while he was collecting some photos admitted to me that they had been for a photo shoot with another photographer. A gift bought by a family member. “Jason, we could not compare the two sessions! It wasn’t the photography part, but it was the way you are with the dogs that made the difference. You’ve got so much patience, you are so nice with the dogs, and you come across because you love the dogs! That’s why your photographs capture so much more.. and that is why we prefer to come to you.” I was very touched by their comments, and it tells me that this is, irrespective of the subject matter you choose to photograph, customer service. Photographing a genre, you love has to be an essential element in setting up a business. If you don’t like pets, then don’t choose to become a Pet Photographer. Likewise, with weddings, portraits, children, and babies. 54

your pet portraits?

: July/August 2020 - Issue 38

magazine an insight into your thoughts behind your pet photography. - Julie Oswin, Editor

Issue 38 - July/August 2020 :

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Neal Martinez

Qualified Guild Photographer May 2020

Issue 38 - July/August 2020 :

Emma Finch

Qualified Guild Professional Photographer May 2020

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Daniel Barnby

Qualified Guild Wedding Photographers May 2020

Issue 38 - July/August 2020 :

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Issue 38 - July/August 2020 :

Jessica Plank

Qualified Guild Professional Photographer May 2020

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Lucy Duval

Qualified Guild Professional Photographer May 2020

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Issue 38 - July/August 2020 :

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

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: July/August 2020 - Issue 38

GUILD SPOTLIGHT Gillian Devine

How Brand Photography Saved Me

“

Wow, what a ride the last few years have been, and especially this year with the uncertainty for us photographers. As we start to come out of the other side of a terrible time of crisis, I can’t help but be super grateful for the genre I have chosen to operate in - Brand Photography.

LET ME START FROM THE BEGINNING I’ve been a working photographer for around 15 years now, solely dependent on my photography for my income. I started off as a wedding photographer, then moved into portraiture, families, children, babies, and later specialising in newborns. So it’s fair to say I’ve had a fair bit of experience, the ups and downs of our industry. The joy it brings as well as the challenges. We’ve all been there, haven’t we? As a wedding photographer, the loss of your weekends, being wholly shattered at the end of the wedding season. Having been through the mill of brides and grooms and the unique events weddings bring. You start to feel like your weekends are your own any more! Plus when you have a weekend of back-to-back events, three in one weekend, your body aches, and it feels like its about to give up the ghost! Then as a family photographer, weekends again shooting as your clients are working or their kids are at school, so weekends are the only option. As an outdoor lifestyle photographer at the mercy of the English weather, as a studio-based photographer, having to open up every weekend to cater to clients. Between these two genres, losing precious time with family and friends, feeling like you work 7 days a week, losing all sense of any work-life balance. Missing out on countless family and friend events. I remember time after time, an impromptu barbecue, or a last-minute night out that I had to miss out on because I was working! And then the editing and post-production, album design... hours and hours into the night I would be working. Simply just trying to keep up and get ahead. I know I am not alone when I say that our job can be so lonely and debilitating. I felt tired, overwhelmed, and there wasn’t any end in sight. Looking at my bank balance at the end of the month and thinking…” Is that it? “ I remember these times so well. I had just come out of a very nasty divorce, my confidence had taken a battering. I was on a very low ebb, as well as not being in the best of financial positions. I was having to start again in life and ready to throw in the towel with my business. The photographic industry was getting overly saturated, and I just felt like I didn’t have the energy anymore. Everyone seemed to be either a wedding photographer or a portraiture photographer! Don’t get me wrong, I loved my photography, and I loved my clients. I adored the industry. But surely there was more to it than this? The three things that turned me around were both investments… one in money, one in time and the third in energy. I started to realise that if I wanted a change in my business, it had to begin with me. I realised I wasn’t valuing myself, and I wasn’t running my business with confidence and strategy.

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Rather, I was running an expensive hobby, with fear not allowing me to charge my worth, without the right business processes and strategy in place. I started to invest more and more of my time into self-development and learning all I could about running a successful and profitable business. Then came the second investment, a business mentor. Having a mentor to show me the way, to give me the knowledge that I had been missing in terms of business processes and marketing strategy. This, in turn, gave me the confidence to move forward was a massive part of my subsequent increase in profits. I was finally earning my worth! The final piece in the puzzle was when I decided to specialise in Brand Photography. I had watched a seminar and was intrigued by this â&#x20AC;&#x2DC;newâ&#x20AC;&#x2122; genre. It seemed to be a mix of corporate, commercial and lifestyle photography to me and one that I was keen to know more about. So I did a little research and decided to take the plunge. I did feel a bit nervous moving into a genre I only knew a little about, but I decided to take a chance. I set up a new side to the business, and while I was still a working newborn photographer. I quickly did a few marketing activities promoting myself as a brand photographer, and it just took off like a rocket!!

: July/August 2020 - Issue 38

With the right marketing and positioning, I was bringing in clients so quickly. Clients that valued me, my services and appreciated what I delivered. They invested with ease, as they were business clients who saw it as a business investment, not an emotional purchase. They pay upfront! Oh, the joy of that! Instead of waiting for the viewing appointment to see what clients were going to order, I get paid before I’ve picked up my camera!

This genre has definitely been a saviour for me. It’s given me the perfect work/life balance that I craved. It’s terrific for cash flow, and also profit as the delivery to clients is mainly digital. It’s also so joyful to work in as every client and brand is different, so I get to let my creative juices flow while we design each shoot. Growing a profitable business needs tenacity, selfbelief and an unshakeable determination to make your dream into a reality. To this day, I continue to work on my business and myself daily. Yes, I have down moments like everyone else, but I focus on my ups and follow my own advice. I’m so proud of what I have achieved. I am now a brand photography specialist and working with the most amazing clients. I honestly would urge photographers out there to look at this genre as a way to build a business and increase profit. It’s been just wonderful for me! - Gillian Devine www.gilliandevine.com

Issue 38 - July/August 2020 :

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Issue 38 - July/August 2020 :

Louise Farrell

Qualified Guild Professional Photographer June 2020

: July/August 2020 - Issue 38

Emma Hammond

Qualified Guild Wedding Photographer June 2020

Issue 38 - July/August 2020 :

Jemma Slater

Qualified Newborn Baby Photographer June 2020

: July/August 2020 - Issue 38

Nikki Goodeve

Qualified Guild Professional Photographer June 2020

Issue 38 - July/August 2020 :

GUILD SPOTLIGHT Liz Greenhalgh Wedding & Portrait Photographer

“I

am not one of these people who have been taking photographs for years. I was given a camera as a child. I sort of fell into photography. Yes, I loved taking pictures when I was younger, I used to have a disc camera, anyone remembers one of those? I would take it to school and take photos of friends and me messing about. If only I had come up with the idea of a mobile phone that takes pictures. I could be a millionaire by now. I studied Art to A level, and photography was included in the curriculum, which included working in the darkroom and processing film. I applied and was accepted to do my Foundation course at Cambridge to move onto some career in design. I didn’t go to Cambridge in the end. I fell pregnant with my daughter. Fast forward to being married, two more children, then a divorce and then meeting someone else, life went in a very different direction. I was working in Accounts and Administration, still nothing creative. On our family holidays, I would take our point and shoot camera with us. I tried to and try to get some photos of where we were and would become increasingly annoyed that the results weren’t what I wanted. I even asked my husband the question “how do I get this bit in focus and all the rest blurry” I knew nothing back then. That Christmas he bought me a DSLR a Canon 500d and the kit lens. I opened it on Christmas morning, took one look at it and hid it under the table saying it’s huge, I have no idea what to do with that! There was a training school near me that specialised in Canon. So, I decided to go along and joined one of their beginner courses. Finally, I found out what all the buttons on the camera were for! After I had completed a couple of courses with them, which proved to be an excellent start for me, I started to take more and more photographs. You name it, I photographed it; landscapes, flowers, pictures of the cat... Then one day I got asked......... “we love your photos, we are getting married, will you take our wedding photos?” I photographed the wedding and loved every minute of it. A friend of mine said at the end of the day that she thought that this would be the perfect job for me. So I thought about it and decided to give it a go. I changed my job to reduce my hours so that I could focus on building my business, but that didn’t work out, and I jumped in with both feet. The first few years were hard, very hard and a very steep learning curve. The same friend suggested I joined the Guild, and I did. I went on courses with the Guild, met some great people on them who are still friends today. I contacted a photographer about working alongside them. He was great, and for the first 3 years, I did a lot of second shooting with him. I booked weddings of my own too. In my first year, I had 3 bookings, in my second year 8 bookings and in my third year 30 bookings. It has been over 40 a year ever since. I gained my Q in people a couple of years after joining the Guild and my Q in weddings a couple of years later. I was runner-up Wedding Photographer of the Year in 2017. I have families where I have photographed all the sibling’s weddings on both sides of the family and the bridesmaids. From the first wedding, I photograph the babies as they have them. It’s so wonderful to be part of peoples lives in this way. I did training to add on newborn photography as it seemed the logical next step in my photography journey. I used to use my dining room for sessions which was crazy. My father passed away in 2017 and he left me some money. That money I put towards building a garden studio which I call my shed. My Dad was always in his shed working on cars or doing carpentry when I was little. I now have my own shed. Having the photography studio in the garden gives me a great space away from the house to meet with my clients, and I can now offer product/corporate work. 86

: July/August 2020 - Issue 38

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

I love my Magmod, they aren’t cheap, and there are alternatives out there, but I just love the ease and quickness of attaching the different modifiers. I’m not a wedding photographer that uses a lot of extra light, but when I need to, I want to know I can get set up with flash quickly and not keep everyone waiting. The Magbox is super speedy too but expensive if you aren’t using it frequently.

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

Post-processing of your images is part of the process, it’s what turns the image into yours. You will have developed an individual style of taking photographs but also a way of editing them as well. We all like to see our images slightly differently. Some like vibrant, bold colours, some very contrasty, some will have subdues tones and colours. You know when you have got your style of processing nailed as people will say to you “I knew that photo was one of yours as soon as I saw it”

Q: Favourite lens and why?

This has changed over the years. I used to love my Canon 70-200 F2.8 MII, but it’s just so heavy. After having neck surgery and then more problems with my neck, I stopped using it and used my 100mm f2.8 macro lens, which was beautiful. Since changing over to Sony at the beginning of the year, I have fallen in love with my 85mm FE f1.8.

: July/August 2020 - Issue 38

Q: Lighting equipment, what is your preferred choice?

At Weddings, I just want to keep it simple and to be honest 99% of the time, the lighting that I use will be only from my flashgun. I have a set of AD200’s in my car for use at weddings and use the GodoxV860’s for on and off-camera flash. I haven’t got time to faff with light stands so I will always grab a guest or get the best man to come and hold it for me. They love to feel useful, and if you tell them after the shot that you couldn’t have done it without them, they tell everyone back in the room all about how wonderful you are.

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

I prefer IPS for all of my photography sessions when I can. If couples live far away then, of course, that’s not possible. With what has happened this year with Covid-19 though I do think more sessions will be held over the internet with Zoom or something equivalent. It is more convenient for clients, especially when they are busy with work. When a couple enquire about wedding photography with me, I invite them over to my studio to talk about their day, look through my albums and invite them to ask any questions they may have while we are chatting. I prefer to meet with wedding clients before they book rather than just book through an email or over the phone. I need to get to know them. You need to have a click with them and vice versa. I have many clients who have become personal friends of mine now since I photographed their weddings. It really is lovely, so many have been back to me with their babies and other members of their family.

I AM MY BRAND, MY WORK IS MY BRAND

Issue 38 - July/August 2020 :

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

I have been a member of the Guild of Photographers since 2012 when I first started my journey into photography. Back then, the awards dinner was just a handful of tables in a small hotel. One thing that has never changed though is the Guild are friendly, very approachable and always helpful. I have made some wonderful friends from all over the country during the years of being a member of the Guild.

Q: Your personal preference - colour or black & white images and why?

Approximately 95% of my work is colour. Weddings are colourful, so my photographs show that colour. I tend to use black and white photography when I want to draw attention to what’s happening within the image. I sometimes find colour can be distracting, especially when there is some nasty church or venue lighting, yuk!

Q: Who inspires you?

This changes as I change. I think as you go on your journey, you develop, you absorb different things along the way, and your preferences change. To begin with, I watched Creative Live with all the American photographers, Susan Stripling, Pye Jirsa, Jasmin Starr and many others. Now I find my inspiration on platforms like Instagram and Street Photography. I have such an eclectic taste in things that there isn’t one person or style that I love. I feel inspired by just regular people, they don’t have to be famous in the photography world. Some of my favourites to follow are Rebecca Carpenter, Alan Law,Sam Docker, Jennifer Moher.

Q: If you could give your younger self one piece of advice, what would it be? You do not need to buy or have every bit of kit that you see!

What’s your favourite bit of kit you have purchased for under £50?

Gosh, this is hard. My favourite bit of kit that is near to £50 is my LED light panel that is USB chargeable, dimmable, fits on top of my camera and fits in my pocket. It’s so handy for that extra pop of light, sparklers, and the first dance.

Q: What did you do before starting your photographic journey?

I used to work in an office doing accounts and administration - very different.

: July/August 2020 - Issue 38

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

I have bought so many photography books with all good intentions of reading them, but I haven’t, sorry can’t help you with that one.

Q: Interesting facts about you?

After eight years of photographing weddings, I still get nervous in the morning of everyone I shoot. I love Gin, so much so that I have had to buy a new cupboard to keep it all in!

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

Very rarely, I don’t like the restriction of using one. If I was photographing fireworks or a night shot and had one with me, I would set up. So, yes, I will use one but generally no. I can’t be doing with faffing around.

Q: Developing your marketplace, how important was it to create your brand?

It’s essential. I am my brand, my work is my brand. A brand is not just a logo, it’s the whole package.

Q: Instagram how important is it for your business?

I get far more interaction on Instagram than I do Facebook now. You need a presence on all platforms. Clients will look for you on there, so be brand consistent.

Q: Facebook with so many recent changes, has it changed the way you showcase your work online?

To be perfectly honest, I am not a big Facebook user these days. I don’t post every day, and I don’t get hung up on how many likes/followers I have. I know my client base is on Facebook and use it to look, they don’t buy through it.

Q: What motivates you to get up in the morning?

Coffee! I like to be busy, I hate sitting around with nothing to do. I have a To-Do-List on my desk all the time, so knowing that I have things to do gets me up in the morning.

Issue 38 - July/August 2020 :

Q: What made you take the decision to move from Canon to Sony?

I took a long time to make the change from my Canon kit. It was purely the weight of the equipment and carrying it all day at a wedding. I had the discs fused in my neck in 2013 just a year into my photography business. And, as the years and weddings have increased, I ended up with more nerve damage in my neck and shoulder. I looked at Fuji as well as Sony, but Sony felt more similar to my Canon cameras. I changed over in February 2020, photographed one wedding in March 2020 and then went into lockdown. I have kept one Canon body and a couple of lenses as a backup, and I haven’t used it once since I changed over. I can use my Canon lenses on the Sony with an adapter, but the Sony lenses that I have are great and lightweight, so it suits me down to the ground. I don’t believe one camera make is better than another. What you have to find is the one that suits you.

Q: What advice can you share for people interested in starting up as a wedding photographer?

Get some experience with other wedding photographers, just attending a wedding can give you an insight into how a wedding day evolves. Second shooting is a great experience, but you may find local photographers to you won’t be interested. So look further out of your area. You will probably be asked what kit you have, what insurance you have and they will want to see examples of your work. Set up some styled shoots with friends to get a stock of images. Attend training courses where you can take photographs. But, never ever put training photos, workshops, second shooter images on your website or on social media without permission or being truthful of where they were taken. Secondly, know your worth. Just because you are starting out doesn’t mean that you have to charge very little for what you are doing. If you start with a low paying client base, you will attract more of those types of client. Work out who your ideal client is and start your business off with those people in mind. Work out your cost of business. Don’t work for less than the minimum wage because you will get very busy being cheap but also you will quickly burn out.

Q: What have you found most challenging in being a wedding photographer?

In a very saturated industry, you have to find something to make you stand out. Your photography has to stand out, and so do you! It is a customer experience they are buying into not just someone to take photos. Remember, people buy people!

Q: Post-processing are you a Lightroom or Photoshop user?

I like to use both. I cull in PhotoMechanic, import into Lightroom and then use Photoshop for more detailed editing.

Q: Where do you find your inspiration from?

Instagram, films, television. I follow lots of pages on Instagram and not just photography. For instance, travel, house design, gardens, fashion, etc. You can get lots of inspiration from following a variety of different interests.

Q: A photographer or an artist whose work inspires you?

Sue Bryce, I saw her speak at the SWPP Convention, she was terrific!

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

Just being me. I get so many people, not only my couples but their friends and family say that I am more than a photographer. I just like to be me, helpful and friendly.

Q: Favourite place in the world, and why?

Santorini, if you haven’t experienced a Santorini sunset, then go!

Q: Three individual words that describe you? Thoughtful, Resilient, Methodical.

Q: And finally, where next?

Now I want to shoot fewer weddings and use my photography studio more. I love working with families. I want to do more of that. www.lizgreenhalgh.co.uk - Thank you, Liz, for giving the readers of Creative Light magazine an insight into your thoughts behind your images, your wedding business and your photography. Julie Oswin, Editor

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Issue 38 - July/August 2020 :

Will Patrick

Qualified Guild Wedding Photographer May 2020

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David Harland

Qualified Guild Professional Photographer June 2020

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GUILD SPOTLIGHT Claire Armitage My passion for photography is biased towards stories and people - whether that be (self) portraiture, documentary or street. My work is characterised with an honest observational approach. I use humour when I can with a desire to evoke emotion. I look for connections that my photography brings with people, places and history. I initially studied English Literature at university but I have gone on to find my true creative passion in photography. I have spent some time studying psychology. This has helped me fuel my interest in people and how they think, interact, connect and navigate their way through life. My choices of the subject always come from this fascination. In my commercial work, which I apply to weddings – you are capturing the story of a couple’s day, their love for each other and those around them. However, it is stressful and not always conducive to family life. It is not one that I choose regularly. Interior photography, along with work for local businesses is less stressful, but it doesn’t light a fire in my heart or make me desperate to pick up my camera. www. clairearmitage.myportfolio.com

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Q: As a professional photographer for many years,

what has made you change the direction towards art and documentary work? I find the joy in photography isn’t just about making something that looks appealing or beautiful but about building a narrative and telling a story. I want people to connect with my photography and for it to evoke emotion. I don’t think many people feel strong emotions when they look at a picture of a kitchen.

Q: Location, what do you look for when choosing a location for your documentary work?

When I was doing my Internal Voices series, I was continually collecting a library of potential locations in my head, but a lot of it was also intuitive. For the more documentary narratives like my ongoing series “Home Farm,” a story I want to tell that chooses the location. And the other thing that is top of the list is light.

Q: Working on images in post-production, do you

use Lightroom or Photoshop? How important is it to your workflow? I use Lightroom all the time and wouldn’t like to be without it. I occasionally use Photoshop, but usually only for commercial work to tidy up images.

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

Photography can often be a solitary pursuit, and I find it challenging to work well when other people are with me, I need to disappear into my head. Associations like The Guild give you a chance to connect with other photographers on both a social and educational level.

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Q: Go to lens for your art and documentary work?

I use both my Fuji mirrorless camera with the 18-55 lens and on my Canon 5DIII camera with the F.4 50mm lens.

Q: Your preferred choice for lighting when shooting on location? If you use natural light, what direction are you looking for to paint the scene?

I generally prefer to use natural light; it allows for more intuition and spontaneity. I love strong contrasty light, but I also love a more ethereal, muted light, which I’m using a lot in a current project, inside my Dad’s house. I love light breaking through windows and doorways and pooling in places.

Q: How important has it been to your business to invest in marketing and branding?

Marketing myself has always been something I’ve struggled with; I need to get better at this.

Q: Is your personal preference for your street photography colour or black & white?

I still don’t have a definitive answer for this one. When I first started being serious about my photography, I very much preferred black & white. I think this was a combination of the fact that it can be more forgiving sometimes and the fact that so much of the work I studied and admired, in the beginning, was in black & white. However, as time has gone on, I have begun to use more colour in some of my street photography. I think it depends on the scene, the lighting and also my mood on the day.

Q: My Meditation - Life Observation project on ‘Readers’ is a fabulous concept. What inspired you to create such an interesting body of work?

I have always been a reader of books; I was one of those kids that used to walk to the bus stop while reading a book at the same time (yes I occasionally came into abrupt contact with a lamppost or tree!). I did an English Literature degree because I love escaping into books so much. It makes me smile to see people reading books. I am not the first photographer to use “Readers” as a subject of a long-term project. However, as technology moves forward, it is much rarer to see people reading physical books or newspapers. Majority of people have moved onto some form of electronic advice. So, I like to record it. Issue 38 - July/August 2020 :

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

Yes, I wouldn’t be able to do a lot of my work without it. Commercially, I do quite a bit of interior photography, so it is essential to that. I also use self-portraiture quite a lot in my work, and while I have managed to wedge my camera in all sorts of random places, a tripod makes it infinitely easier.

Q: Your best buy for your camera bag for under £50?

eyes were opened. I began to study other photographers and started to think about having my voice with my photography rather than just snapping away. I began to think about what it was I wanted to say, rather than just recording what was in front of me. And I produced my first project.

Q: Interesting facts about you?

I lived in Dubai as a child. I have ADHD but wasn’t diagnosed until I was forty-five. I like to sew.

Lens wipes or lens cleaner – my lenses always seem to get dirty!

Q: Your photography business covers a variety

inspires you the most?

For my commercial work, I do quite a bit of interior photography, event photography and some weddings. Mostly these days though I am trying to concentrate on my work. My passion for photography is towards people and stories. I did an English Literature degree and also studied some psychology, which has also informed my love of stories and people, characterised by a desire to evoke emotion through my personal experience. Sometimes with pathos or humour. I enjoy the connections that my photography brings with people, places and history; not only through photographing them but also the conversations that happen around it afterwards.

Q: As a documentary photographer whose work

The definition of documentary photography can be blurred between the lines of street and documentary photography. All sorts of photography genres inspire me. You can’t be into “street and documentary photography” without being entranced by the work of Robert Frank. I love the personal work of Elliott Erwitt – he has a wonderful eye for a bit of humour and also tenderness. Don McCullin’s work is astounding. I have recently fallen in love with the work of Robert Darch. I love the work of Shirley Baker, Dorothy Bohm and Tish Murtha. On a slightly different tangent, I am inspired by the work of Francesca Woodman, Lee Miller, Natasha Caruana, Lydia Goldblatt, Leonie Hampton and Anna Fox. I often find myself unconsciously drawn to female photographers. But the list of photographers is endless and my photobook shelves are growing endlessly!

of genres. Can you share an insight into your photography work?

Q: Do you use Instagram to promote your photography?

Q: If you could give your younger self a bit of advice,

I use Instagram for my personal work. I found when I was doing my “365 Internal Voices” project that posting to Instagram means that I was less likely to quit partway through because it was too public.

Don’t be worried f you get it wrong and start studying other photographers earlier.

Q: What motivates you to get up in the morning?

what would it be?

Q: What and when inspired you to pick up a

camera and journey down the path to becoming a photographer? I have always liked taking pictures. I was given my Grandfather’s Kodak Brownie 127 when I was six or seven years old, and then then I got my very own camera, a Polaroid Land camera. When I started taking pictures as a child and a young adult, it was because I wanted to record things. And because it was a Polaroid, I got that instant satisfaction of seeing them almost straight away. My first forays into photography weren’t particularly elegant. I didn’t think about composition or light or any form of aesthetics I just wanted to record things. Moments and memories that were important to me (when I was eight years old that was camels as we lived in Dubai). These photos still have value - memories things I don’t remember now, but the value is probably only to me in the end. Then about thirteen years ago, I decided that I wanted to do more with my photography and signed up to do A-Level photography at my local college. That’s when my

An interesting question! As this year has given me a serious bout of depression which makes it an extra challenge to get up in the morning. On the bad days, it’s my children, because taking care of them is sometimes about the only thing I can manage. On a normal day though the things that I look forward to each day is being able to create something and to learn something.

Q: What advice can you share for people interested in re-inventing themselves and in changing the direction with their photography business?

Just immerse yourself in it. Spend time with people, whether that be through courses, exhibitions, talks, that do the sort of photography you want to do. And just go for it, if you don’t try you’ll always wonder ‘what if?’

Q: What have you found most challenging about

being a photographer and running a small business? As I said earlier, I need to get better at marketing myself. It is challenging to earn a living solely from photography. You have to chase work constantly. It seems harder these days than it used to be. Now everyone thinks they’re a photographer!

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Q: Where do you find your inspiration to capture the work that you do?

My work always starts with emotion and personal experience and then hopefully moves into something more universal. I am drawn to the idea of identity, self and how concepts are tied to people and the things around us how they change. I also think photography (as all art forms) can be massively therapeutic.

Q: Books and Photography bring joy to your heart. How do you bring them together?

They can be brought together in all sorts of ways. Photography can tell a story, and the obvious way to do this is in a book. A wellcurated photography book is a joy to behold. Literature often inspires me – through stories and meaning. In one of my current projects, I am using T.S. Eliot’s ‘The Four Quartets’ as a big inspiration.

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

Honestly, I think it is keep getting out there and speaking to people, meeting people, putting your work in front of people and just keep on going; there will be a lot of rejection along the way, so you just need to pick yourself back up, dust yourself off and try again. Find people you admire to mentor you or offer constructive feedback on your work. Be open to what people have to say but also remember it is your work and it has to come from your heart – as Don McCullin once said “If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”

Q: Favourite place in the world, and why?

I love visiting new places, so I would find it difficult to pick a single location as my favourite. I love to experience new places and new cultures. Having said that Yorkshire is always the place that feels like I belong there.

Q: Three individual words that describe you? Empathic, friendly and determined.

Q: And finally, where next?

I am halfway through my Master of Fine Arts degree with the University of Ulster and am looking to push the boundaries of my photographic practice and the way that I work. I have another year to go with my course so that will be a big focus until next June and my end of year exhibition. I am also hoping to be able to exhibit my ‘Internal Voices’ series again next year (there was supposed to be an exhibition happening in October, but it’s yet to be rescheduled. Moving forwards, I want to be able to continue creating work that I am passionate about, which is driven from deep inside me. I would like my photography to connect with people on an emotional level, for my work to touch something inside them that they can identify with and hopefully inspire people to find their voice. - Thank you, Claire, for sharing your thoughts and photography with the readers of Creative Light and we wish you every success with your Master of Fine Arts degree.

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Alison Busby

Qualified Guild Wedding Photographers May 2020

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Dawn Westwood

Qualified Guild Photographer May 2020

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Alistair Cox

Qualified Guild Photographer May 2020

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Karen Muircroft

Qualified Guild Wedding Photographer June 2020

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Lucy McGrath

Qualified Guild Professional Photographer June 2020

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GUILD SPOTLIGHT Ivan Trotman

“ I am an enthusiast. I love everything about photography

from start to finish, from cameras, lenses, speed lights, meters and soft-boxes to editing, printing, paper and display. I find it all-absorbing and fascinating. It has become a passion. I also particularly enjoy the opportunity to meet with other photographers and have developed quite a few new friendships. Going out with a camera is a bit like taking a dog for a walk – there is always someone who will talk to you! Since my retirement, I have been able to take it more seriously. I would regard myself as basically a street photographer. Still, over the past few years, we have been fortunate to be able to travel, and this has to lead to my developing an interest in travel photography and particularly urban landscapes. I transformed from being a holiday and family snapper to being able to call myself a proper photographer after I completed an online course with the Institute of Photography and acquired a proper DSLR. Up to then, I had relied on a series of compact and bridge cameras. I was an early adopter of digital photography with a Sony Mavica which used old fashioned floppy discs; the images came out at about 70kb – match that to the modern megapixel cameras! I am also a bit of a computer aficionado and relish the opportunity to manipulate images on the screen. I self-taught my way through a host of editing software before finally settling for the Adobe Lightroom and Photoshop package. I am still learning but can manage all essential functions reasonably well. Although a lot of the emphasis has been on travel, I am keen on most other genres, and at heart, I am a bit of an opportunist. My camera travels with me constantly, and I am always looking for opportunities to take new pictures.’ https://ivantrotman.viewbug.com

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

A piece of advice to a younger self? You can’t become a photographer without taking pictures – so just do it! If you can, get some training and don’t be dismayed when the photo you capture is not what you saw or imagined it to be. Which frequently happens to me but I haven’t thrown the camera away (yet!).

Q: Your best buy for your camera kit for under £50?

The best bit of camera kit for under £50? A micro-fibre cloth and some lens wipes! A spare battery is also essential. You can buy some very nice lenses on eBay for not much money – particularly if you use Canon or Nikon (which I don’t), but I did start with a Pentax, and there was plenty for that! Some of the old legacy lenses are still very good.

Q: What inspired you to pick up a camera and start taking photographs?

What inspired me to start? It depends when you mean “start” because I had always liked taking photographs and had a Brownie Box camera when I was young. I remember going to collect the developed pictures from a local shop and being endlessly disappointed with the results! It didn’t put me off though, and I continued with a variety of cameras mostly to take pictures on holiday and when the children were young. I reckon my strike rate of getting OK images was about 10%. It’s not a whole lot better now except that my criteria for OK has gone up a bit and with digital images, you can take lots! I will have to learn to discard the duds – I am a hoarder by nature. The inspiration to progress came after I did an online course and finally got to realise what all those other buttons did! I haven’t looked back since – and now and then there is the reward of taking a really good picture – and that is inspiration and motivation to go out and do it again.

Q: Do you use a tripod for your photography?

I have a tripod – in fact, I have two, but I do not use them as much as I should. I think using one would probably help to take a step forward. I am a lazy sinner in this regard – but in mitigation, I plead that there is only so much stuff you can carry with you and besides incamera image stabilisation is so much better these days!

Q: How do you showcase your photography?

I do not showcase my work anywhere, in particular. I use Flickr quite a lot and use several other photo-sharing sites. I get some prints from time to time and often create albums so that we can enjoy the memories. I have a web presence but not a dedicated web site. It is one of those areas where I should “do better” – as suggested in my school reports!

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Q: What motivates you to get up early in the morning to capture landscapes?

Being alive still! I am always pleased that I wake up in the morningâ&#x20AC;&#x201C; but I donâ&#x20AC;&#x2122;t use that time often enough to capture landscapes! However, there are times when you realise you just have to get out to take the shot, and the sunrise in Africa at dawn was something not to be missed.

Q: What advice can you share for people interested in re-inventing themselves and change direction with their photography, especially in travel and landscapes?

I am not sure about re-inventing yourself, but I suppose it is all about desire, opportunity, perseverance and setting yourself goals. Some ambition is required, but maybe not to make the steps too big. I would thoroughly recommend doing some training, taking advice and working with others. Travel does not need to be expensive, and there are plenty of incredible locations in the UK and, had you asked me last year, I would also have observed that there are plenty of cheap flights to Europe and more fantastic locations. I donâ&#x20AC;&#x2122;t know how things will work out in the future, but I think it will be some while before a new normal is established. continued on page 118 Issue 38 - July/August 2020 :

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Q: What have you found most challenging about being a photographer?

I find choosing my images to display or keep exceedingly tricky. I am very self-critical. I strive for something that I have yet to find and have to accept that things sometimes just don’t work out. I take photographs for the pure enjoyment of capturing a beautiful image. Mostly I am doing it for myself. I suppose one goes through periods when the “mojo” just fails. I think then the only way ahead is to go out and take some pictures – anything, anywhere. I have been a bit like that during the Covid-19 lockdown when motivation seemed to disappear even though it could have been a time of great opportunity. Looking a bit better now

Q: Are you attracted to shape, colour or light when composing your images?

All of those. I particularly like objects set in simple almost monochrome backgrounds – such as you might find in a gallery or a desert. I love taking candid shots of people - if you can wait long enough, someone will frequently do something unexpected. With people, it is often the colour of their clothes and their shape that attracts me. I love red coats and dresses!

Q: Interesting facts about you?

I am a retired Physician and was once the Medical Director of a Cancer Network. I have been following the Covid-19 crisis with interest and despondency. The GMC reinstated my licence to practice, and I applied to go back to do something but was told I was too old! Apart from photography, my life-long interest has been in sailing, and I have had a succession of boats, most of which we have raced with some good results. I was also a pilot with a PPL with various ratings including an American sea-plane licence! I flew in the British Aerobatic Association National Championships in a vintage bi-plane. I have a great family, and a growing number of grandchildren – Orla (number 5) was born in May.

Q: Apart from sheer hard work and dedication, what would you say is the main ingredient to your successful images?

My successful images have come from being in the right place, at the right time, with a camera in my hand. I have missed lots of great opportunities because the camera was in its bag! I have also had some success by experimenting in post-production – I like playing with and manipulating images.

Q: How do you go about creating travel images? What do you look for?

I not sure that you can truly plan travel images, but you can give yourself a head start by doing some local research and reading. We tend to plan trips knowing festivals or events are coming up. A local guide can be helpful provided you tell them about what it is you are looking for, and I always talk to the concierge at the hotel. It is often a matter of knowing the best time and where to stand. You can put yourself in good positions by exploring the locality by walking around, and sometimes I go out on a day with a particular theme in mind – like windows or a specific colour. It is quite good to have a narrative before you set off and take your pictures to fit – but often they happen just by chance! Take the opportunities as they arise!

Q: Favourite place in the world, and why?

Up a mountain, somewhere probably in the Himalayas! I also loved our house in the Pyrenees, but we have sold it now. Both shared the mountain views, the clear, clean, fresh air, the exhilaration of being with nature and the peace generally.

Q: Three individual words that describe you?

I thought today enthusiastic, innovative, friendly. No doubt the words will be different tomorrow or by the time you read this!

Q: And finally, what next in with your photography plans?

I am trying to work to put a panel together for Craftsman, but so far, inspiration has deserted me. I have seen some of the other panellists work, and the standard is dauntingly high. However, I have some ideas, and it is an ambition for next year! - Thank you, Ivan for sharing with the the readers of Creative Light magazine an insight into your thoughts behind your travel and landscape images. Julie Oswin, Editor Issue 38 - July/August 2020 :

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Matt Smith

Qualified Guild Photographer May 2020

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Richard Bryers

Qualified Guild Professional Photographer May 2020

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Jennifer Jane Shoubridge Qualified Guild Wedding Photographers May 2020

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Photographers are Vital to Society - Never more so than post this pandemic!

Business Success Starts With YOU, and your business success is vital to society.  You have chosen to be a photographic artist, and many photographic artists struggle to turn their passion for photography into profit. This challenge is not just reserved for our industry. According to Michael Gerber, 80% of new businesses don’t exist after five years. And those that do survive, only 20% of them are still operating after ten years (E-Myth Revisited by Michael Gerber).  Therefore, if you are in business for more than ten years, congratulations on being one of the elite 4% of companies that surpass the 10 year mark. These figures are based on the statistics pre the pandemic. As the economist David McWilliams calls the ‘Pandession’is now upon us. The economic numbers suggest we are all in for a challenging time in the coming years. If you are in business how do you become one of the elite 4% and if you already are a member of the 4% club then how to stay there? Well it starts with creating a business that is both profitable and sustainable but there are many things that need to be aligned in order to do that. I like to start with YOU! Ask a business person who their most important employee is and they will rarely pick themselves. The author and thought leader Mike Michalowicz, author of many books including Profit-First, teaches us that this is the wrong mindset. Often we are the last to get paid, despite taking all the risks, working all the hours, and shouldering all the worries that accompany entrepreneurship. No one works harder in your business than you do. So never feel guilty about being rewarded for the risks you take as a business owner. One of the first steps I would recommend you take is to implement the Profit-First framework into your business. However, that’s a topic for another time because today I’d like to dig a little deeper first and get back to the root cause of why you became a professional photographer in the first place. Start by asking yourself the following: 1. 2. 3. 4.

Do you feel like you know yourself well? Do you value what you do?  Have you discovered ‘why’ you exist?  Do you value the difference you make to society?

If your answer was ‘no’ to any one of the above questions, it suggests to me that you don’t yet truly value yourself. I often see this within our great industry. Many photographers don’t appreciate the work they do, and a lack of self-esteem drives this. How do you expect your clients to value your work if you don’t?

Having a purpose bigger than ourselves is a key solution to this, but before we discuss this, it is crucial to understand why social scientists describe humans as being like an onion. Let’s examine this concept in a little more detail. Social scientists teach us that we are all very much like an onion. The outer layer of the onion is how we behave. As we continue to peel the onion, we get to the next layer, which is our skills and knowledge. Peel off another layer and you’ll discover how our attitudes are formed from our values. Then right at the core of the onion is our ability and personality type.  Did you know that according to the Myers-Briggs personality profile that there are 16 different personality types? Each personality type has unique traits that manifest themselves in our core strengths and weaknesses. Understanding these will produce an ‘Ah-Ha’ moment for you. You will finally realise why you enjoy specific tasks and hate others – it is merely a core trait of your personality type. Being aware of this helps you devise strategies to manage your weaknesses but, more importantly, to amplify your strengths. If you haven’t yet done your MyersBriggs personality test, I strongly encourage you to do so. You can do it today for free on 16personalities.com. What is your ‘Why’? Discovering your true ‘Why’ is a crucial step in valuing yourself both in a personal and a business capacity. As a small business owner, you will find that your own personal and business ‘whys’ are tightly intertwined. Simon Sinek is the thought leader in this area, and he explains the science behind it in his books and during a TedTalk. I encourage you to google ‘Simon Sinek TedTalk’ where he explains why “People don’t buy what you do, they buy why you do it”.  Many photographers don’t know their ‘why’ and therefore don’t value themselves. This lack of esteem often manifests itself in comments like “consumers don’t value professional photography”. The truth is that photographers must value what they do first! If you don’t appreciate what you do and sell, then the consumer will notice this every time, either consciously or subconsciously. I call this the “value-gap” and bridging this is the greatest challenge our industry faces right now.  So while we all need to discover our own personal ‘whys’, I believe the industry as a collective including photographers, the trade and associations need to work together to create our industry’s ‘why’. I have therefore decided to spark this conversation by trying to go through a process of proposing just one possibility as to what this could be.  continued on the next page... Issue 38 - July/August 2020 :

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Tackling The Problem Of Image Theft In The Digital Age Professional photographer Paul Reiffer discusses the problem of image theft and offers his solutions.

Leading image protection service Pixsy talked to Paul about the problem of Image theft.

How much of an impact has image theft had on your professional career?

What challenges do you face as a photographer in the digital age?

“

Having an end product which is of a digital nature, can make it scary when you see your image “in the wild”.

Introducing Paul Reiffer Paul Reiffer is a multi-award winning professional photographer. He has traveled to over 60 countries capturing people, landscapes and commercial images. His work has featured in exhibitions all over the world, from Times Square in New York to the Royal Albert Hall and Houses of Parliament in London, with gallery installations in Europe and Asia. Much of Paul’s photography has been commissioned and used by some of the finest brand names and companies worldwide. He is sponsored by and works with, some of the top equipment providers in the industry. 126

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I noticed a few publications had used my images without permission. I started “dipping in” every now and then, using products such as TinEye to reverse search for where my images had popped up across the internet. The problem with that is I have thousands of images, some licensed, some not, and keeping a track of all of those became a task that would have taken a week out of every month to monitor. Beyond that, even though we could inform the image user or send a takedown notice, we were still missing the licensing revenue that should have initially come from its use – and I didn’t have time to work with different legal teams in different countries on hundreds of cases at any one time.

The relative ignorance that still remains out there when it comes to image theft and copyright infringement is quite scary.

Even my own friends would often say to me “but it’s OK if I found it on Google, right?” or “Yeah, but I’m only a little business, they won’t mind, it’s good for them to get their image out there”. We now actually teach people, as part of our workshops, not only about trademark and copyright infringement but also about how to protect their work.

How did you find out about Pixsy? Initially, a friend pointed Pixsy out on social media, and I was initially unconvinced. I mean, here’s a company who will take a big chunk of any “recovery” money that they receive on your behalf when they didn’t even take the image, right? But then, as an experiment, I loaded a small sample of my work into their tool and the results were shocking. We had hundreds of cases, from the very outset, including some very

large companies and brands who had been using my work for years without any permission, license or payment. On the one hand, I thought “I could get my own team to chase this and cut out the middle-man”, but on the other, the task of chasing, negotiating, and if necessary taking the infringer to court just seemed too daunting when I was looking at the volume of cases and countries they spanned across on just that small sample. So, I gave them a try.

anecdotal successes when I check back with them. Indeed, some previous infringers have also now come to me for advice on the correct approach to licensing images in the future, so it’s not a one-way street.

Which forms of active protection would you encourage photographers to take in the fight against image theft?

What result has using Pixsy had on your problem with image theft?

To be honest, in the age we live in there is very little that can actually be done to prevent your image being stolen.

We’ve had three big results.

Watermarks can be removed easily (indeed, Adobe actually make this easier with every release of content-aware fill!)

1. We’re now being recompensed for unauthorised use of our images. We don’t apply any outrageous “damages” claims, just our standard corporate licensing rates to ensure the user pays the same as others would have done for the same usage. 2. We’ve had images removed from sites all across the world with the automated tools and chasing that Pixsy does on our behalf – ensuring our brand is maintained. 3. It’s helped to educate other photographers and image users that I speak with – I’ve recommended Pixsy to many others, who’ve had

Digital watermarks, while better, can still be obliterated (I’ve seen it done). Copyright Metadata can be easily removed by freely available programs. Social media (and screen resolutions) are demanding higher and higher resolution photos – and so are customers – so the old trick of “low res for web” really no longer applies.

Instead, I’d recommend to everyone that they register their work with the US Copyright Office. Even though I’m very much against that way of working (as a British photographer, I shouldn’t need to do that, as we’re lucky that copyright is granted automatically in the UK), for any US infringement it makes life so much easier should it need to go through any legal process.

“

Definitely invest in some form of “Reverse Image Search” technology. There are many out there – some free, some paid.

There are services other than Pixsy that offer similar solutions too, but having tried their major competitor with appalling results, I wouldn’t personally switch to anyone else. Save your files with copyright metadata, and a filename that includes not only keywords but the copyright owner. As above, it won’t stop a thief intent on stealing your work, but it can help a legitimate customer find you from your image. And while I don’t like watermarks on images, sometimes a visual clue as to who to contact should someone want to purchase the photograph can often help!

More about Pixsy Pixsy is one of the leading legal-tech services for online image protection. Founded in 2014 by Daniel Foster, Pixsy is an award-winning startup with over 25,000 visual artists in its community. Pixsy has processed over 40,000 copyright infringement cases and works with over 26 law firms across the globe. www.pixsy.com

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To do this, I tried to picture a doomsday scenario. The manifestation of this was the following imaginary news headline “Parliament Moves to Ban Professional Photography”. What? How do we make our case to Parliament to quash this proposal and banish the suggestion forever? Based on my research, here’s the argument I would put forward in an attempt to dissuade Parliament from banning professional photography. Photographic Artists are vital to society because they help to create a healthier population in mind, body and spirit. This fact is based on biology and not just my humble opinion. When people smile, endorphins are released into the body which helps to reduce stress. Stress can cause and exacerbate many serious health problems including heart disease, high blood pressure, depression and anxiety. Not only that but professional photographers also help people feel good about themselves. They help people discover their inner-strength by allowing them see themselves in a whole new light. They can help people feel confident, empowered, beautiful, strong and valued, all of which helps to build self-esteem, lower stress and improve general wellbeing. Seeing family photos around the house help children feel more secure within their family unit. It helps a child to understand that they are valued, important, safe and protected. It allows children to understand this concept on a really simple level – simply by seeing photos of their family on their wall. A professional photo shoot can be an incredibly uplifting experience in itself but the photos you take home at the end of the day is where the real value lies. Every time you see those photos of yourself, your family, your children or even your pets, what do you think your reaction will be? That moment has been captured and preserved for you and your family to enjoy forever more and my guess is, you’ll smile every time you see it. So, if you choose to ban professional photography, you are risking the health and wellbeing of the people you represent. The medical profession are at the diagnostic and caring end of our health system but professional photographers are at the preventative end. The work they do helps to maintain and promote a healthier society both in body and mind. What work is more important than that? If you care about the health and wellbeing of the people you serve, I recommend that you dismiss the proposal in front of you to ban professional photography and may it never come before Parliament again.” Having considered the above argument, what do you think the vote would be? How did the case make you feel? Did it give you a different perspective on the vital work you do? Do you believe you deserve to get paid well for it? I reiterate that this is just one suggestion as to what our industry ‘why’ might be. There are far greater minds than mine in our industry, but regardless of where this ends up, this suggested industry ‘why’ will always remain very close to my heart and has resulted in the formation 128

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of my own personal and business ‘why’. I can’t even create a selfie nevermind create a professional image of someone. However, I can continue to work tirelessly to enable Photographic Artists to create thriving businesses which in turn will result in: • more memories captured and preserved • more smiles evoked • more endorphins released • greater self-esteem • a healthier society in mind, body and spirit So, please, please, please don’t undervalue yourself or the important work you do. Continue on your mission to create a sustainable, profitable photography business, knowing the work you do is vital to creating a healthier and happier society. As our society adapts to the ‘new reality’ the job we have as photographers to capture those special relationships we have with those that matter to us has never been more important and critical to the mental health of our society. Our frontline heroes continue to be the heroes in our society putting their lives at risk every single day fighting the silent enemy. They deserve to be compensated handsomely for the vital job they do to keep us all safe and healthy. As we move past the initial phase one physical health stage the mental health of society is suffering. We have an important role to play to help society have a healthier mental state through the work we do. This is important work and always remember, you deserve to get paid well for the real difference you make. If you don’t we can’t fulfil our calling to do the important job we have to continue. The mental health of our post pandemic society depends on it. - Ronan Ryle President of Client Success at 3XM & Photovalue.

Amanda Powell

Qualified Guild Professional May 2020

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Gillian Summerill

Qualified Guild Professional Photographer June 2020

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Simon Downing

Qualified Guild Professional Photographer June 2020

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Michelle Campbell

Qualified Guild Professional Photographer June 2020

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Bob Cotton

Qualified Guild Photographer June 2020

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The Guild’s Partners & Membership Benefits ALAMY

LOUPEDECK

APPLESTORE

nPHOTO

The leading online photographic library for stock images. Guild members arn the first £500 commission free. www.alamy.com Save up to 10% in store or online, as well as on refurbs and offers. www.apple.com/uk

CEWE

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

10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com Special deal exclusively for Guild members of up to 60% discount. www.nphoto.co.uk

ONE VISION IMAGING

30% OFF your first order. Special offers for Guild members. www.onevisionimaging.com

PIXSY - ACT AGAINST COPYRIGHT

COLOURWORLD IMAGING

Special Guild member offer worth £350 per year. www.pixsy.com

DATACOLOR SPYDER

Brilliant Guild discounts of up to 20% OFF Drone courses, lessons and holidays. www.phantomflightdroneschool.co.uk

DIGITALAB

Pre-School Education Service which offers five different class types. Guild members can be official photographers to Photo-Sensory. Contact Guild HQ

A full product range and sample deals available, plus a special schools photography service. www.colourworldimaging.co.uk

PHANTOM FLIGHT DRONE SCHOOL

Computer display colour callibration solutions. Guild members receive 20% saving. Log into members page. www.spyder.datacolor.com

PHOTO-SENSORY

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

PROFOTO LIGHTING

EPSON One of the largest manufacturers of printers, projectors and much more. www.epson.co.uk HAHNEMUHLE FINE ART One of the oldest paper companies in Europe that lives and breathes paper. 10% discount for Guild members. www.hahnemuehle.com

HANDEPAY Guaranteed savings for Guild members on card processing fees. Discounted quotes for Guild members. www.handepay.co.uk INFOCUS PHOTOGRAPHY INSURANCE

10% Guild discount for members from Wilkinson Cameras. www.profoto.com

PLUTUS HEALTH

Healthcare Insurance from only £5.36 per month. Contact Guild HQ

SIM IMAGING

Guild members only discount 10%

SHUTTERTAX

The online accounting option for photographers with 20% discount for The Guild. www.shuttertax.co.uk

SYTNER AFFINITY (Auto Dealers)

Guild members get 10% discount on service/parts/ accessories + new/used vehicle offers. www.sytner.co.uk

Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk

VISION MEDIA DESIGN UK

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

WILKINSON CAMERAS

Scottish professional imaging lab with worldwide reputation. www.loxleycolour.com

3XM

LSP ACTIONS

Websites that Work for You. Guild Members discount - SAVE £95 on all websites www.visionmedia.design

LOXLEY COLOUR

Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk

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

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

www.photoguild.co.uk

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 38 - July/August 2020 :

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BACK PAGE BRONZE - Sharon Lewis -

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