Creative Light - Issue 7 by Guild of Photographers

BRIAN JOHN McLERNON NICHOLAS FROST JOANNE WITHERS GUILD TRIP TO ITALY & VENICE A-Z OF BABY PHOTOGRAPHY

www.photoguild.co.uk

Issue 7 - Creative Light Magazine :

The Guild of Photographers Dreamlab and the quality of the ‘HD’ prints it creates! Our first glimpse of the stunning GraphiStudio owned Ceconi Castle in the foot of the Dolomite Mountain Range was a jawdropping moment and Venice was, as it always is, a photographer’s paradise. There are more details and stunning images about this amazing trip inside this edition of Creative Light, and we are hoping to plan a return visit, with a workshop element later in the year, obviously open to all!

steve & lesley thirsk

There are, of course, lots of other great articles in this month’s edition of Creative Light including one about the work of Brian McLernon, a landscape photographer based in Fuerteventura, Nick Frost, one of Scotland’s finest Wedding Photographers.

t’s been a very exciting couple of months since the last edition of Creative Light. In that short time, over 200 more photographers have joined the Guild, and nearly all those have been through recommendation which is, by far, the most pleasing thing! Every member of the Guild team really do want to thank everyone for your support, and will continue to do everything we can to live up to the trust you place in us. Speaking of saying thanks, you may recall that we ran a free draw in December, when we gave away over £10,000 of prizes to members, to say thanks for supporting the Guild. Amongst the prizes some lucky members won the opportunity to join us on a trip to Italy to visit the fabulous GraphiStudio Castle and factory, as well as Venice itself. That trip recently took place, and what a trip it was. We experienced first hand, the strong sense of family within the factory. It was also amazing to see just how many elements of their Storybooks were actually hand-crafted. The highlight however, was seeing their new

: Creative Light Magazine - Issue 7

It’s hard to believe that the Photography Show at the NEC has now ‘been and gone’. It was a fabulous few days though. We displayed some competition winning images and we were joined by most of our Panel, guest speakers and of course lots of members, as well as people visiting us to find out more. InFocus Insurance had their stand next us and brought their ever-popular chocolate frogs, as well as a few cakes to complete the party! It’s fair to say that our area ‘rocked’! We also came away from there with a lot of new Trade contacts, who want to make discounts and offers available to members, which we are currently in the process of following up. Continuing with the theme of discounts, we have some great member’s offers available at the moment including £100 off at The Photography Academy and £50 off the highly regarded Photobase photography business management software. We can also offer readers of Creative Light a great price on the fantastic Westcott Omega Reflector (he world’s first ‘10 in 1’ shoot through reflector. Please see page 40 for the Special Offer.

Finally, it’s not often that we publicise just how invaluable our ‘Pro’ member support is, but in this instance we thought we should share a members’ feedback. The member, had traded for several years without any issues, but then found they had a ‘difficult’ customer situation to deal with, and needed our support. After utilising our legal support service for the first time, they wrote back to us to say – “Within minutes I was on the phone with a lady who was very knowledgeable. I read all emails to her, and she concluded I was being thoroughly reasonable. Within the hour, I had 2 call backs to check all my terms are reasonable and within the law. The lady was not at all rushed and she even took time to go through my reply to my customer to see if, in her opinion, it was professional, appropriate, and I’d dotted the i’s and crossed all the t’s.. This is the first time I’ve had someone become very confrontational and I have to say the back up from the Guild and the legal help line has been AMAZING ! I’d have paid you 10 membership’s for the help and advice I received - it was 5*! We hope to see some of you at the pending Photovision Events in Wigan and Windsor over the next few weeks, where we’ve put some great value workshops on run by the likes of Andrew Appleton, Claire Elliott & Kate Hopewell-Smith! Meanwhile, enjoy the read!

- Steve Thirsk

“

Want to join The Guild of Photographers? follow the link and get in touch with us today”. http://www.photoguild.co.uk/member-benefits

Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7

Editor W

elcome! To all the new members who have recently joined The Guild of Photographers since our last issue of Creative Light.

In this edition of Creative Light, we are featuring one of Scotland’s finest wedding photographers, Nicholas Frost and an Irish Landscape photographer, Brian McLernon. We have a great story by one of our members, Joanne Withers. Joanne and her husband recently took part in a four-month expedition with Raleigh International to Costa Rica and Nicaragua.

I am delighted to inform you that Glyn Dewis will regularly be writing Photoshop articles for Creative Light and sharing his tips, techniques and wealth of knowledge and expertise with us. We have a superb article on ‘positive space’ written by Paul Haley explaining the use of negative and positive space to your advantage when composing and editing your photographs. Claire Elliot has written an excellent article on the A-Z of Baby Photography with various tips and reminders throughout. If you have an interesting story that you would like Creative Light Magazine to consider then, please get in touch with me - julie@photoguild.co.uk.

“

Twenty years from now you will be more disappointed by the things you didn’t do than by the ones you did do. So throw off the bowlines, sail away from the safe harbour. Catch the trade winds in your sails. Explore. Dream. Discover”.

julie oswin

- Mark Twain

Issue 7 - Creative Light Magazine :

Front Cover “

andy robinson

I had always wanted to try a ‘flour explosion’ type photo but had never found the right model. Then I met Chani, an acrobat with North Devon Theatres and Chipperfield’s Circus. Whatever I imagined photographing, she was able to exceed my expectations and so we started working on the logistics of this shot. Firstly, loads and loads of flour! I chose self-raising, as I thought that was bound to help! To this was added copious amounts of glitter and black body-paint, for added drama. All we then needed was a willing assistant armed with a dustpan, to throw the flour at the model. My studio is not wide, so Chani had to jump vertically while still looking graceful - once again I am indebted that she was able to do this! In fact, this was only the second shot, so after all that planning we had nailed it in two! One final point of note is how well the camera performed. I have been using the Olympus micro cameras for over twelve months now, and this shot was taken on an EM1 with the 45mm f1.8 lens. Manual exposure, because of the studio flash, but autofocus - I just pointed, and it shot! I wouldn’t go back to my Nikon’s as these microsystems just amaze me with their abilities! Receiving a Silver Bar from the Guild for the shot was an incredible moment, topped only by Julie’s message asking to use it for this edition of Creative Light”. - Andy Robinson

: Creative Light Magazine - Issue 7

...and yes, it did take a long time to clear up the mess!

Contents features 14

Nicholas Frost Wedding Photography

24 Days of Christmas Winners visit to Graphistudio, Italy

Joanne Withers Raleigh International

Brian McLernon Landscape Photography

monthly 10

Claire Elliott A-Z of Baby Photography

Paul Haley Postive Space

Hallam Internet Google Images and SEO

Issue 7 - Creative Light Magazine :

Photographer,

Retoucher, Trainer

Glyn Dewis is a professional photographer, retoucher, and trainer based in England. Glyn’s photography and retouching sees him working for national and international clients ranging from the BBC, SKY and Air New Zealand to athletes, musicians, and other industry professionals. A Photoshop World Dream Team Instructor, KelbyOne Instructor and Best Selling Author of “The Photoshop Workbook”, Glyn has featured in the New York Times for his Photography technique, teaches his own series of courses, provides one-on-one coaching and presents at events around the World covering all aspects of Adobe Photoshop from basic to advanced techniques. See his work at glyndewis.com and find his wildly popular videos on his YouTube channel at youtube.com/GlynDewis

G glyn dewis

lyn Dewis was one of the Trainers for Photo Training Overseas in January. His professionalism, personality and the way that he puts across his workshops was very impressive. I immediately asked Glyn after one of his sessions if he would consider writing an article for each edition of Creative Light Magazine.

I am delighted to announce that Glyn has kindly accepted, and his first article will be in the next edition of Creative Light. Glyn will be sharing his tips, techniques and wealth of knowledge and expertise with us. I, for one, will look forward to his contribution. - Julie Oswin

: Creative Light Magazine - Issue 7

ÂŠ Glyn Dewis Issue 7 - Creative Light Magazine :

A - Z of Baby Photography A – Attention to detail When babies are asleep in their poses, it’s a great chance to make sure everything is tidy in your shot.

B – Bean bags This is a must for all newborn photographers. I find keeping the bean bag full and firm, makes it easier to work with.

C – Composition & Composites Babies should not be left to support their own heads, either on their wrists or hands. Their little limbs are fragile and just remember their head represents roughly a quarter of their overall body weight.

D – Dignity Keep all baby parts covered or hidden with your posing technique to keep the babies dignity at all times.

E – Edit

claire elliott

J – Jot, down info for your blog When mums feeding or sorting baby it is a good time to chat about and write down all those special little things that happened during the session ready for writing a great blog that the parents will love to recall back on.

Baby photography sometimes needs a lot of editing. Find a workflow that works for you, work through it, refine it and eventually you will do it almost with your eyes closed.

K – Kiss!

F – Focus

Learn your light, and use it well. This is just as important as learning to pose your babies in nice poses.

No-one likes soft images on their walls. Always focus on the baby’s eyes to make sure your images are as sharp as possible.

make the parents feel you care about their opinion and can sometimes put nervous mums and dads at ease.

G – Guidance

Do not kiss babies. It is not professional and not all mums will approve.

L – Light Source

M – Meter

Take the parents guidance on their baby. Some babies are born with illness or conditions. The parents will always know best.

Always meter your light before you set the camera. Guessing and checking the back of the camera is not a good way to get the perfect exposure your sessions.

H – Help

N – Noise

Let the siblings and parents help you during your session. The parents love to get involved in the posing, styling and the siblings are great for fetching hats and props.

I – Information Build your relationship with your clients before the session. Ringing or emailing for likes and dislikes, even if it’s very basic info your after, will

: Creative Light Magazine - Issue 7

White or constant low dull noise can be very soothing to a newborn baby. Newborns find quietness uncomfortable. It’s noisier than you would think inside mummy’s tummy.

O – Organisation Be organised, make sure you have everything at hand during your session. A basket with a handle or a small trolley is a great way to keep everything

close to you so you don’t have to leave the baby to grab the next hat or wrap.

P – Props and Posing Before you start, think about the prop you want to use, or start with the pose in mind that you would like to do, then find the posing prop that is the safest to use that will fit with that pose.

Q – Quality over Quantity When taking newborn photography, there’s no need to take 20 shots of the same pose to show the parents. Shoot, refine, and master each pose. Overall, the images you have for your viewing appointment will be a higher quality and also only showing images you would be happy for them to display big on their walls. This will really make the culling process easier. Quality over quantity.

R – Refine Refining your work is a process we all go through. You will find you will keep training and practising until you’re happy with your work, then as you go through your session a little tweak of the hat straps, or flattening the blanket, moving the fingers etc can REALLY turn a good image into a GREAT image.

S – Safety Keep studio warm -- around 25-28 degrees; Support the baby’s head -- use composites; Weigh down heavy posing props with sand bags; Don’t put babies into items that could break, or force them into small props; Don’t use glass props; Watch for restricted circulation on the babies limbs; Never leave the baby unattended – use a spotter at ALL times; Don’t let the baby over heat – babies can’t regulate their own temperature; Never force baby into a pose; Always wear your camera strap, especially when shooting above the baby;

T – Theme Keep to your chosen theme or colour palette. Mixing and matching doesn’t always work and using colours of a similar tone can be very appealing with the bare skin of a baby.

U – Umbilical cord Between 5 and 15 days after a baby is born their cord stump will drop off. Some parents love to see this in their images and some do not. It is possible to clone this out but personally I think just maybe

hiding that part of the baby is a nicer way of coping with the situation. Or ask for preference by the parents.

V – Valued customers Having a newborn client come to you for your services is an amazing opportunity to build the parent/ photographer relationship. If you handle the relationship correctly they will soon become very valued clients. Potentially six times before the child starts school.

W – White Balance White balance isn’t something easily corrected without using a grey or white card. This can either be attained by shooting in raw and taking a photograph of the card before each set up or during the session OR taking the image as before and setting it in camera before taking the images. It’s a good idea to become familiar with the latter and get as much right in camera as possible.

X – Xtra time You will need lots of extra time during a newborn session than a standard baby or toddler session. These memories cannot be rushed; they are worth giving that bit of extra time and patience to get that perfect image for your clients. Remember these images are going to be looked at for a very long time.

Y – Yellow Skin Quite often babies are born with something called “Jaundice” which is a common and usually harmless condition in newborn babies that causes yellowing of the skin and the whites of the eyes. The medical term for Jaundice in babies is Neonatal Jaundice. This can be easily corrected in your photo editing program manually, alternatively, there are some great actions to purchase to correct this with a press of a button.

Z – ZZZZZZZZZs You will need lots of these after a newborn session. Newborn photography is very tiring and a session can last up to 3 or 4 hours depending how you shoot, how the baby is. But saying that, I can’t think of a more rewarding job, creating such beautiful memories for parents and families. - Claire Elliott Panel Member & Judge www.fmphoto.co.uk

Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

One of Scotland’s Finest “

We don’t want to bore you with words so we will let our photography do the talking”.

nicholas frost

Specialising in Wedding Photography, Nick has become one of the highest qualified and highly sort after photographers in Scotland. Creative Light caught up with Nick a little while ago and delighted to bring to you some of the secrets to his success. Nicholas Frost and his wife Carol run a professional wedding and portrait photography business based in Aberdeen, Scotland.

: Creative Light Magazine - Issue 7

The side lighting and â&#x20AC;&#x153;elegant posing really makes this image for me. I used a reflector off to the left and shot with my 16-35mm lens to get the whole scene inâ&#x20AC;?.

Issue 7 - Creative Light Magazine :

reative Light Magazine are delighted to bring to you one of Scotland’s leading wedding photographers, Nick Frost. Nick kindly took time out of his busy schedule to bring you a little insight into his approach, thoughts and business ethics behind his camera.

What equipment do you take to your weddings? • • • • • • •

Main Camera – Canon 5d Mk3 and spare body 24-70mm L 70-200mm 2.8 L and spare 16-35mm 2.8 L 100mm Macro 15mm fish-eye Bag full of flashguns and LED lights – not used much!

Q: How many weddings do you photograph each year?

Usually 25-35 a year, 35 this year.

Q: Favourite camera and why? I use a Hasselblad 4HD in studio, and for commercial work. It slows you right down and oozes quality. My first Canon 1DS Mk2 is my all time favourite, probably because it was my first pro camera, they don’t make them like this anymore, it was an absolute work horse and never failed me once!

Q: If you could choose one lens which one and why?

Canon 70-200mm 2.8L – I use this in the studio for location portraits and for most of a wedding day. At 2.8 it is so smooth and fast and creates wonderful images.

Q: What lighting equipment do you use? I have dabbled with off camera flash and use it to assist me rather than as a main light source, my style is quite natural so creating an image that doesn’t look natural doesn’t suit me. I carry several Canon flash heads but only use for first dance. I recently bought an Ilux summit flash head, bulky but brilliant unit that is very reliable and lasts forever.

Q: Can you describe how and when

to be lifted a little, very easy to use and carry. I used to use reflectors a lot but nowadays I try and find light that doesn’t need a reflector, I like the natural drop off natural light gives and find reflectors can make an image look unnatural if not used correctly.

Q: What have you found the most

challenging about being self employed? Keeping on top of the day to day elements, I sometimes forget I am a photographer. I want to expand and do more but small businesses don’t get many breaks and it is harder and harder to make a good living even when you are on top of your game. I could moan all day long about this but I wont bore you!

Q: What have you found the most

challenging about photographing weddings? Keeping motivated day-in, day-out! I do put a lot of pressure on myself and I am always looking to improve. I get very frustrated when I don’t get the opportunity to perform at my best for whatever reason.

Q: What tips or advice would you give to someone wanting to become a wedding photographer?

Ask yourself why, it is a very difficult genre of photography with a lot of pressure associated but if you have the right personality it can be very rewarding. I really wouldn’t know where to start if I wanted to start over again. But, if you are a skilled photographer, wanting to become a wedding photographer then the best thing you can do is learn about the wedding day itself. A wedding day is such a big event for the couple, their families and friends. You may shoot thirty weddings a year but this day is the most significant and special day of their lives. All couples deserves a lot of empathy! Have respect for your peers, there are so many new photographers that think they know everything and show very little respect for those that have learned their trade.

What would you have differently in your business if you could start again? Keep small and work from home or small office, the bigger we have got the less time I have to analyse what I am doing and enjoy it.

you use your flash, video or reflector on a location shoot?

I hate flash for weddings, I only generally use it for the first dance preferring natural light where possible. I sometimes use the Ilux but again only to simulate or boost directional sunlight. I carry a few hand held LED lights for internal shots which require the shadows

It is important but I use it less now more than I ever have. I try to get things right in camera with regarding ideas, lighting and posing. I can edit a full wedding in Lightroom alone with only a few tweaks in Photoshop.

: Creative Light Magazine - Issue 7

How important is Photoshop in your final images?

this image because “thisI included wedding was quite

Q: What new gadget or equipment have you your eye on to buy next?

No gadgets but just bought a new IMAC 5K which is super fast and has a super sharp screen. I believe if an investment can speed up what you do saving you time to shoot or spend time with family then it is worth investing in.

Have you had any formal training, college, seminars or are you self taught? Initially I was self taught using film. I have an addictive personality so immersed myself in photography and did seminar after seminar and built up my skills from there. Before I took the plunge into full time photography I did a degree in psychology, more important than a photography degree in my opinion!

significant too me, in that it proved I could photograph in pretty much any conditions. It was typical Scottish February, the wind was howling with horizontal rain, sleet and snow! Using four light sources; a little natural light, artificial interior lights, a bounced flash and hand-held LED light. To get the lighting and composition in such a tight space was very satisfying!”

What lenses do you have in your camera bag? For outdoor shoots I don’t carry a bag only a 70-200mm on a body. For weddings I have all my main lenses in the bag.

Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7

Apart from sheer hard work, what would you say is the main ingredient to your success? Obviously hard work but also determination and willingness to take criticism for your work. I wouldn’t be where I am now without having the support and feedback from my wife Carol. Creating a style that my clients like sounds cliché but once you learn to see light your photography will improve. This happened to me a while back. I was being mentored by many great photographers and being told how I should do things and I became frustrated. Then I started seeing light so in a sense my style found me. My style continues to develop but I get annoyed when I see so many PRO photographers shooting weddings with a big flash on top of the camera no matter the conditions.

What do you feel has helped you to succeed in wedding photography where so many others have failed? Doing something different in our area, creating a buzz, going for qualifications and winning awards. We have spent a lot of money on training and mentoring and are not afraid to spend if necessary. I analyse everything I do, I find it very hard to turn off so I am continuously asking questions of myself, perhaps not one of my better traits!

Website, where did you get your ideas from? Did you design it yourself? I guess it is a personal thing, I like clean lines and simplicity, your images should sell you not flashing lights and effects. I designed it myself and my brilliant web developer made it happen. Ideas come from everywhere; magazines, adverts, TV, films and everything in life that you experience.

When photographing a wedding, how many images do you take? On my own, I would average around 1000 images for preps to first dance and deliver around 400-500 to the client. It really depends on what is going on. I try and not overshoot, I only need 30 minutes with a bride and groom to get what I need. I would love hours with them like some of our counterparts in Australia and America get but in Scotland, the wedding day is different, you have to shoot in a way that keeps everyone happy, otherwise you wouldn’t get recommended. I always give advice to couples and try to get as much time as possible, not for the photography but so we aren’t rushing on the day.

Do you proof edited files?

I final edit every image before the client views the images and then check every album image again.

To relax couple’s on their wedding day what techniques do you use? Humour, alcohol and chocolate! I am a pretty chilled out photographer and try not to get stressed, I don’t shout, and always have fun with everyone – underneath I am all over the place thinking ten shots ahead! Often being told that I have been superb on the day. It is really important for your wedding photography to be polite; don’t shout; have a laugh and a little banter; don’t worry about what anyone else is doing and you will be liked.

What work background did you come from before becoming a photographer? I worked in the oil industry with qualifications in measurement and control. I wasn’t inspired or driven and always felt I needed to be doing something else.

How would you describe your style and approach to your photography? I would describe my wedding photography as an artistic documentary style – I try and tell a story in a natural way and try to pose my couples in such a way it looks natural or as if they did it themselves, that said I am picky and look for perfection, yet to achieve it!

Who or what started you off on your road to becoming a wedding photographer? I was asked as an amateur to photograph a wedding, I was petrified. I actually really enjoyed it and then wanted more! I have always had great admiration and respect for my peers in and around Aberdeen, so, introduced myself early on and now being able to call them my friends is pretty special!

Which books or magazines would you recommend members to read? I would recommend anything that isn’t photography related! It is very important, in my opinion to have other interests and hobbies otherwise you’ll burnout!

Where are you based? Have you always lived there? My wife and I are based in Aberdeen, Scotland. I was born in Bradford, Yorkshire and moved around a lot as a child.

Issue 7 - Creative Light Magazine :

How long have you been a photographer? I have been a full time photographer for nearly 10 years.

Q: Name something that you are still learning to master?

I don’t think I am a master of anything or ever will be! I think mastering yourself and creating a work/life balance is the most important aspect. I turned 40 last year have two children yet don’t have a pension or plan to finance the future so this is where my priorities lie going forward!

What has been your proudest moment in your photographic career so far? There has been a few, awarded my first Licentiate by the MPA was a massive achievement for me. I have always put everything into qualifications and gaining my Fellowship was probably the pinnacle. However, the feeling of satisfaction and feedback I receive from my clients means more than anything else.

Q: Favourite place in the world? Anywhere with my family. I love travelling and have been fortunate to have travelled to many great places. I could name a few but I think it is the people you are with not the place, I guess this is true for weddings as well!

Q: Interesting facts about you? Hmm, I like to be in control, I am always right and my kids say I’m grumpy!

Your favourite food?

Seafood and Curry!

Q: Which three words describe you? Determined, stubborn and moody!

- Nicholas Frost www.nicholasfrostphotography.co.uk

: Creative Light Magazine - Issue 7

“This is a German couple who

decided to get married on a beach in the remotest area of Northern Scotland. It could have be so bad as on the day before we couldn’t even see the beach with fog and rain so to say we were relieved was an understatement. I wanted to show off the remoteness yet capture the obvious love the couple had for each other. I was probably 150 meters back from the couple on a 24-70 lens”.

Issue 7 - Creative Light Magazine :

ÂŠ Nick Frost

: Creative Light Magazine - Issue 7

YOUR SELLING MADE SIMPLE 9 Stunning galleries on all devices 9 Social sharing made easy 9 Sell professional print products 9 Set your own prices 9 0% commission on sales 9 Fulfullment by One Vision Imaging 9 Powerful referral marketing opportunities 9 Unlimited FREE100 galleries 9 Pay as you go for larger galleries 9 No subscriptions, no commitments

GET STARTED TODAY AT

THE

WWW.3XMSOLUTION.COM

3XM

SOLUTION

Present

Sell

PAY AS YOU GO GALLERIES - NO SUBSCRIPTIONS DETAILS

FREE100

PRO250

PRO1000

FREE

£5

£10

Up to 100

Up to 250

Up to 1000

Commission on Sales

Slideshow with Music

1 year

Price per Gallery Photos per Gallery

Gallery Duration Option to extend after 1 year

Prices shown exclude VAT

www.3xmsolution.com Issue 7 - Creative Light Magazine :

Be inspired, BUT be wary! A

lesley chalmers

ll day, every day, we’re influenced by what we see around us. That’s great for photographers, keeping our mind and ‘eye’ stimulated as we notice a wonderful clash of colour, a beautiful shaft of light or a lovely tableau as we turn a corner to the way to the station. We visit exhibitions, go to galleries, read books, watch films and look at other photographers’ images looking at what works for us and what doesn’t. We admire colour, composition, form, and technique; we analyse impact, then make a mental note to work it into the next shoot. We’re feeding our creative brains.

This is important for photographers, who need to develop their creative vision alongside their skills and abilities along. Everybody’s photography journey includes attempts to replicate other people’s shots to try and understand how it was done, and to be able to use the techniques in our own work. How often do you hear or see the question —“what settings did you use?” On thousands of web pages we share tips and techniques, links and ideas. There are so many competitions, many on-line, with daily, weekly and monthly winners. I’m a judge for the Guild of Photographers competitions, and often see entries that have very clearly been inspired by others’ work. An award-winning picture of a kingfisher in May

: Creative Light Magazine - Issue 7

leads to a cluster of kingfisher pictures in June and July. Whether the long-exposure seascape, the animal shot, the child throwing leaves into the air, the shallow-depth-of field-macro flower, or the tattooed father cradling his tiny baby - we love them and we want to be able to do that too, so we have a go. If it works out, we’re excited and pleased, and think it would be good to pop it into a competition to share our pride and see how it does. The judges in any competition will probably have no idea where we took our inspiration from. With the Guild, judging every month, we often do notice similarities to previous entries. When that happens, we’ll go back and check, and/or discuss amongst the judging panel. Similar images will inevitably lead to lower scores for impact and creativity even when technically competent. Rules usually include that images must have appropriate modelling consent and not violate copyright, trademarks, intellectual copyright or any other applicable law, and that the author should be the creator of the work. One could say - many do - that there’s nothing new in photography, that everything is already been shot, but there’s no merit - or value - if we just produce close copies, rather than apply our own stamp. While we are all inspired

by the work of others, there is without doubt a grey area between inspiration in creative images and ‘close copying’. Photographs taken at well-photographed locations, or photographs of models taken in a studio under commonly utilised lighting conditions and poses may not considered close-copying, but copying the original creative idea and the essential elements of a deliberate arrangement of objects would be. But where is that line between merely copying and being truly inspired to develop in our own style? I’ve found analysis from a legal case in Australia to be useful, despite being about painting rather than photography. The case was Cummins v Bella and an alleged breach of copyright. Irene Zeiter wrote about it on the website FindLaw Australia. The analysis concluded that there are two issues to be considered. The first is ”has the author merely adopted the same style, concepts or techniques?”. If so, it’s probably fine. The second issue is the key. It is “has the author substantially replicated the subject matter of the work?” If yes,then: if the subject is a simply-depicted common object, like a flower, a tree or a cow, it’s still probably fine, but if, however, the replicated subject is more “complex or fanciful”, then it probably isn’t fine. In more complex cases, similarities are less likely to be considered coincidental, and technical issues may not always be considered sufficient to change the overall impression.

up everything we can, and accepting that our busy minds process subconsciously as well as consciously, we should be wary of replication, particularly when putting the results out into the public domain, including through competitions. Copying may be a helpful part of the process of development, but true inspiration is what takes us and our work forward. Develop your own creative vision and work towards your own style. Originality has its own value. - Lesley Chalmers

HTML VERSION OF JUDGMENT http://bit.ly/1GrZ7Cy

Image 1 Annex 1 The claimant’s work:

I’ve used ‘probably’ a lot, as each case has obviously to be looked at on its merits. In the UK, the “red London bus” case caused a lot of comment and a degree of concern; a London bus is hardly an unusual subject. However, in that case there was a strong element of similarity both in the overall scene and in the colour treatment - bus red, the rest of the image mono. Here’s a link: http://bit. ly/1xsFjAs So - ‘close copying’ is where, to a reasonable person, the submitted image appears very similar in significant important respects to an image previously created by another photographer.

Image 2 Annex 2 The defendants’ work:

While we should definitely soak Issue 7 - Creative Light Magazine :

First UK Trade Association to visit Graphistudio, Italy February 2015, The Guild of Photographers became the first UK Trade Association to visit Graphistudio situated on the outskirts of Arba in the Province of Pordenone, Italy.

â&#x20AC;&#x153;With over twelve years of experience, Graphistudio have set high standards of quality, attention to detail

the guild of photographers

and imposing once again the rules of the market. From the materials to the production process, from the customer service to the turnaround times, every aspect is essential for the success of Graphistudio and their customersâ&#x20AC;?.

Steve Thirsk, Lesley Thirsk, Shane Young, Julie Oswin, Simon Dixey and Jeremy Price at Count Ceconi Castle

: Creative Light Magazine - Issue 7

Simon Dixey, one of our winners of ‘The 24 Days of Christmas’ talks to Creative Light Magazine about his trip to Italy and Venice with Graphistudio.

“I

was lucky and thrilled to win a trip to Italy with the Guild of Photographers, courtesy of GraphiStudio to visit their factory in Italy. A trip like this doesn’t come along very often, so I wanted to capture images of what happened during the trip and share my experiences with you. Joining Steve and Lesley Thirsk, Julie Oswin and Shane Young on the trip who are, how shall I put it, a lot more established in the Guild of Photographers than I am. The first time I met with Steve, Lesley, Julie and Shane was while we checked-in at the airport. By the time the plane accelerated down the runway, I already felt like they’d been my friends for years. Jeremy Price and Francesca Fontanini from GraphiStudio met us at the airport after the rather short flight from the UK. They took us to our hotel where we were staying for the night. After a warm welcoming, Italian hospitality and a quick walk around the very picturesque town of Maniago we headed to the GraphiStudio Factory. On arrival, we were introduced to a range of finished products and a guided tour of the factory. We were able to see at first hand the time, care and skill that goes into making each and every album produced by Graphistudio. There was such a family atmosphere around the factory; photos of loved one’s adorned the workstations, a member of staff had even brought their newborn baby in to meet their colleagues! As the workforce cooed over the new baby, we continued around the factory to the printing department. GraphiStudio has numerous printers that, impressively, never all work at the same time, due to the constant calibration that the technicians undertake on a regular basis. Technicians who’s idea of a good time involves taking the manual for the printers, ripping it up, and writing a new one! A process which breeds creation and innovation and leads to some of the cutting edge printing seen in the GraphiStudio range of products. It was impressive. In fact very impressive. But Jeremy and Francesca had saved the best to last. The newly installed Canon Dream Lab printer was now in front of us. Shiny, black and a little bit bigger than my first home’s kitchen, it certainly Issue 7 - Creative Light Magazine :

looked the business. The other printers were industrial-looking compared to the new Canon Dream Lab. Technicians wore casual clothes and overalls while maintaining these bulkier printers. I expect them to be wearing their Sunday best while operating the Dream Lab. But the printing. Oh my, the printing. It is honestly like no other photographic printing you will have seen before. In fact, I’m not quite sure of the words to describe just how amazing the printing is. The quality, clarity and the vibrancy of the prints are jaw-dropping. They certainly have the wow factor. Lesley summed it up perfectly, saying that comparing standard prints to the Dream Lab prints is like the jump from standard TV to HD. An album printed by this beautiful machine has been produced and was recently on display at the Guild of Photographers stall at the Photography Show in Birmingham so more people will have had the chance to take in the wonderful prints the Dream Lab can produce. To have the opportunity to tour the GraphiStudio factory was a privilege and a fantastic experience. The tour gave a real insight into the Graphistudio ethos. Graphistudio’s commitment to photographers, (who Graphistudio call their friends), to supply exceedingly high quality, bespoke products to clients. Something that I, as a photographer, will strive to do as I develop my photography business. Travelling to Count Ceconi Castle we stopped for lunch at one of the most amazing places I have ever eaten, San Daniele, famous for it’s Italian ham, Prosciutto di San Daniele. The lunch was typically ham and other wonderful Italian food. After a few hours, we made our way to our home for the night, Count Ceconi Castle. The mountain road if continued past the castle would take you over the Alps into Austria. Shane’s fear of heights caused him a little distress and he gets tremors if someone whistles the song from the Italian Job! We made our way up the mountains, (they’re mountains to me, foothills to the locals) until we arrived at the stunning Count Ceconi Castle. What a sight to behold. Soaking in the views from this wonderful venue, I was able to take a quiet few minutes to reflect on just how lucky I was to be here! Answer: unbelievably lucky. At the castle, our hosts Jeremy and Francesca gave us a tour and the history of the castle. Shane and I then went through some of the options available to photographers when ordering albums from Graphistudio. The ease in which you can create bespoke, one-of-a-kind collections for clients is unbelievable. A great selling point and I was so taken with the quality, printing and presentation that Graphistudio offer. Graphistudio have archived wedding album orders since 2002 so even if you have lost files / negatives they can still

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

“

Our first glimpse of the stunning Graphistudio owned Count Ceconi Castle in the foot of the Dolomite Mountain Range was a jaw-dropping moment, and Venice was, as it always is, a photographer’s paradise”. - Steve Thirsk

: Creative Light Magazine - Issue 7

ÂŠ Julie Oswin Issue 7 - Creative Light Magazine :

ÂŠ Julie Oswin 32

: Creative Light Magazine - Issue 7

reproduce albums lost or damaged. What a powerful guarantee for photographers but also for their customers. I’m going to leave this post here as I’m beginning to sound like a sales person for Graphistudio, and that’s not how I intend to come across. I blame Jeremy and Francesca, their love for the product is contagious. It is so easy when you see the care and precision that goes into making the products. The trip was a fantastic experience. I was given such an opportunity to make new friends, see fantastic sights, eat amazing food and drink wonderful wine. (Obviously the first two are the most important). Venice was a joy to behold, (I’ll even let it off being totally not suitable for wheelchairs, although some bridges did have ramps installed). One thing for sure is that Venice is a popular place and I can only imagine it gets busier during the summer months. But the amount of back streets ensures a quiet street, plenty of bars, restaurants and alleyways. A bite to eat or a drink is only a short walk away.

- Simon Dixey

Steve Thirsk presenting Dario Righetto with a Staffordshire ‘potteries’ Wedgewood Wedding Plate as a Thank You for their hospitality and invitation to visit Graphistudio.

Issue 7 - Creative Light Magazine :

“

he Guild, being the super-nice organisation they are, ran a free draw every day of December leading up to Christmas, with prizes ranging from vouchers to training to an amazing trip to Italy. When the news reached me that I had won one of these top prizes, I actually can’t remember if the phone call came before the Facebook announcement, I was so knocked out about it! I don’t remember ever winning anything before. I realised that I didn’t know the other winner, but in my job you get used to getting on with new people fast, and just hoped it wasn’t someone difficult!

Shane Young

Simon Dixey turned out to be possibly the nicest guy I’ve ever met. Steve and Lesley I knew of course, from previous Guild events, and the fact that they had shown me great support when I needed it during a difficult episode last year. Julie Oswin, who was drafted in to document the trip, was another unknown to me. Five minutes after sitting down for a drink in the airport hotel with her, I had the feeling we would become friends. We ended up going on long strolls together in Venice with our cameras, which was a huge privilege for me, but at the same time like I was just wandering the streets with an old friend. The inspiration I got from seeing her construct a shot will last me for years. The trip threw up surprises every day. As I got to know Steve and Lesley better, I could see clearly how the Guild membership has mushroomed in recent years. Such warmth, wisdom, energy and thoughtfulness is a rare combination in a couple, especially when they are the heads of a serious organisation. The whole Graphistudio side of the trip was brilliant. Jeremy and Francesca were superb hosts. We enjoyed learning about the Graphistudio product manufacture, visiting the factory, the castle (wow!) And the Palazzo in Maniago, and were treated to some truly wonderful Italian, food, wine and hospitality. Five days felt like two weeks. I won’t go on because it sounds like I’m showing off, but it was a fantastic experience that I will never forget, and if I get the chance to go on a training event there with the Guild, I will.’

: Creative Light Magazine - Issue 7

Shane Young

ÂŠ Shane Young Issue 7 - Creative Light Magazine :

An Expedition Adventure â&#x20AC;&#x153;Raleigh International is a youth and sustainable development charity. It runs expeditions and volunteering programmes abroad for people from a wide range of backgrounds, nationalities and life stages. Raleighâ&#x20AC;&#x2122;s aim is to increase the leadership and employability skills of participants whilst also raising their awareness of their role as global citizens. They run expeditions in Borneo, Costa Rica & Nicaragua and Tanzania for young people aged 17-24 (Venturers) alongside volunteer managers; all of any nationality or background. Volunteers work on community and environmental projects and take part in tough adventure challenges.!â&#x20AC;?

joanne withers

leeping in a scout camp in Surrey in the cold temperatures of December, little did I know at that stage, that nine months later I would be checking in at Heathrow with a 20kg and 14kg rucksack about to head off for the experience of a lifetime. Volunteering with Raleigh International was my absolute highlight of 2014 and even more so, that I got to do it as a photographer.!

For some time, my husband, Damian and I had wanted to take on a new challenge in life and had considered volunteering, but we always wanted to undertake different opportunities. It was when we remembered UK based charity, Raleigh International, that we realised we could take on a volunteering role that was suited to our own skills set, but do it together.! Having chosen Costa Rica and Nicaragua for our expedition, Damian and I felt that by going away, we could learn about sustainable charity work and be fully immersed in something without our own businesses being a priority for once. Yes, I dared to leave behind my seven year photography business and fly off to see how using my camera for a different reason would have an impact on me as a person and also as a photographer.! My role was always a Volunteer Project Manager first, who was also the Expedition Photographer and it was clear even from that

: Creative Light Magazine - Issue 7

first assessment weekend in Surrey, that Raleigh has a vision and like any other business, it is key that they get that across to anyone interested in what they do. Having worked on my own brand and guidelines, it was a inspiring to work to someone else’s purpose and aim to achieve that for them simply by capturing images of the three month expedition.! I can only indicate at a fraction of what I learned on my fourteen weeks in Central America and so much of that has been about my understanding of global issues and sustainable development, my style of leadership and management, pushing my comfort zones, my outlook on life, my personality in changing circumstances, our relationship as husband and wife, but also about my style, drive, passion and skills as a photographer when it comes down to the basics.! From receiving that ‘Yes’ email in December 2013, I had little over nine months to prepare myself, our home-life, my kit and my business for my departure to a volunteering role that I had never undertaken before. Given that I had only just graduated from my Aspire Photography Training Bespoke programme and was presently changing my business name and brand, this would seem on paper, a ridiculous thing to be taking on. Thankfully though, following my heart and the welcome advice from Aspire, the decision to go ahead was the momentum I needed to simply get on with things.! Fundraising the required total to be able to go on expedition was the first step in learning new skills and realising what being in business for seven years had already taught me. I developed my first blog to share our adventure and approached my network of contacts with ideas for collaborative fundraising, with the aim that I would show our followers what their businesses were capable of. The support was outstanding and a big thank you goes out to those involved. I used my portrait photography to raise donations and created travel postcards to sell. It was like running a business, but this time the money was for projects that I would later be so humbled by, when I got to see them for myself.! The limited time ensured that I stopped procrastinating on my business and the September flight meant I had a deadline to gets things achieved. Of the many tasks, I ultimately had to share and promote my new brand, whilst explaining why I was also going to be a photographer overseas at the end of the year. I had to emphasise to clients that I would be away, which resulted in people booking in advance. I had to plan ahead for four months worth of blogging and social media content that would need to be online while I was away, to enable my business to still be seen. I wrote my email templates so I could outsource any email enquiries while I was away. Something that had been on my ‘to do’ list for far

Issue 7 - Creative Light Magazine :

too long and even now, being back, Iâ&#x20AC;&#x2122;ve realised how much time that saves me. I even explained to clients that I would not be reading three months of emails on my return, but simply deleting them and pressing delete on over 18,000 emails was a surreal experience. Before you all gasp out loud at me being a reckless business owner, I did have a system in place for enquiries, so that nobody was ignored by the way.! Packing my main rucksack was relatively straight-forward, because by the time I had packed the required kit of mosquito net, first aid kit, sleeping bag, river crossing shoes, duct tape etc., there was little room for clothes and certainly no room for make up, or a hair dryer. Packing my carry on rucksack with all my photographic kit, external hard drive and MacBook proved far trickier. I took two camera bodies, a flashgun and five lenses and with all the batteries and chargers, I thought over and over again about if I really needed all of it, as I was over the 12kg weight limit. As it turns out, I used every bit of equipment and would not have had it any other way. The thought of having kit fail and having no replacement while on the other side of the world, was too scary for me.! I was grateful that my cameras were fine, but the dust of Nicaragua and humidity of Costa Rica had impact on previous photographers in the role. Thankfully I managed to blow out the spider on my sensor and had lots of silica gel packs to stop my camera bag sweating in the jungle. Dry bags were also my biggest life saver given that it was rainy season and it was not always practical to have my camera bag with me.! I learned to be less precious about my kit and when you are staying with families in mud hut homes and sleeping in the jungle, you are more worried about experiencing life, than if your camera bag is getting dirty on the floor next to your boots. I have taken on numerous treks before, but having a Holdfast strap for this trip was my best investment. It meant I could work with the venturers and capture images in the same location.! Editing in the past has always taken me longer than necessary and working to deadlines on expedition meant I was so much quicker than before. Having to open my MacBook and edit and prepare blog images for Raleigh in various locations and all different types of lighting conditions has made me realise that I could have the best set up at home, but out on expedition, you have to be able to work anywhere and very rarely at a desk. Iâ&#x20AC;&#x2122;ve got to say, editing in the sunshine with a view of La Cangreja National Park was amongst my highlights.! There were so many skills I never knew I had in me. I screamed as I did the off road driver training for the Land Rovers in the mud and the rain and driving that Jeep across Costa Rica and Nicaragua was a personal highlight. I discovered

: Creative Light Magazine - Issue 7

I had a voice that could shout and cheer on over 65 young adults in to a fantastic atmosphere before watching the expedition slide shows. I had it confirmed at what an absolute geeky swot I am, in that I constantly sought out feedback from Raleigh to ensure I progressed to capturing better images for them. I wanted my images to count and stand out for the amazing work they do and it has been an honour to see them being used in their marketing campaigns already. For somebody who works alone, I had the most fabulous time working with the volunteer blogger and creating 52 blogs was no mean feat.! Having a community excited to have their photograph taken, simply because they were turning water on for the first time in their homes was unbelievable. Taking portraits of new Nicaraguan business owners that had been guided on what they needed to do to run a successful business, so they could be self-sustainable was enlightening. Watching and capturing wildlife in a National Park to highlight how important it is to protect the vast biodiversity that lives in the Costa Rican jungles was stunning.! Most importantly, I remembered something that I had forgotten from when I first started out in photography when I was eighteen. Photography for me is about the message and the memory. Iâ&#x20AC;&#x2122;m fully aware of the importance of technique and equipment, but me and my photography is driven by other things and Iâ&#x20AC;&#x2122;m fine with that. The experience of Raleigh will always be with me and my business is still alive. Although not booked in, I came straight back to jobs in my first week back, from clients that had eagerly followed my journey online from a personal point of view and waited to book me on my return. Taking nearly 4 months off was the most liberating thing I did for my business, my life and my photography.

Would I recommend it ... absolutely.! - Joanne Withers http://joannewithersphotography.co.uk Our Raleigh Blog! https:// joanneanddamiandoraleigh.wordpress.com! Raleigh International http://raleighinternational.org

Issue 7 - Creative Light Magazine :

Special Offer

Omega Reflector £110 including vat + £5 P&P

creative light special offer

Create gorgeous beauty lighting with the world’s first 10-in-1 “shoot through” reflector. The Omega reflector was designed by Gerry Gihonis.

The 38″ x 45″ Omega Reflector can be used as a standard reflector or as a shoot-through unit with an easily convertible 2:3 centre frame with easy to attach/detach Velcro panels. The use of high quality fabrics include a reflective white, reflective silver, reflective sunlight, black block, and 1-stop diffusion. Using just one light source, you can produce a main light and a back light and create gorgeous beauty lighting quickly and easily. It’s unique design creates incredible catch lights that make eyes pop! Suction cups are included for quick mounting to glass and a durable travel case with a shoulder strap for effortless travel and portability.

: Creative Light Magazine - Issue 7

features • • • • •

Innovative 10-in-1 design Can be used as a traditional reflector or shoot-through 2:3 ratio removable center frame 38” x 45” white, silver, sunlight, black & 1-stop diffusion surfaces Folds down to a third open size

The Omega Reflector features a 1-stop diffusion panel with an easily interchangeable white, silver, sunlight and black cover. The diffusion surface can be used to soften overhead lighting or flash. The white surface can be used to soften and reflect. The silver surface can be used to fill in shadows and add specularity. The sunlight surface can be used to add natural warmth to skin tones. The black surface can be used to add shadows or block lighting. In true Westcott fashion, all of these surfaces are constructed in the finest fabrics for quality illumination and softening. It has a double-riveted square frame, allowing for effortless mounting and providing a large surface area. Suction cups are included for mounting to glass surfaces, and a durable travel case with a shoulder strap is also included for easy travel and storage. You can find out more about the Omega Reflector and see images demonstrating what difference it can make here

contents • •

1 x Omega Reflector & Case 2 x Suction Cups for Omega Reflector

orders To save £10 on the typical High Street price for this innovative and very useful item simply contact the Guild’s office to order yours info@photoguild.co.uk. PLEASE NOTE THIS IS A TIME LIMITED OFFER Issue 7 - Creative Light Magazine :

Positive Space With over 40 years experience Paul is acknowledged as being one of the most experienced photographic trainers in the UK - A ‘Guild Master Craftsman’ who was also a ‘Fellow’ with the MPA, as well as a former MPA Director. Highly sought after across the UK and beyond, he was a highly trained press and social photographer and one of only three civilian photographers sent with the task force during the Falklands War. His work has been published in books and he has won numerous awards. He now prefers to help others learn and grow and is a specialist in mentoring photographers as well as an acclaimed judge in national and international awards.

good question I get asked many times is “how much space should I leave around a subject?” If only there were a simple answer. It’s certainly more difficult to make up a “rule” for it. If the image contains people who are not looking straight out of the frame towards the viewer, I think they should be looking into some space rather than looking out of the edge of the image.

paul rg haley

Negative space can add feeling to an image - perhaps to make someone/something look vulnerable or small. However, it can take away something by making the subject appear lost and insignificant. Care should be taken when composing a photograph to convey the feeling you want, rather than just adding some negative space hoping that all negative space enhances an image. It doesn’t.

Cropping an image too tight also can have a negative effect. Often I might say during a critique an image could have been enhanced had something been cropped out of the image. Usually, this is because we want to lose something that shouldn’t have been there in the first place and cropping is all we can do once the we have pressed the shutter. It doesn’t mean all images would be better tightly cropped. Again, no hard and fast rules here. Sometimes a tightly cropped portrait can be very striking especially if the subjects eyes are lit well and piercing right back at the viewer. One “rule” that usually works is “if you are going to cut something off, cut a lot off” . To explain: if you crop a finger end or point of a shoe out of

: Creative Light Magazine - Issue 7

an image re-crop, so the whole hand and wrist or the foot and lower ankle have gone. There is nothing worse than seeing a potentially good image ruined because a toe is missing at the edge of a frame. It shows the photographer didn’t bother with a small detail or missed the correct moment to take the frame. Allowing plenty of room when taking the original frame the image can, therefore, be cropped to place the subject on the first third line. I believe over time the words negative space have become confusing to some people. I would like to change the phrase to POSITIVE SPACE as I think it will help people to understand it more. Positive Space shouldn’t be a ‘space’ which is left at the side, top or bottom of an image just for the sake of it, but a space where something or someone is reacting to the space being there. If we all start using the term “Positive Space” we will get used to the idea the space should be adding to the image rather than taking away from it. Many images entered into competition are in landscape format with a person as a subject in the centre of the frame looking straight out of the camera and lots of space on either side. This space at the side is the negative space. The image could be cropped to an upright and enhanced by the crop. If the subject was looking to one side and more space allowed on the side of the image where the subject is looking, that space, in my theory, would become Positive Space. It would add to the image giving space for the subject to

look into. The Rule of Thirds is the placement of objects in a powerful composition to draw the viewers eye into the image. Before I go any further, please watch this short advert for Dulux paint. Watch and take notice how the Director wants us to see the most important part of the advert, either the first or last frame of each cut or where it finishes on a thirds line or point. Or the subject in the image is completely symmetrical in the center of the screen. Please watch the video: http://youtu.be/cm_3dplw9YQ Start noticing in most well-shot TV dramas the framing of the camera. The placement of the subjects within the frame is carefully framed to catch the viewers attention.

The use of ‘positive space’

“

X = ‘hot spots’ - use the elements of the Rules of Thirds for the placement of the subject and focal point of the image within the frame”.

Issue 7 - Creative Light Magazine :

cont...

ow start looking at images you like. Not necessarily your own but ones you’ve seen somewhere other than photograph Perse. Oil paintings at your local gallery, advertising billboards or magazine adverts. Do those images fit into the “rules” of thirds or symmetry? Once you start looking and imagining those lines dividing the images into nine squares, you will begin to think in thirds. And then you will start to take all your pictures that way without having to think even about it. It will become second nature to place your main subject on a line of thirds or their intersection. Of course, you can break the rules if you think the image will be better for it, but, those images are few and far between. To help you practice this also try to leave more space around your subject in-camera before taking a picture. Choosing this option to leave space will allow you to crop later if you miss the thirds or want a stronger composition. With bigger sensors used in modern digital cameras cropping into an image isn’t as destructive as it once was. There are usually plenty of pixels left to do the image justice. Use negative space to give balance to the positive space used, which then gives emphasis to what is important in the image.

The use of ‘positive space’

- Paul Haley

The use of ‘positive space’

: Creative Light Magazine - Issue 7

The use of ‘positive space to give foreground interest and depth to an image.

“

If we all start using the term “Positive Space” we will get use to the idea the space should be adding to the image rather than taking away from it”. - Paul Haley

Issue 7 - Creative Light Magazine :

Photovision

Road Shows 2015 W

e are pleased to be working with The Guild of Photographers at all of our shows this year. The Guild of Photographers will be holding their own workshops covering different subjects to our own, meaning that The Photovision Road Shows will be the most informative and lively shows around,

photovision trade shows

As we have been providing Photographers with our brilliant one day trade shows over the past 11 years, we have decided to spice things up a little.

Our next event will be held at the DW Football Stadium, Wigan on Tuesday 12th May 2015 with FREE trade show entry to see your trusted trade suppliers. We also have a variety of affordable workshops offering talent sharing of our favourite photographers, John Denton - The World Of Boudoir, David Pullum - Wedding Photography and Kenny Martin - The Ultimate Guide to Photographic Light and many more. Have you got your hottest ticket in town?, if not simply register at : www.forwardevents.co.uk

: Creative Light Magazine - Issue 7

SPEAKERS FOR THE GUILD OF PHOTOGRAPHERS Claire Elliott and Andrew Appleton will be at Wigan Tuesday 12th May 2015 Kate Hopewell-Smith and Andrew Appleton will be speaking at Windsor on Wednesday 10th June 2015

“

With every area covered for the photographer, our vision for 2015 is clear. We are on the Road, bringing our shows to a city near you”.

Issue 7 - Creative Light Magazine :

I’m really just a guy with a stick! “

brian john mclernon

A long time ago, I can still remember how the music played... NO, no, sorry where was I? Ah yes, as I was saying. A long time ago someone, somewhere, lifted a stick, then they marked a line in the sand and art was born. I don’t know what was different that day; maybe the sun was in the right place at the right time to bring out the texture. Or maybe this was our first child prodigy, but that will have to remain in the mists. Just imagine it though, they get all excited and start showing off to their friends and everyone they meet. And many go off telling their friends about the weirdo they have just met. On that day, the first critic was also born. Then 178 years later, I wake up one morning, and for a reason unknown to myself I want a camera. So I get a camera, a small one, and I begin to explore, to study the language, the mechanics and the metaphysics that is photography and now with hindsight an urge from my teenage years. To express the beauty, the colours and the textures of this magnificent life and this I now lay before you”. - Brian John McLernon

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

“

Brian’s pledges to quality and after care are second to none, and we feel we received a fantastic personalised service”.

: Creative Light Magazine - Issue 7

Q: Favourite camera and why? None, each one used with different intentions.

Q: Landscapes how long do you research a location for?

I don’t, I devour them when I get there.

Once you have chosen a specific location what are the next elements you add to the mix? I turn up.

What additional lightening, if any, do you add to your photography? As regards landscape, none. Flash if necessary when I’m accosting people.

What have you found the most challenging about being self-employed? Working.

What have you found the most challenging about photographing the landscape in Futurventura? It’s Futurventura.

How important is networking or social media to your business? Apparently it’s vital. I don’t do any.

Who are your main customers?

Visitors to Fuerteventura

Have your any formal photography training or are you self taught? If self taught where did you obtain your information from? Self taught. Curiosity is the key. Books and the Internet. Oh yeah - I just went and did it.

Who inspires you?

No one. Happy enough being me.

Q: Apart from sheer hard work, what

would you say is the main ingredient to your success? My Honesty.

Q: How do you sell your Landscape Photography?

At local markets.

What tips and advice would you give to someone interested in landscape photography? Just go and do it. Ultimately it is the only way to learn the tips and tricks anyway.

What would you do differently in your business if you could start again? I wouldn’t

How important is Photoshop in your finished images? For the photograph: zero. For the print engine: Pretty

Q: What is your favourite editing software?

Lightroom

Q: : What gadget or piece of

photography equipment have you on your wish list? Don’t have a wish list but if you’re buying, a 45mm TSE.

Issue 7 - Creative Light Magazine :

“

Over the years I’ve attended many seminars and talks by photographers of all genres but by far the most passionate landscape photographer I’ve ever had the chance to listen to was Brian Mclernon. He is a purist by heart and soul. Not only does his work captivate everyone but his teachings and insights do the same. I will never try to photograph a landscape again without applying some of Brian’s philosophy’s. - Ozzie Malik

: Creative Light Magazine - Issue 7

“

...I wasn’t sure which to chose, but your advice about going for the one which ‘makes your heart sing’ was just right”. - customer

Issue 7 - Creative Light Magazine :

â&#x20AC;&#x153;

Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot flyâ&#x20AC;?. - Langston Hughes

: Creative Light Magazine - Issue 7

Website? Do you have one? If so, did you design it yourself? Yes. www.daisychained-photography.com

What was your working background before becoming a photographer? Bricklayer interspersed with general lay-about.

How would you describe your style of photography and your approach? I use a blog to share photographs of my everyday life. Photographs that I create on the street, or wherever I happen to be, as an aid to mastering my photography. Probably more importantly because I love to photograph. How can these random snapshots help me improve? Because just by roaming the world with a camera I am training my mind to react to shapes and patterns, my head to listen to intuition. Photography, just like any other human endeavour, requires practice. There are no shortcuts, we learn by doing, by becoming involved.

How long have you been a photographer? Something along the lines of eleven and a half 12 years.

What photography books would you recommend? •

The Landscape Within : David Ward.

•

Perception and Imaging : Richard Zakia

•

The Practice of Contemplative Photography : Andy Karr and Michael Wood.

Q: Do you advertise? No .

Your favourite food?

Burgers or the deliciously rare Chicken EnCroute

Which three words describe you?

Lazy. Funny. Dedicated.

So who are you?

I’m really just a guy with a stick! - Brian McLernon www.daisychained-photography.com

Issue 7 - Creative Light Magazine :

in focus photography Insurance

Photographers & Videographers need a â&#x20AC;&#x2DC;Complaints Department â&#x20AC;&#x2122;

f you have only two minutes, watch this introductory video about Professional Indemnity insurance starring a Vaudevilleesque Flash the frog by visiting our website or following this link http://www.infocusinsurance.co.uk/ourpolicies If you are hungry for a little more information then read on. Professional Indemnity insurance is a critically important insurance protection whenever you provide a service to a client especially for a fee or commission. When you do this you raise the bar of responsibility and expectation owed to your client. If you fail to meet the professional standards they expect or simply fail to provide the service they have paid for then they can point the finger of blame at you and expect compensation in some form or other. If clients enlist the help of a lawyer to press their case then it can quickly become a disastrously expensive affair.

: Creative Light Magazine - Issue 7

hat can go wrong you may think;

•

Failing to turn up at a planned fashion shoot. Studio costs, model fees, Set costs, incidental costs of all let down Parties are examples of claims

•

Quality of Wedding pictures is a common complaint Loss of pictures especially of one-off never to be repeated events

•

Accidental breach of Privacy arising from unwanted media or online publication of pictures

•

Accidental breach of Intellectual Property Rights mainly Copyright

To be honest there is not enough room to illustrate the extent of the problem except to say that every Photographer should have a virtual complaints department. They should know in advance where to go to and get help in managing all complaints. When you have a policy with us, your very own complaints department is actually InFocus Insurance and ultimately your Professional Indemnity insurer. You have already paid for their help so it is madness to try to handle complaints on your own. If you do and you fail to notify and get permission from your insurer you can end up being set adrift by them and your complaints department will not be able to help. For more guidance speak to one of our trained advisers 0844 811 8056. Treat it like your very own complaints department. - Steve Hewlett In Focus Photography Insurance

Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7

gold award Congratulations Gillian Lloyd January 2015

Issue 7 - Creative Light Magazine :

How Google is learning to

Images

understand

Hallam Internet | Digital Marketing Agency

hallam internet

oogle isn’t just about text anymore. The search giant is making great strides in understanding and indexing images. Google’s GoogLeNet project was one of the winning teams in the 2014 ImageNet large-scale visual recognition challenge (ILSVRC), an annual competition to measure improvements in machine visual technology.

Do you like this picture of the dog in a hat? You glance at it, and you understand what it is. From a computing perspective, “understanding” images comes in many guises, but at it’s simplest, it means detecting, locating and classifying objects in the image. For example, the photo on the right contains two objects: A hat and a dog; and from the looks of things, he’s on holiday in South America. What underpins the ability to index images are neural networks, crunching through huge amounts of data, looking for common elements and patterns. These networks are attempting to mimic the way our brains work: filtering out the meaningless noise in what we see, and focusing on the meaningful signals. The question is: with all the computing expertise in the word, how hard is it to

: Creative Light Magazine - Issue 7

figure out that this is a dog in a hat? The answer: very hard.

It’s Time to Test Your Image Indexing Skills: What’s This? As part of the image classification task, Andrj Karpathy has created a website that he called the image labelling interface that provides a benchmark, comparing how well humans index images to the accuracy rate of the machine indexing. In short, it can test how well we humans do compared to the computers in terms of recognising and labelling images.

I labelled the above image as bread, whilst GoogLeNet thought it was either bread, a thimble, or velvet. In the end, we were both wrong. This is a chest. You can try out the image labelling interface yourself here: http://cs.stanford.edu/people/ karpathy/ilsvrc/

How Does Google Handle Images at the Moment? Historically, Google has referred to the textual information surrounding an image to gain an understanding of the content. Optimising images involves signals including the keywords in the text, the ALT tags, the nature of the links connecting to the image, and technical considerations like image site maps. Over the years, Google has experimented with improving the quality of its image search results with games like Google Image Labeler. Sadly no longer available, this game invited humans to pair up with another player over the web and simultaneously suggest keywords that describe a random image. Most recently, Google has made available Google Reverse Image Lookup, which uses image identification technology, rather than keywords, to find where images are being used on the web. This tool can be used to find similar images, and to discover how images have been modified. See also: TinEye

is better than Google’s, and close to the human level. And others are jumping on the image recognition bandwagon. Imagine how Twitter will make use of it’s acquisition of the image search and recognition start-up, MadBits. That all this research is taking place suggests that there is serious money to be made from intelligent image indexing.

- Susan Hallam Hallam Internet

Of Course, It Isn’t Just Google Why is the understanding and indexing of images important to companies like Google? Obviously it will improve Google’s image search facility. Perhaps less obvious is how it will help Google to better understand the content contained within YouTube videos. And thinking a bit more left field, better image processing could be used in other Google applications, such as Google’s self driving car. Thinking even further left field, Yahoo Labs have created an algorithm that can tell if a portrait is beautiful of not. Understanding images is big business. Facebook has its Facebook Artificial Intelligence Research Labs. Baidu, the Chinese search giant, has an image recognition system that they claim

www.hallaminternet.com Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7

gold award Congratulations Sarah Wilkes February 2015

Issue 7 - Creative Light Magazine :

spotlight Congratulations Ashley Winter Qualified Status - Newborn January 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Cris Lowis Qualified Status - Weddings January 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Shellie Wall Qualified Status - Newborn February 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Harry Lessman Qualified Status - Professional February 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

Have One Vision Imaging found the ‘Holy Grail’ for Photographers?

ne Vision Imaging (OVI), one of the UK’s leading professional photographic solutions companies, may just have found the ‘Holy Grail’ for photographers. Admittedly that bold claim comes from OVI themselves, but they’ve certainly had a huge amount of interest from what seems on the surface to be an invaluable service.

Photographers have long been using OVI’s intuitive and highly acclaimed Online Framing service via their website for many years. It has evolved to become the market leading framing website and earlier this year was recognised by being voted the ‘Best Framing Company’ in the UK by professional photographers. Now they appear to have gone one significant stage further by enabling an advanced ‘White Label’ service to their customers for FREE. Imagine using their website with your logo and your prices. Imagine being able to build frames and wall display products using the images you’ve shot for your client, right in front of them. Change the frame type at the click of a button; switch the window mount; add another mount if you choose, even decide the glazing options. You can even change the wall colour to match that of the client’s house where the product will be! Once chosen, simply save the order and send it to OVI once your back in your office or studio. Now that is pretty special! To find out more about One Vision Imaging please visit their website at www.onevisionimaging.com

: Creative Light Magazine - Issue 7

spotlight Congratulations Vicky Cooper-Strongitharm Qualified Status - Weddings February 2015

Issue 7 - Creative Light Magazine :

spotlight Congratulations Nicola McCormack Qualified Status - Newborn February 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Ian Hage Qualified Status - Professional February 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Maddy Rogers Qualified Status - Newborn February 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

With all my heart... Jenna Henderson is a passionate shooter with the opportunity to shoot a lot of Disney weddings. Jenna spoke with Photographer’s Edit CEO, Nathan Holritz, about her photography business, what she enjoys aside from photography, and how she has time for it all with her hectic schedule.

athan Holritz: What is one word that would describe you as an individual? On a personal level.

Jenna Henderson: Passionate. I think that’s it ... or maybe intense. I try to do everything I do with all my heart. When I started doing photography at first, I thought it would be something that would be a part-time gig. Now my whole world revolves around it. NH: If you could spend your time on anything that you wanted to, what would that thing be? JH: I spend a lot of time with my family, and we like to travel and do things like that. Photographer’s Edit has also allowed me to expand on projects that let me give back to the community. One of the things that it’s allowed me to do this year is take on a new project. I’m going to schools and teaching how to tell stories through photography. If I was just sitting behind the computer and editing all day, I wouldn’t have the opportunity to go teach about taking photos. NH: How long have you been in business? JH: I think I’m going into my third year now. I got really lucky because after doing a Disney wedding, I was added to their vendor list, so I do a lot of Disney weddings. Then they started asking me to do marketing things for them, and now I’m doing corporate events for them and different side

: Creative Light Magazine - Issue 7

projects. It’s really been fun! NH: How many hours a week do you put into the business? JH: I was putting about 60 hours a week into the business, and now I’m probably putting about 40. It’s a little more sane for me.

is now

NH: Was it the hours that pushed you toward using Photographer’s Edit? JH: Yes, it really was. Part of the problem was that I was getting so many weddings! I wanted to make sure that every wedding that went back to the couple was seamless. I was doing so many weddings, staying up so late, going through each photo and trying to make it perfect. I was just going crazy. When I sent off my first wedding to Photographer’s Edit, I was really nervous about it. When it came back, it looked even better than I expected. NH: So outsourcing has helped your business? JH: It’s perfect. I feel like we finally have a good handle on everything and that our work-flow is really streamlined. It was hard because my business grew very fast and so for the first year I felt like we were just so overwhelmed in trying to get by. Now that we send every wedding that way, our workflow is so much easier, and I think we are able to offer a really good product to people because of it and in a very good amount of time too. NH: Right. Then that’s also freed you up to be able to work with or be able to give back to the community as you were talking about earlier? JH: Right. It’s allowed me to do a lot of different things. Just in December, I had nine weddings that I sent in to you guys. If I had been at home editing nine weddings, I would have been behind my computer going insane. I was able to do a charity photo shoot for a friend who has cancer, and then I was able to do another event for a nonprofit, and then I was able to start getting this school event organized.

e’re excited to announce that ProImage Editors is merging with Photographer’s Edit!

With PE, you can expect the same great services, high-quality editing, and excellent customer service. PE is all about custom correction, so you can be sure the editing matches your style. Photographer’s Edit is dedicated to the idea of freedom. We give busy photographers like you the time to do what really matters. Read your kids an extra bedtime story. Prepare a candlelit dinner for your special someone. Or book another shoot. Whatever you enjoy, go do it. Learn more at www.photographersedit.com

Just having that free time has allowed me to do some things that I want to do with the community and with my business. There’s no way, if I didn’t send those weddings in, that I would have been able to do any of that stuff.

Read the rest of the interview at www.havealife.com

Issue 7 - Creative Light Magazine :

spotlight Congratulations Karolina Grabara Qualified Status - Professional March 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

spotlight Congratulations Rob Ryan Qualified Status - Professional April 2015

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

the boys ÂŠ 2015 Mark Lynham http://www.marklynham.com 86

: Creative Light Magazine - Issue 7

Issue 7 - Creative Light Magazine :

Want to join us? P

rofessional, enthusiast or both - if you are a photographer the Guild can help you to get the most from your camera in a friendly and supportive way!

Our membership includes full and part-time professional photographers committed to delivering the highest standards to their customers, distinguished social photographers of many years standing, plus enthusiasts who are involved with photography simply because they ‘love it’, as well as aspiring photographers who can benefit from the experience of our established members. We offer a training and mentoring from internationally respected tutors, have industry relevant assessment processes and differing membership levels, and can save you £££’s through the largest discount scheme in the Country! We also offer incredible legal protection and support for those in business as well as much more! Perhaps this is why the Guild is growing so quickly! There are two main types of Membership Regular Membership .. which is suitable for all (especially enthusiasts or those based abroad) - just £90 per year ‘Pro’ Membership .. which comes with a large amount of additional services ideally suited to the professional photographer based within the UK - just £120 per year

‘Pro’ Membership includes .. Loss of earnings protection, a 24/7 Legal Advice helpline, 24/7 access to a team of PR experts, a Tax Advice helpline, a mediation service, and an on-line Business Legal Services facility where you can personalise and download around 100 legal documents. Also included is Business Legal Cover which responds to a generous range of legal disputes that can arise from day-today business activities including Tax Investigation Protection which covers a formal aspect or full enquiry into your business tax affairs by HM Revenue and Customs, Contract Dispute and a Debt Recovery service which protects you if a customer or supplier doesn’t fulfil a contractual agreement, Compliance and Regulation cover which defends you from business-related prosecution or civil action brought under the Data Protection Act and provides cover to appeal as well as Employment Protection and Compensation Awards which provides protection from disputes with past, present or prospective employees. Plus more .. and all the benefits of Regular Membership of course

Regular Membership includes .. FREE Cloud based ‘back-up’ (which otherwise costs £120), access to the highly recognisable Guild logos and the highly regarded Guild assessment programme, access to critiques and mentoring plus 121 or group training opportunities and social events. There are also monthly photography competitions with the opportunity of feedback to help personal development and a FREE bi-monthly magazine. Members also get a FREE listing on the Guild’s contemporary and powerful search engine, FREE Downloads, private FB group areas ideal for networking, advice and support, a Priority Data Recovery service and an expert post-production service. There is also access to over 22,000 discounts including discounted and comprehensive insurance, up to 12% off at the Apple Store and 7% off at many High Street retailers (including Argos, Currys and PC World! Typical savings can be over £1000 per year. Remember - qualifications from other respectable organisations are transferable from ‘Licentiate’ (an ‘L’ as they are commonly known) to our ‘Qualified Status’. They may also be at higher levels. ALL THIS IS AVAILABLE FROM JUST £90 A YEAR(LESS THAN 25 PENCE A DAY) IF YOU WANT TO KNOW MORE ABOUT ANY OF THE ABOVE OR WHAT THE GUILD CAN DO FOR YOU PLEASE GET IN TOUCH. Alternatively, if you’ve read enough you can join here.

: Creative Light Magazine - Issue 7

Creative Light Readers Special Offer - Save up to £21! “there’s never been a better time to join the Guild”

Join the Guild now and get your first years Pro membership for just £99 (saving £21), simply by joining on-line, selecting the £120 annual membership option and inserting the code ‘SAVE15’ OR get your first years Regular membership for just £75 (saving £15), simply by joining on-line, selecting the £90 annual membership option and inserting the code ‘SAVE15’ You will also get up to £150 worth of FREE Training Downloads (of your choice) from Lovegrove Consulting and Engage Live as a thank-you for joining us!

This is a time-limited offer and may be ended at any time. More details are on the Guild’s website.

The Guild of Photographers Website www.photoguild.co.uk

Issue 7 - Creative Light Magazine :

: Creative Light Magazine - Issue 7