Creative Light - Issue 55

Image by Wilkinson Cameras’ Ambassador, Kevin

Julie Oswin EDITOR

Welcome to the latest issue of Creative Light, the Guild of Photographers’ online magazine. We are excited to bring you an array of articles and features that capture the essence of photography and the creative process behind it.

We are celebrating the success of our members who submitted their photography panels for qualification and showcase their work throughout the magazine.

So whether you’re a seasoned pro or just starting in photography, Creative Light has something for everyone in this issue - we hope you enjoy!

Front Cover - Issue 55

Superb image captured by Guild Photographer Melanie Sharp. Melanie was awarded a Gold Award for this image in this year’s Image of the Month competition. Many Congratulations - great shot with so much expression.

Can Familiarity Help or Hinder your Photography?

Charlotte Bellamy

“ As I browse social media posts, there is no doubt that I am drawn to the amazing images captured in exotic and exciting far away destinations. It would be very easy to believe that this is in fact, the only way to make images that are attention grabbing and compelling. However, if my photographic journey in the last 10 years has taught me one very important thing, that is; that it is absolutely NOT necessary to travel the globe to make beautiful images.

I moved to the Netherlands from the UK eleven years ago, expecting a brown, flat and uninspiring landscape. In fact, the complete opposite has happened, and I am in constant awe that I can make new and exciting images literally on my doorstep year on year. I often ask myself why this is.

Without question, I now know my immediate location like the back of my hand. I know exactly where the sun rises and sets at any given point in the year. I know the month the cow parsley flowers in the verges. I know the trees turn a beautiful golden colour at the end of October, and know that if it rains in the evening and is warm the next morning, we are almost guaranteed low-lying mist. So, the question I pose here, is whether this familiarity with my surroundings helps or hinders my photography. An interesting question to ponder...“

Early morning sun rays – no fancy post processing, just take your breath away beauty on my own doorstep. I saw this on my drive down my road after taking my son to school one morning. I grabbed a few phone shots, then whizzed home for my camera!

Without question, being familiar with something can bring massive benefits. If you are familiar with something, you will find the experience that it offers is comfortable, easy, secure and supportive. All these feelings can help immensely with the ability to make beautiful images. With these feelings, confidence can develop, and you can blossom and develop as a photographer. For me, being familiar with my surroundings has allowed me to concentrate on expressing my creativity, exploring new techniques and being open to experimentation. I’m never worried that I will ‘miss a shot’ because I’m only in that location for a few days. I know for a fact that the desire not to miss out can have a massive negative impact on my willingness to be explorative with my photography. This desire to push the boundaries and play and see what happens without expectation, is what keeps this doorstep location exciting for me.

I feel the need to return to the word ‘confidence’ at this point and to reiterate just how important that having confidence in your own ability can be to develop your journey as a photographer. Self-doubt can be a massive inhibitor to the journey forward, and being familiar with where you photograph can really help negate self-doubts. I refer to landscape and creative photography in my article, but just think how much more confident you can be photographing families or pets in a location you know, or new-borns or still life using a lighting set up and backdrops you know.

My road in the mist , the repeating pattern, and such neatness and order still amaze me– ICM

The images I share with this writing, have all been made within 50 metres of my front door, and hopefully you will recognise the diversity, and explorative nature of them. As a set they are not so cohesive, but my aim was to show how familiarity can encourage you to push boundaries. You will see simple traditional photography, mingled with Intentional Camera Movement (ICM), multiple exposures and experimentation in focus point selection. Making the choice of just these images was insanely difficult, because along with the wider landscape style images, I also love to isolate details and individual elements that capture my eye within the location. Swaying grass, bright red poppies, frozen puddles and frozen snow sculptures formed by the wind are just some of the images that show how my mind and creativity roams the location I am familiar with.

My road in the snow in the eirie blue light of the early evening – silent and cold I am the only one on my road

Of course, familiarity, can without also have negative effects. You may find you lose the feeling of a challenge, you may become bored or over confident. But even these negatives can have a positive effect if you recognise them. After all, if you recognise that feeling of needing to move on and challenge yourself, that has to be positive – it means that your photographic journey is forward moving and not stagnating.

As time has passed over eleven years, it would have been very easy for me to become bored or over confident with my location, and almost not see it as an opportunity for a photographic foray. But by recognising the variation in opportunities it offers, I have remained intrigued, stimulated and excited by it. I almost treat it as a playground for experimentation.

I love the outdoors, living immersed in it, allows me to react immediately if something catches my eye. With absolutely no planning I’ve been known to turn dinner off and grab my camera to photograph the sunset I’ve just noticed through the kitchen window. Or to pull on my wellies and open the door, picking up my camera as I leave, because I have heard the honking of the passing migration of geese flying over the house.

Without question, for me, familiarity is a positive thing. It allows me to make reactive and spontaneous images. It allows me to concentrate on creativity, and not dwell on the technical aspects of photography. It encourages me to experiment and play. It has built my confidence and allowed me to develop skills which I utilise wherever I photograph. So next time you feel that travel to a new location is necessary to invigorate your photography, ask if there are opportunities on your doorstep, in your front garden or in your neighborhood that you have been missing.

- Charlotte Bellamy Master Craftsman + Panel Member

Hope spring – a multiple exposure of blossom on the plum tree in my garden and the trees outside my house looking still bare with a stormy sky and sunlight.

Rains fall and bubbles swirl in my waterbut! A multiple exposure of a sharp image and ICM image combined for depth and interest.

Geese take flight. Every year the geese appear with much noise and I love it – on my doorstep, nature is amazing. Playing with ICM photography techniques, learning bird ICM a whole new challenge

Image credit: Mark Lynham

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MASTER CRAFTSMAN Julia Healey

“In ancient times cats were worshipped as gods; they have not forgotten this.” - Terry Pratchett.

Cats have been adored and worshipped since as early as the Ancient Egyptians who saw them as Gods, and also during the 17th Century in Japan, where the Gotokuji temple stands, and is said to be the birth place of the Luck-Inviting Cat figurine that we still see worldwide today.

I grew up with all the typical pets, but I have always adored and had a strong bond with cats, and always get a little giddy when I meet and work with other people who have that same familiar, special kind of cat crazy level as me who see their cat(s) as part of their family.

I believe that each pet has their own individual personality just like we do, and am passionate that they are very much part of the family, which is why I started photographing pets around five years ago shortly after adopting our two cats, in order to capture some truly beautiful and natural portraits of them, but to also capture their personality and preserve them in everlasting memories. This is also what I want to portray in my panel, that cats do have a certain level of obedience, and that there is absolutely affection and connection between us and them (no matter how much they appear to look down on us as their human slaves).

Dogs are (usually) the easier and expected subject to photograph, giving that they obey commands and will generally want to please their owners. Cats tend to be more difficult to navigate and have more of a mind of their own, so I feel there is a certain higher level of patience with photographing them, which makes it amazingly rewarding when the clients gallery is delivered.

All the clients behind the furry faces featured in my panel were very uncertain whether I would be able to capture what I was hoping to after seeing my idea as they felt their cat “wouldn’t cooperate”, but they were all pleasantly surprised and completely in awe with the final images in their galleries. This is through my dedication and true passion to create memories that I know clients will love, as I would if they were my own, but also through a thorough understanding of how cats work and knowing the signs reflecting their feelings at a given time.

For my panel I wanted to portray the simple beauty, cuteness and elegance that I feel cats naturally have, but also capture some of their personality in the images. All of them sat still for a certain length of time (some more than others), and you can see who are more playful and mischievous, those who are calmer, and some who just wanted all the attention. “

- Julia’s Panel was upgraded from Craftsman to Master Craftsman on the day! Many congratulations Julia, a wonderful panel of Cat’s expressions!

MARCH | APRIL 2023

Hayley Harraden

Emma Pope

Grace Fieselman

Helen Otton

Nika Kuplenk Jo Tresidder

Magda Bright

Kim Robinson

Marietta Balassa

Jayne Bond

Steve Collins

Molly Hollman

Steve Collins

Sarah Dowdall

Julie Herbert Adams

Melanie Sharp

Craftsman of Sheffield

A study of the metal trades

The ideas for this work were inspired by: The emotional, the narrative and the documentary. After qualifying with a set of beauty and fashion images, I was keen to look into another area of photography for my Craftsman submission.

My home city of Sheffield has a long and proud history of craftsmanship in the steel and associated metal trades. Though I have long known this to be the case it was only when I inherited some cutlery made by my great grandfather and his brothers did this thread of history become tangible. Further research revealed my family had been involved in the metla trades both as cutlery manufactures and electro-platers from 1750 until around 1950. Though I had never been personally involved in this, I still thought there was a story to tell. Long gone are the days of thousands of men and women involved in the mass production of knives, teaspoons, penknives and hipflasks and similar items. What I wanted to create was a series of images which showed the men, women and machinery were crafting in the 21st Century. The question I was asking was what the basis of continuing small production runs of handmade items in a world of global commerce and competition?

This project was about the people on the shop floor, illustrating their skills as craftspeople without shying away from the sometimes monotonous nature of the work, in conditions which have little changed in a century. The venues I visited had no computer controlled lathes, CNC machines, laser cutting tools or high tech production schedules. Despite this the craftspeople of Sheffield continue to make some of the world’s finest products which continue to be in high demand across the globe.

- Stephen Memmott

Sonia Fairs

Qualified Guild Photographer

April 2023

Cewe: The Trusted Printing Experts for Professional Photographers

In the digital age, where photographs often remain confined to screens and devices, CEWE offers a refreshing alternative by providing high-quality photo products that capture memories in a tangible and lasting form. With a rich heritage spanning over a century, CEWE has become the trusted partner of professional photographers, empowering them to bring their digital masterpieces to life in print. From our beginnings as a photo studio to our current status as a European market leader, we have consistently delivered the highest quality photo books and print products, earning the trust of photographers worldwide. In 2022 alone, CEWE printed a staggering 2.28 billion photos.

A LEGACY OF INNOVATION

Our journey is a testament to our company’s unwavering commitment to pushing the boundaries of printing technology. In 1961, we embraced the transition from black-and-white to colour photography, expanding our offerings to include photo development and printing. This pivotal moment marked the beginning of CEWE’s legacy of innovation.

Throughout the years, CEWE has continued to pioneer ingenious new printing advancements. In 1994, we revolutionised the way photographers catalogued their images with the introduction of the Photo Index. Furthermore, CEWE once again blazed a trail by installing the world’s first digital photo printing kiosk, the CEWE Photostation, making professional-quality prints accessible to all. Today, the CEWE Photostation can be found in over 25,000 partner stores across Europe, including Boots stores in the UK.

EMBRACING THE DIGITAL REVOLUTION

Recognising the evolving landscape of photography, we opened a state-of-the-art printing facility in Warwick, UK, in 2005. The same year, we launched our flagship product, the CEWE PHOTOBOOK, a game-changer in the industry. Since its launch, over 80 million have been sold, cementing our status as the preferred choice of discerning photographers. Today, one out of every three photo books sold in Europe is a CEWE PHOTOBOOK.

UNCOMPROMISING COMMITMENT TO EXCELLENCE

At the heart of CEWE’s success lies our unwavering dedication to delivering unrivalled quality. With a team of highly skilled professionals, each project undertaken by CEWE is approached with the utmost care and precision. Leveraging our unparalleled expertise in printing for photographers, we ensure that every aspect of the final product is nothing short of perfection.

To achieve this, we employ only the finest print processes and materials, chosen and approved by photographers themselves. The result is vibrant and long-lasting prints that make an impact. With CEWE, photographers can trust that their images will be transformed into masterpieces worthy of display.

ADVANCED PRINTING TECHNOLOGY: TRANSFORMING VISION INTO REALITY

As a pioneer in the printing industry, CEWE has embraced cutting-edge technologies to bring photographers’ visions to life with incredible precision. Our passion for delivering the highest print quality possible is evident in our meticulous attention to detail and constant pursuit of innovation.

To ensure consistent and vibrant colours across all materials, our experienced colour technician team has developed custom colour profiles for each type of material we print on. This scrupulous calibration process guarantees that every print accurately reflects the photographer’s intent. We understand that colour accuracy is a critical component in image making, and our daily calibration tests and continuous spot checks maintain our unwavering standards throughout the production process. Our extensive range of printing types further enhances the versatility and quality of our printed products. Whether you prefer the classical beauty of silver halide prints or the versatility of digital and inkjet printing, you can trust us to produce high-quality images that meet your expectations.

SILVER HALIDE

Our silver halide printing process, also referred to as C-type or C-prints, is a traditional technique that produces exceptional results. The paper used contains light-sensitive silver halide crystals and dye couplers that are suspended in layers of gelatine. When exposed to light, the paper undergoes a chemical reaction that beautifully recreates natural skin tones, shadows and highlights – making it perfect for portrait photographers.

DIGITAL PRINTING

Our robust digital printers provide strikingly vivid and durable colours, resulting in an end product that’s sure to leave a lasting impression. The process involves the use cyan, magenta, yellow and black (CMYK) digital inks applied directly onto the substrate. It’s highly versatile, capable of accommodating a wide range of media substrates and can even produce double-sided (duplex) prints with ease.

GICLÉE PRINTING

Giclée printing, also known as inkjet printing, uses nozzles to spray ink directly onto the surface. Our highresolution digital inkjet printers employ up to 12 colours, giving stronger gradient transitions and a wider colour gamut that provides greater depth and richness to the final print.

UV FLATBED PRINTING

Ultra-violet (UV) flatbed printing utilises UV lights for swift printing and instant ink curing. This process recreates photographic detail to incredibly high resolutions and generates vivid colours. Our advanced UV printers boast exceptional application versatility, allowing you to produce more on a vast array of non-porous materials.

EMBRACING SUSTAINABLE INNOVATION

CEWE not only leads the industry quality and technological advancements but also champions sustainability. We understand the importance of minimising our environmental impact while delivering exceptional prints. That’s why we’re proud to introduce our latest innovation – the CEWE PHOTOBOOK with Recycled Inner Pages, which recently received the prestigious 2023 TIPA World Award for ‘Best Photo Service Worldwide.’ This recognition showcases our steadfast commitment to both excellence and environmental responsibility.

RECOGNITION OF EXCELLENCE

Our relentless pursuit of perfection has garnered us numerous accolades, reinforcing our position as an industry leader. We are honoured to have been awarded the 2023 TIPA World Award for ‘Best Photo Service’ for the sixth consecutive year and the seventh time in our history – a remarkable achievement in our industry. These accolades celebrate our dedication to delivering outstanding products and services that exceed expectations.

In previous years, our commitment to innovation and exceptional craftmanship led to TIPA World Awards for our Personal Slipcase for the XL Square CEWE PHOTOBOOK, A2 Calendar with Gold Highlights, and Leather and Linen CEWE PHOTOBOOK covers. These prestigious awards validate our tireless efforts to provide photographers with unique, top-quality products that launch their work to new heights.

A PARTNERSHIP BUILT ON TRUST: Unparalleled Support for Professional Photographers

At CEWE, we recognise the unique needs of professional photographers, and we have built our services around their trust and satisfaction. Our dedicated team is passionate about supporting photographers throughout their creative journey, providing an exceptional level of customer service that goes above and beyond.

We understand that selecting the perfect print option is crucial, and our experts are here to offer guidance and expertise, ensuring that every photographer’s vision is brought to life as they envisioned. Our professionals are available by web chat, phone and email to help you with file preparation, screen calibration, paper sizing, bleeds and any other printing-related queries.

EMPOWERING CREATIVITY: CEWE Creator Software

At CEWE, we are passionate about helping photographers bring their creations to life. We understand that showcasing their work in a unique and personalised way is essential for photographers to make a lasting impression. That’s why we have developed the CEWE Creator Software, an incredibly powerful tool designed to inspire and assist photographers in creating stunning photo products. Our Creator Software boasts an intuitive and user-friendly interface that allows photographers to effortlessly navigate the design process. Packed with a wide variety of fully customisable templates, deluxe upgrades and creative elements, photographers can unleash their creativity and design photo books, wall art, and other products that fully reflect their unique style and realise their creative vision.

OUR CORE COLLECTION: Extraordinary Print Options for Photographers

When it comes to migrating your digital images to the real world, CEWE offers a myriad of options that go above and beyond the ordinary. From the timeless appeal of the CEWE PHOTOBOOK to the captivating allure of our wall art, our comprehensive product range is designed to inspire and amaze. Discover our core collection and see the possibilities available to showcase your photography.

EUROPE’S NUMBER ONE PHOTO BOOK

With the CEWE PHOTOBOOK, you can be confident that your photos are in capable hands. Drawing on over 60 years of printing expertise and time-honoured bookbinding techniques, we use only the highest quality, archival-grade materials to ensure that your photos are reproduced with exceptional detail and colour accuracy. Whether you’re creating a portfolio of your work or are looking to preserve your memories in a gorgeous book, the CEWE PHOTOBOOK delivers impeccable results every time. We offer a variety of photo book formats to suit every photography genre and layout preference. Our XXL Landscape is perfect for landscape scenes, the XL Square provides space for more varied and experimental layouts, and the Large Portrait is ideal for portrait and street photography. Customisation lies at the heart of the CEWE PHOTOBOOK. You have complete control over every aspect of your project, from the premium paper types to the seamless layflat binding. Add videos to bring your memories to life and choose from a range of deluxe covers to showcase your work in a professional manner. For an extra touch of sophistication, consider adding elegant Highlights to really make your photo book stand out.

CAPTIVATING WALL ART

Transform your photographs into stunning wall art that captivates viewers. Our range of wall art options includes acrylic prints, aluminium prints, foam board, framed photo prints and premium posters. Each offering a unique way to showcase your photography.

Whether you prefer the classic elegance of a framed photo print, the modern sleekness of acrylic, the convenience of foam board, or the contemporary vibrance of aluminium, our high-quality materials and sophisticated printing practices will promote your images to gallery status.

PRESERVING NATURE’S BEAUTY: CEWE’s Commitment to Sustainable Printing Practices

As a company deeply rooted in paper-based products, CEWE is acutely aware of the importance of preserving our natural resources and minimising our ecological footprint. We understand that sustainable printing practices are not only a responsibility but also a way to honour the beauty of our planet. That is why we have taken significant steps to integrate sustainability into every aspect of production.

FOREST STEWARDSHIP COUNCIL® CERTIFICATION: Upholding the Highest Environmental Standards

In 2013, CEWE proudly attained certification from the Forest Stewardship Council® (FSC), an esteemed international non-profit organisation dedicated to promoting responsible forest management worldwide. This certification stands as a testament to our unwavering commitment to maintaining the highest social and environmental standards in the market.

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REDUCING RESOURCES AND EMISSIONS

We understand the significance of resource conservation and reducing carbon dioxide emissions. To this end, we have implemented various measures to minimise our environmental impact throughout our printing processes. By employing advanced technologies and efficient production methods, we strive to optimise resource usage and energy consumption.

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ELEVATE YOUR PHOTOGRAPHY WITH CEWE

Join a community of photographers who have placed their trust in CEWE for their printing requirements. Our reputation for exceptional quality and service has made us the print lab of choice for many respected photographers. With our state-of-the-art facilities, cutting-edge technologies, and a team of dedicated experts, we ensure that every print reflects the true essence of your artistry. Choose CEWE and experience the difference that our unwavering commitment to excellence brings to your prized photographs. From concept to creation, we are here to support and guide you every step of the way. Whether you’re an established professional or an aspiring photographer, our diverse print solutions will unlock new dimensions of creativity and enable you to present your work in the most impactful way possible.

Simon Newbury

MASTER CRAFTSMAN - MAY 2023

“ I started out photographing cars with a variety of light-painting techniques which actually sold quite well, but they didn’t quite sate my desire. Cars move, they race, they’re fast – they aren’t there just to be looked at. I wanted to create pictures that conveyed the sense of speed, but I hadn’t the money to hire someone to drive a second car whilst I perilously lean out the window to photograph as we race down a road that had probably had to have been closed to the public at prohibitive expense. So, after much internet delving I came across a technique which I could do with just myself, the car’s owner and a very small stretch of road or even a driveway. It involves attaching a very long boom arm to the roof of the car, a very wide lens, and a strong ND filter to allow for long shutter speeds in daylight. The idea is that the camera is fixed to the boom by an adjustable arm, as far from the car as possible. The car is then moved very slowly along, ideally by pulling so there is no engine vibration, but usually it’s gently driven, and the photographs are taken. My exposures are usually around the 4 second mark, over which time the car has only moved about ten to fifteen feet. This allows for a full rotation of the wheels and the background to be suitably blurred creating a sense of great speed whilst in actuality, being incredibly safe; safe enough that I can walk backwards as the car is driven forwards, gently steadying the camera if needed whilst taking photos using a remote trigger so as to not wobble the camera any more than the road surface is already doing!

Once the photos are taken, it’s back to the PC and Photoshop to remove combine images as necessary; as the car and camera are fixed to one another in perfect ynchronicity, it’s very easy to take sections from various images to create the best possible image, a bit of road here, a tree there etc. The single trickiest part is making sure the reflection of the boom is removed in all shiny surfaces and any shadows are also removed. And there you have it, my Craftsman panel.

From here, I hope to continue to photograph cars as part of my work, but one of the things I love most about my work is the sheer variety of it. But whatever I photograph, I’m pretty sure the Guild will be there with me. I may not be the most outspoken or interactive member, but alongside giving me the confidence to push my photography to the highest levels, being a member of the Guild is like having a friend who’s always got your back and I know if I have a question or a problem, they’ll be there to help.

- Simon Newbury MCr

Simon’s Panel was upgraded from Craftsman to Master Craftsman on the day! Many congratulations Simon!

Emma Dunham The Foodies Photographer

Emma is an award-winning photographer with over 16 years of experience as a Professional Photographer, specialising in food and drink products and all things people related. She loves bringing your food to life by delving into the psychology of what makes customers want your food!

She creates beautiful custom imagery that ties the emotion of your food and your team into gorgeous storytelling visuals that tie your entire business brand together.

Emma helps business owners and entrepreneurs increase their visibility through a beautiful bank of bespoke images to attract their ideal clients.

Website: emmadunham.co.uk

LinkedIn: Emma Dunham Food Photographer and Mentor

Instagram: emmadunham.food photography

Facebook: Emma Dunham Food Photography

Food Photography Composition

If you think you plonk a bit of fresh food down on a table and the magic happens, you are going to be in for a shock. Because food does not have emotion attached to it (like a romantic wedding, cute puppy, stunning scenery) we have to create it.

If we haven’t thought through how we want people to feel, how can we just photograph an item of food, it’s just a product devoid of emotion.

You will understand and use photography composition techniques in other genres of photography, so let’s now apply these compositional rules to food.

COMPOSITION RULE 1 HERO OF THE SHOT, THE STAR!

This is by far the most important part of food photography, we don’t want the main act to get lost with the supporting cast.

We need to start by identifying what is the hero in our shot, if we are confused our viewers eyes won’t be drawn to it.

Are we looking at:

• The cake or the slice of cake

• The burger or the fries

• The champagne or the bottle

• The smoothie or the fruit

No answer is wrong, it will be down to you if you’re shooting for yourself or down to the clients if it’s a commissioned job.

If you are shooting for yourself, identify the star and then build the rest of the image round the star, this way you will have it centre-staged at all times.

If you are shooting for a client ask what is the most important piece in the setup if you are not sure. It could be the icing not the cake, or the meat not the burger. Get super clear on what it is before you shoot.

If you concentrate on those skin on hand, cut chips to die for and the client is wanting to show off their pies, you have missed the brief and that costs time and your reputation.

Pies are the star – selfies and autographs encouraged!

So how that we have identified that we need to concentrate on our hero.

How do we do it?

Think of a star on the stage – they are brighter, they sparkle and don’t trip over the supporting cast. So that’s what we do.

WE make the hero BIGGER, BRIGHTER, BOLDER, CLEARER than the back-up singers. Let’s break that down… BIGGER

To ensure our eyes rest on the hero, we have to make it bigger. We can do this in two ways.

Put it on a bigger plate, or raise it up so it’s higher. Or… we use our camera to get closer to the hero so that the subject is bigger. That’s what we do with food and then focus in on the hero and boom it’s in the spotlight.

BRIGHTER

Back to the spotlight on the stage, making our food hero the brightest part of the image, brings our eyes back to it. If it’s not brighter and we need to get more light in, we can use a snood on an artificial light to give that spotlight to the hero, or we can bounce light back in, with white card, foil or a reflector just over the hero so it’s brighter than the rest of the image.

If all the image is lit exactly the same it doesn’t help our eyes to know where to rest and also doesn’t help shape your food (but that’s another debate for another day).

BOLDER

For example, if we took a photo of a brown croissant, we could lift the colour by putting a bright napkin underneath it to make it brighter.

The napkin needs to be large enough and bright enough to draw the eyes to it, but not to sparkle and dazzle – it’s not the hero of the shot.

Where we can confuse the eye, is having the non-hero brighter, with more striking colours which automatically draws our eyes to them, we need to mute them down to save the hero.

CLEARER

Don’t crowd the star, stand back backing singers enhance the star don’t take the limelight.

To make our food clearer we need separation between anything else in the shot, move the rest of the styling elements slightly away from the hero, so that our eyes can distinguish the hero, especially in a busy shot. Also by moving the props backwards and using the depth of field it tends to make the background a little blurry, therefore creating a crisp sharp effect on the hero. The amount of blur will be dependent on the aperture setting and the lens you are using.

COMPOSITION RULE 2 RULE OF ODDS

In photography we know the rules of odd numbers are more aesthetically pleasing to the eye and it’s no exception with food photography.

Working in even numbers makes the food more formulaic, functional and just a product, working in odd numbers ensures it looks artistic, a treat and something to be adored. Number wise, I would usually start with 3, if that wasn’t working go to 5, but just ensure it doesn’t look placed. The rule can be ignored if you have lots of random pieces of food, you can get away with not photographing in odds as it won’t show with the large amount of ingredients in the shot.

However if a client has 4 smoothies to photograph you can’t say “can I leave one out” you just need to get creative with your styling or line them up like suspects in a police line-up.

COMPOSITION RULE 3

When you look at your food you need to decide if it will look better off set to the camera or centralised. Let’s break that down and see how that looks.

RULE OF THIRDS

This works well, when you have a large plate, cake or meal that you want to make smaller – you can use the image to your advantage and move some of the food out of the image.

For example if you had a large bowl of soup that was over powering the image, by moving a proportion of the bowl out of the image, it will fit better with the other props and food in the image.

The same goes for a big cake, which may not look very exciting until it is cut open. So the slice of cake is the hero but moving the cake out of the image slightly won’t overpower the slice of cake.

COMPOSITION RULE 4 CENTRAL & SYMMETRICAL

Look at the dish and decide if it’s better to see the whole thing. Some dishes or foods would look odd if they are offset as we need to see the whole dish to get the full picture.

If you have a stack of pancakes or waffles or a bowl of food, it may look a little odd if you cut them off and apply rule of thirds to the image. With rule of thirds, central and symmetrical composition, decide on which way to shoot it before you set it up, it will save you time.

COMPOSITION RULE 5 LEADING LINES

Can be created very easily with food as we have

• Cutlery

• Chopsticks

• Pouring liquids

• Steam

• Sprinkling

All of these draw our eyes down to the main hero

COMPOSITION RULE 6 ANGLES

Are exceptionally important with food. There are 3 key angles for food, so it just depends on what food you have as to which angle you go for -

EYE LEVEL

Great for burgers and food that have more detail inside it rather than on top.

45 DEGREES

Useful for when there is detail on the top of the food and inside the food.

FLATLAY

When the detail is just on the top and you can spread props out to tell the story.

Choose the right angle for your food and it will love you forever.

COMPOSITION RULE 7

FILL THE FRAME

If you want to see all the detail in your beautiful food then get closer As long as you are not blurring the food, fill the whole frame up with your delicious food, it means the viewer has nowhere else to look – its right there.

COMPOSITION RULE 8 SPACE

Conversely to filling the frame, sometimes you need to let your image breathe. By putting negative space into your image it gives the viewer chance to take a breather and drink in the whole image.

Negative space is also great for marketing campaigns where clients want to have space to write their marketing messages on to the images or add logos or additional information.

COMPOSITION RULE 9 PATTERNS & TEXTURES

Adding diagonals, triangles, patterns and textures to your food gives it more interest and layers it up for the viewer to take in so much more in the image.

If your food doesn’t have texture and pattern you can add this through patterned tablecloths, napkins and material or build up plates and props for the same effect.

COMPOSITION RULE 10 DEPTH OF FILED

Use the depth of the image to tell the story, add well placed props, ingredients and lifestyle choices to tell the story and immerse the viewer in.

The exposure triangle comes in to play here. Camera setting wise, you need to be ‘stopping down’ (going up the aperture F-numbers e.g.: go from F8 to F16) and letting less light into the camera, but more depth of field. Therefore you will need to let more light in to the camera from the ISO or shutter speed if it makes your image too dark.

Also your choice of lens will make a difference here, don’t use a macro lens as you will not get the sharpness in the depth of field.

TO RECAP COMPOSITION IN FOOD

1. Know your Hero – it needs to be bigger, brighter, bolder, clearer.

2. Rule of Odds – choose odd numbers of food.

3. Rule of Thirds – offset food so it doesn’t take over the whole image.

4. Central & Symmetrical – put the hero right in the centre if it suits.

5. Leading Lines – use cutlery or liquids to guide the eye to the hero.

6. Angles – choose 45 degrees, eye level or flatlay dependent on the food.

7. Fill the Frame – get right in there if a food needs a close up.

8. Space – use negative space to breathe and for text to be added on.

9. Patterns and Textures – create interest with the food & props to add depth.

10. Depth of Field – use the depth in the image to tell the story.

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Tina Frances Craftsman - May 2023

I started my career as a professional dancer, then a dance teacher. I’ve always had a keen interest in photography and in 2015 I bought my first DSLR camera. During lockdown I had time to figure out my parttime business, creating a website and working out what I wanted to offer. Although I love all sorts of photography I really wanted to specialise in dance and headshots.

I would like to share some key words that I think express what dance means to so many of us and what you hopefully can see within my panel today.

• Emotion

• Passion

• Story telling

• Elegance

• Effortlessness

• Poise

• Strength

• Artistry

• Sensitivity

• Joy

I feel I have a lot of skills to offer having been a professional dancer myself. Not only do I know if a pose is technically correct but I can verbally help the dancer whilst still behind the camera giving them a few pointers to adjust for example an arm line. I can also anticipate and predict where a dance move can lead to and therefore know the exact climax point of any movement. This enables me to be able to click at just the right moment in order to capture an image that shows the dancers artistry and talent. I also feel I understand dancers, many are perfection.

I chose to present all my images in black and white. I always loved seeing black and white images of dancers such as Margot Fonteyn and Rudolph Nureyev when I was a child and so I wanted to emulate that timeless art form into my own work.

I tried the images in both off white and grey mounts, I have chosen the grey mounts because the majority of my images were taken in a theatre. The surrounds of a stage are always dark, the orchestra pit, the wings and curtains which draw your eye onto the stage to create a sense of drama. So I feel for this particular panel they work really well.

I am passionate about Dance and Photography, dividing my time between both as well as bringing them together and I really hope that this is portrayed in my images.

- Tina Frances Craftsman

Peter loves photography and gadgets. It would be safe to say he is obsessed with technology. He has worked in the computer and telecommunications industry since the age of 16. Peter is an Apple and Windows Engineer, Backup and Disaster Recovery Specialist and has been supporting individuals and businesses for over thirty years. He started a professional photography business in 2014 after selling his IT company to pursue his love of photography. Peter soon discovered that his IT skills meant that great photographers trusted him with their business technology. Often he would trade his IT repair skills for photography training to learn as much as possible about every different genre and type of photography to create his own unique and quirky style.

Like many other photographers, the global pandemic postponed Peter’s primary job as a professional photographer, so he began looking at the real problems photographers and creatives faced daily. This is when his idea for ‘Tech for Togs’ came into fruition as he was constantly being asked for help on Facebook Group with an average of 20 requests daily.

Many photographers don’t have a robust, stress-tested backup solution. As a photographer, Peter finds that having the solution, workflow, and knowledge is invaluable for the creative industry. For this issue of Creative Light Magazine, Peter has been reviewing a new Tablet on the market and if it is a strong competitior for the current market.

Peter Morgan

Xencelabs Pen Tablet Review

If you’re considering replacing your pen tablet with another leading brand or are new to the benefits of using this type of peripheral instead of a mouse, I recently got to test the Xencelabs Pen Tablet Medium Bundle SE in Nebula, White and the results were astounding.

Having always used Wacom tablets and found them to be great at what they do, I wasn’t ready to change to any other brand. However, recently, my 2019 Wacom tablet USB-C port broke inside the port when charging, and now only charges when the lead is plugged in a certain way. I was disappointed in the build quality of a tablet that is less than two years old breaking, and it made me start to look around at what was out there. I was recommended Xencelabs by a friend who is a photographer and also used Wacom previously. What I found was a product that was comparable in price but far superior in build quality and potential.

Why Use a Pen Tablet at All?

Pen tablets are a great way to improve your workflow and edit your images as a photographer. They offer a number of advantages over using a mouse and keyboard, including:

•More precise control: Pen tablets allow you to make more precise adjustments to your images. This is because the pen is directly connected to the cursor, so you can make small movements with the pen and see them reflected on the screen. With a mouse, you have to move the mouse a greater distance to make the same adjustment.

•Natural hand-eye coordination: Pen tablets are going to feel more natural to use than mice because they mimic the way we as humans have always drawn on paper. This can help you to be more precise and efficient when editing your images.

•More comfortable to use: Pen tablets are often more comfortable to use than mice, especially for extended periods of time. This is because you don’t have to move your arm as much to use a pen tablet, so the ergonomics are better.

If you’re a photographer who spends a lot of time editing your images, then a pen tablet (if you’re not already using one) is a great investment. It can help you to improve your workflow and be more productive and produce work of a higher quality. Of course, they can be much higher cost than a standard mouse and keyboard but, then, this is a much more precise piece of equipment.

What Are the Challenges of Switching?

Apart from the obvious cost implications, tablets can take some time to get used to. Configuring them to your own personal taste can sometimes be a little confusing, and while you can use them for day-to-day tasks as well as just drawing and editing, they’re going to take up more real estate on your desk. Mice are easier to use from the get-go but don’t offer us a lot of options in terms of configurability and control. Sure, there are mice out there that are ergonomic and have long battery life, etc., but what’s more natural than using a pen?

What I Loved About the Xencelabs Pen Tablet Medium Bundle

Firstly, while the build quality is incredible, a lot should be said about the packaging it comes in, which is well-thought-out. Unboxing is an experience in itself. For those that love Apple products, the packaging is on par with their work and quality. This really looks like the thought has really gone into everything from the start. As for the product, the design looks sleek. It’s very light, and the white is stylish and clean. In terms of using the (two included) pens, the thicker one with the buttons is great for editing and day-to-day tasks, while the slimmer pen really feels more like a ballpoint pen or an HB pencil and is better for drawing. Both have great grip and well-placed, responsive buttons and come in a lovely case with spare nibs and a nib removal tool. Using this really feels like I’m getting exactly what I’m drawing, and it is a pleasure to use. I loved the fact that the colours on the LEDs on the tablets and lights under the buttons can be changed to reflect the program or map you’re working on, making it easier to identify and organize.

The SE Medium bundle tablet is a great size for me and comparable with my older Wacom PTH660. Included with the SE Bundle (but also available separately if you so wish) is the Quickeys remote. With a programmable OLED display, 40 buttons, and a smooth, rotating dial with four additional settings, this feels like a premium product. Even before you see what it can do, it looks great. I place a lot of emphasis on things that look, feel, and work great in my workflow. I should say I also already own the Loupedeck Creative Tool and use this every day, though only about maybe 25% of what it can do. It’s this 25% and more that is in the Quickeys remote. With the ability to set over 40 programmable buttons (including customising the names of what you’re programming to the remote buttons), I’m finding that programming the buttons for my Lightroom workflow is making things much quicker and easier. The Loupedeck allows you to brand the main visual buttons, but not the additional buttons down at the bottom. One thing to consider is that the Loupedeck is also an unbelievable five times the price of the Quickeys, so it’s definitely worth looking at if you’re considering saving some money and just want the dial and the 10 buttons and don’t need the extra buttons. That being said, I’d maybe like to see a bigger version of the Quickeys at a later date.

What I Thought Could Be Improved with the Xencelabs Pen Tablet Medium Bundle

There is really not much I can pick out that could be improved with this bundle, to be honest, but I did miss having a base to put the pen vertically in. On the Wacom, it holds the nibs in, but there’s a case with this. O smaller desks, having a pen base would take less up estate. However, that’s a tiny thing and doesn’t blight the experience. I would like to see more support for program maps for the Quickeys on the website. I’ve been assured by Ian Sayers from Xencelabs in the UK that this not only is coming but also that they are going to have a forum for photographers to be able to share their Quickeys Maps with each other. I think this is going to be great, as it’s good to see how other photographers work and then adapt to your own needs from there.

My Overall Thoughts

This is an extremely well-put-together product. I think that we are going to be seeing a lot more of Xencelabs in the near future. They are certainly disrupting the market with a great range of products. They already have a 24-inch pen tablet display that looks fantastic (though I’ve not had the chance to test it yet). There is a slew of companies out there fighting to make products cheaper and more affordable, but not a great number of companies are fighting to bring a better product to market at a comparable price. This product is the start of things to come and people who may have never used a tablet before should seriously look at this piece of kit. They won’t be disappointed. You can purchase yours from their website https://www.xencelabs.com/uk.

A UNIQUE RETREAT FEATURING UNMISSABLE MASTERCLASSES

BY SOME OF THE BIGGEST NAMES IN THE PHOTOGRAPHIC INDUSTRY

JUNE 26TH - 28TH 2023

Back for its 5th year we are thrilled to announce the return of the Residency of the North for 2023! Bringing together the very best speakers and educators in the industry alongside an inclusive, relaxed and fun environment designed to let you unwind and enjoy time away with like-minded fellow photographers All set in the beautiful County Durham countryside at the stunning Black Horse Beamish, home of this amazing event for the past five years *****

CONFIRMED SPEAKERS ARE: Gary Hill, Tianna Jarrett-Williams, Carolann Neil, Nina Mace, Sharon Wallis, Charlie Kaufman, Jess McGovern & Ellie Cassidy

EDITOR’S CHOICE

Renate Zuidema

Bronze Award - April 2023

Introducing the New Spyder X2 Ultra: Revolutionising Colour Calibration

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Whether you're working with high-brightness monitors, computer-connected TVs, or projectors, the Spyder X2 Ultra ensures precision calibration for exceptional colour accuracy and consistency The device's re-engineered software presents a more concise user interface (UI), offering a seamless experience for professionals. Every feature you need to elevate your work is at your fingertips, maintaining the high standards you've come to expect from Datacolor.

The Spyder X2 Ultra truly represents the next generation of colour calibration tools, empowering photographers, videographers, and digital artists to unleash their creativity with unrivalled colour accuracy and precision

For those thinking about making the transition to high brightness monitors, but aren’t quite there yet, the Spyder X2 Elite caters for you! The Spyder X2 Elite offers a cost-effective pathway for users considering entry into the HDR/high-brightness monitor market, providing an affordable upgrade option to the Ultra, whilst retaining the renowned accuracy, ease-of-use, and flexibility of the Spyder brand.

DOCUMENTARY WEDDINGS - WITH A EDITORIAL TWIST

Tommy Reynolds

“Hey, I’m Tommy! A Kent wedding photographer, living in a cozy cottage in Ashford, with my beautiful wife Emily and our recent firstborn, George. My ethos is to create truly genuine, authentic, photographs. I have great attention to detail for getting the perfect shot while still making the process fun and enjoyable for my clients. In 10, 20 even 100 years’ time, their photos are going to be your most valuable possessions and I consider that responsibility a true privilege. I love photographing weddings!

Q: What motivated you to become a wedding photographer?

Last year, when I discovered I was going to become a father, I made the decision to transition from commercial photography to wedding photography. I believed that my skills were better suited for capturing the essence of weddings than any other genre. While working in the music industry may seem exciting, the reality is often quite different. The music industry can be cut-throat and left me feeling unappreciated.

Artists frequently require content with limited budgets, making it challenging to thrive. Weddings, on the other hand, offer a completely different experience. Being entrusted with the responsibility of photographing someone’s happiest day and capturing the moment they commit themselves to each other is truly beautiful. Knowing that these images will be cherished for generations to come is an incredibly rewarding responsibility. It’s a privilege that any photographer would love to have. Moreover, I have had the opportunity to make wonderful new friends through my couples, which is a testament to the positive impact of my work. I simply adore weddings, and being able to capture those moments allows me to feel the utmost creative fulfillment.

Q: What key elements are important to discuss and establish before the wedding day?

Before the wedding day, it is crucial to have open discussions with the couple to understand their

expectations and what is important to them. This enables me to determine the appropriate coverage and guide them towards a suitable package. Instead of going through all the package options one by one, I listen attentively to their needs and preferences and then provide tailored recommendations. It is customary to use a questionnaire that covers various details, including the couple’s contact information, wedding locations, distance between venues, any restrictions during the service, plans for confetti, desired formal shots, any sensitive issues to be aware of (such as bereavement), whether there will be speeches, cake cutting, first dance, and the details of vendors for social media tagging, among other things.

Additionally, a contract is essential, as well as a deposit, with the balance paid 30 days before the wedding day.

Q: What is your photography style as a wedding photographer?

I have been described as a documentary photographer with an editorial twist. For the most part, I adopt a fly-on-the-wall approach, capturing those beautiful candid moments as they naturally unfold.

However, when it comes to shooting the couple’s portraits, I love to provide some direction to ensure they are in the best available light while maintaining a

candid feel. This is where the editorial element comes into play.

I strive to deliver images that couples will be proud to display on their walls, making them feel like celebrities featured in an editorial piece.

Q: What is your preferred lens for wedding photography?

My favorite lens for wedding photography is the Canon RF 28-70mm f/2.

Do you include group photography in your packages, and if so, why is it important to capture these images for the couple?

Absolutely.

However, I want to acknowledge that many photographers don’t enjoy this part of the day. I, too, have a love-hate relationship with group photos. Nevertheless, there are ways to streamline this process and ensure it runs smoothly. These include having a detailed list of the group shots, reordering the list to ensure key members of the wedding party are present in consecutive group photos, involving a second shooter, assistant, or even the best man to help gather the groups, and more.

While group photos may not be the most creative aspect of the day, they hold great significance for couples. If they were getting married, they would likely want these moments captured as well. \

Personally, I cherish the images of my own family and grandparents because, in today’s fast-paced world, it is rare for everyone to be in the same place at the same time.

Additionally, these are the images that parents or grandparents are most likely to print, providing an opportunity for me to generate extra profit through print sales.

I make a conscious effort to deliver high-quality images for couples’ group shots. want these moments captured as well.

Q: What have you found most challenging about photographing weddings?

The most challenging aspect of shooting weddings is exercising patience and anticipating moments. I refer to this as “antisa-patience.” If I notice a significant moment unfolding between a father and daughter, for example, I must be patient and stay with them.

This patience can lead to capturing a particular look, a touch, or a fleeting action between them that they will cherish.

It takes time to develop this skill, and it has taken me years to master it, but the joy it brings to my couples makes it all worth it.

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

I do not use a tripod as it would slow me down.

Q: For post-processing, do you primarily use Lightroom or Photoshop?

I primarily use Lightroom for post-processing.

Q: What is your best editing tip?

My best editing tip is to outsource your editing. I now utilize ‘Imagen AI,’ which edits my entire weddings in under 10 minutes using my own AI profile. Implementing this technology has been one of the best decisions I’ve made for my business since its inception ten years ago. It has not only accelerated my workflow but also provided me with more time to spend with my family, especially after becoming a new dad last year.

If you’re interested in trying Imagen AI, you can exclusively receive 1500 free edits on me using this link: [Click Here]

Q: What is your favorite piece of equipment that cost you less than £50?

My favorite piece of equipment that cost me less than £50 is the Spider Monkey Holster. I use it to attach my speedlite to my belt, allowing me to easily access it without reaching into my bag. [LINK]

Q: When it comes to lighting equipment for wedding photography on location, what is your preferred choice?

For lighting equipment on location, my preferred choice is the PIXAPRO Li-ION 580 ETTL flash gun. Having a flashgun is essential for a wedding photographer since you never know what lighting challenges you may encounter, especially during evening receptions. Additionally, I sometimes use a 40” translucent umbrella with a PIXAPRO CITI300 PRO strobe mounted on a light stand for formal group photos.

This setup adds a pop of fill light, making these photos stand out and shine.

Q: Where do you find inspiration for each photograph you take?

I find inspiration from a variety of sources. It’s not just other photographers who inspire me; I also draw inspiration from art and music. I enjoy creating slideshows and finding the perfect music to match the couple’s day and desired atmosphere.

Q: What advice would you give to someone starting in photography?

If you are beginning your journey in wedding photography, I recommend seeking opportunities to second shoot for established photographers. This allows you to build your portfolio and demonstrate your skills to potential clients.

By photographing high-end weddings with the permission to share your work, you can enhance the credibility and perceived value of your own portfolio, particularly when shooting at prestigious locations.

Q: Share an interesting fact about yourself. I hold a first-class Honors Degree in Film and TV Production. Additionally, I am a Photographer for the Charity Remember My Baby and have collaborated with Take Heart Mercy Mission to film Pediatric Open Heart Surgeries in Galle, Sri Lanka.

Q: What advice can you offer to individuals interested in creating a personal project focused on a particular subject or genre of photography?

I believe that limitations are key to creativity. By imposing limitations such as using only one light, sticking to a specific color palette, relying on one lens, or confining yourself to a particular location, you are forced to think outside the box and develop fresh and innovative ideas. Author Austin Kleon once par phrased, “If you go out with the intentions of taking the worst photo ever, you’ll probably end up taking something pretty good.” In essence, when you remove the fear of failure, you grant yourself permission to be creative and think outside the box.

Q: Is there a photographer or artist whose work inspires you?

Portrait photographer and YouTuber Sean Tucker is a great inspiration to me. I admire his philosophical approach to life, and he delves into topics and emotions that photographers commonly experience but may not openly discuss. I had the pleasure of being featured in one of Sean’s YouTube videos, where we explored the connection between portrait photography and vulnerability.

Q: What is your favorite place in the world, and why?

Vietnam holds a special place in my heart because it was the destination for my wife and me on our first significant trip together. We had an incredible experience there, and I also had the opportunity to take portraits of locals, which turned out to be a huge success. I have a highlighted video of that trip on my YouTube channel

Q: What is your favorite food?

Indian food is my favorite. I am passionate about cooking and love experimenting with different flavors. Indian cuisine, in particular, offers not only spiciness but also freshness and an abundance of flavors. During a personal photo project, I had the chance to visit India, and the food I tasted there was truly out of this world.

Q: How would you describe yourself in three words?

Passionate, friendly, and nerdy.

Q: What does the future hold for you in photography?

At this point, I’m not entirely sure what the future holds for me in photography. Over the past 18 months, I have been heavily focused on wedding photography, and I want to continue pushing the boundaries in this field and maximize my earnings to provide the best possible life for my family. Creating lasting memories is also a priority for me.

- thank you Tommy for a fascinating insight into your Documentary Wedding Photography. Wish you every success in the future.

- Julie Oswin Editor.

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Craftsman - May 2023 Chris Hall

Homeless. Breaking the Stereotype

“Scruffy looking individuals begging or sleeping in shop doorways, mental health problems, drug, or alcohol addiction. It’s the vision many of us have when we think about homeless people and for good reason, this is the visible side of the homeless challenge that we face in the UK.

The homeless community is one of the most vulnerable communities in the country with an estimated population of 271,000 individuals in England1 alone, enough to fill Wembley stadium to capacity 3 times.

The visible face of homelessness, the one from which we create our stereotype, makes up only 1% of this community. There 3,069 rough sleepers2, about the same number that Wembley stadium has toilets.

The stereotype that we have distorts the truth and makes us think that homelessness only affects those who have committed crimes or have addictions. Many of those living rough had jobs before they became unemployed or lost their home due to illness or financial problems. There are even some homeless people holding down jobs, working alongside us, unable to find a permanent place to live.

MY PROJECT - For my craftsman panel I wanted to create a project that would push me, not only with my photography but also on a personal level. I wanted to create something that recognised how I was inspired to become a photographer and help others as a result.

This project gives a nod to the photography project that I was invited to take part in whilst I was homeless ten years ago. During the short two week project I took a series of nine black and white portraits of other homeless people and volunteers with the charity that was supporting me, with the idea behind the images being that anyone could be homeless. My images got selected by the local council to go on display in the local museum and library, later John Lewis took on the images and displayed them in their local store. Seeing my work on display was to be the moment that inspired me to break free from the homeless cycle and become a photographer.

This year marks ten years since that first project, so I contacted both the homeless charity that supported me, and John Lewis and we arranged to run a follow up project as a success story for the charity as well as highlight how the homeless challenge is affected by a stereotypical view.

Over a period of weeks, I was emotionally pushed as I revisited the place where I slept rough on the streets. It was hard as I encountered new faces being supported by the charity. I was also met with a mixture of sorrow and excitement when I met the faces of people that I knew, people who were homeless at the same time as me, who were still trapped in the cycle of homelessness.

The next challenge that I faced was taking the photographs. The only portraits that I had taken had either been studio style headshots, or street portraits where the individuals had not been aware that they were being photographed. It was a very daunting experience approaching people that I didn’t know and asking if I could take their photograph.

The amount of time that I had available with each person was a major challenge. For each of the portraits in this project I had only a few minutes between the first moment of contact and taking their photograph. As the individuals were leaving to go to their next appointment each photograph had to be taken outside of the charity office and I didn’t have the luxury of finding a suitable location, I had to make the most of what was available for a background and light.

I have learnt so much through doing this project not only in terms of the photography, but also about myself and I am looking forward to taking this project to the next level as I continue to work with the homeless through expanding this exhibition and providing workshops and training via the charities who support them ”

- Chris Hall

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Hi, I am Ryan, born and raised in Glasgow but now living in the North East Scotland coastal town of Stonehaven. The sea is in my blood; my childhood holidays were spent looking over the River Clyde. Today I only have to look out the kitchen or bedroom windows to see the North Sea.

I was a 3rd generation Seafarer in the Merchant Navy and continue working in the maritime industry. A couple of years ago, I was given access to the Stonehaven RNLI lifeboat tractor unit to get a vantage point for a shot on the beach. At that moment, a friendship was formed, and since then, I have been privileged to take photos for the station. For the last year, I have held the position of Lifeboat Press Officer and am a trainee member of the Shore Crew.

I consider myself a newbie in photography, but it quickly became my passion in life. Where I go, a camera goes. Being a bit accident-prone, this hasn’t always ended up well for me or the camera, but undeterred, I count it as part of the learning experience and keep going.

I love to shoot landscapes, seascapes, wildlife and street photography. Jack of all trades and master of none, but I am happy if I keep learning and enjoying the moment behind the camera.”

- Ryan Hutton

Q: When did you buy your first camera?

I bought my first camera in September 2019: a second-hand Canon 6D Mkii and a Canon 24105mm F4 USM-L.

Sadly the camera is now an ornament as it was in my hand when I fell into a river. Lessons learned, insure your kit, folks and try to let people know where you are going if out alone.

Q: What key elements do you look for when you are creating an image?

As a relative newcomer to photography, I am still in the phase where many of my images come from responding to the events around me rather than purposefully arranging and orchestrating the image. With my seascape and RNLI images, I set out to capture drama through a combination of motion and contrast.

One of the first pieces of advice that really stuck and I still try to follow was “try to see what others don’t”. Great photos can have an element of luck; a good photographer increases the potential of that luck happening.

Q: What is your favourite lens?

Laughing, isn’t that a bit like asking a parent to choose their favourite child? Do you promise not to tell the other lenses in my bag if I tell you?

If I had to choose only one, it would be my Tamron 35mm F1.4. I am surprised the box does contain a warning “Contains sharp object”.

Sigma, 135mm Art, comes a close second.

Q: What favourite piece of equipment that cost you less than £50?

£5 bought me an accessory I would recommend to everyone: a two-in-one screen cleaning spray. The square bottle is wrapped in a cleaning cloth.

My Peak Design lanyard is a daily used bargain costing about £30.

There you go, two items and £15 change.

Q: If you were going to stay on a Desert Island, what is one thing you would have to take with you?

Music, I can’t function without it. There is always a tune playing in my head.

During covid, I gave up watching TV and listening to the radio, and I don’t miss them at all as long as I have music to listen to.

Q: What have you found most challenging about being involved with the RNLI?

The current mental health crisis is sadly showing up through increased suicides and attempted suicides on our shores. Covid has accelerated and magnified this issue.

Our volunteer crews are playing an invisible role in saving people in their most desperate hour.

Q: Do you use a tripod? If so, for what area of your photography?

I tend to only use a tripod for long exposure images. Having attended a Glen Dewis class at Photohubs I know I need to start using it for portraits.

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

85% Lightroom, 15% Photoshop. I really need to up my game with PS to move my photography along to the next level. I am very thankful to be part of Guild buddy group that are really helping me to progress on all fronts. If you are not part of a buddy group, please look to join one! I was lucky to be invited into THE Best in the land.

Q: What is your best editing tip?

Flip your image to see if your eyes flow more naturally across the image. Once you have done the basics and you know that you love the image, turn it upside down and study it, it helps to remove any emotional bias.

Q: Lighting equipment, what is your preferred choice for your wedding images and shooting on location?

I love my Westcott Manny Ortiz beauty dish. It was expensive but I love the output, and it’s ease of use makes it worth the extra money. My lights are all Godox Pro, 2x 200W and a 400W.

Q: Where do you find your inspiration for your photography?

I am blessed to live in a beautiful part of the world. I can see the sea from my house windows. I am minutes’ walk away from a breath-taking coastline. Within 2 hours I can be in the highlands photographing beautiful wildlife or I can be in Edinburgh photographing people on the bustling streets.

As corny as it may sound, my buddy group are a huge source of inspiration. Image after image, they make me think wow, I want to be able to produce work to that standard.

Q: What advice would you give to a person starting in photography?

Shoot every day, it doesn’t matter if they are good results, shoot, shoot, shoot.

After week one, start using manual mode, it will really help you understand the exposure triangle. That said, manual is not the be all that some may have you believe. In time you will learn to use the mode that suits the subject and environment you are in. The biggest and fastest way to develop is to practice a skill or technique over and over.

Photography can be overwhelming in the beginning, practicing one step at time will build your confidence.

Next, join the Guild. The support resources especially feedback and mentoring are worth their weight in gold. Got your membership, join a buddy group!

Q: Interesting facts about you?

Laughing, now that really is a tough question, I am not sure there is anything interesting about me. I was a Marine Engineering Officer at sea, following in my father’s footsteps.

I am probably worth a small fortune in scrap metal value with 16 screws and rods holding my lower spine together. I have shared a boxing ring with a world champion, Pat Clinton. I could barely put a glove on him and thankfully he didn’t beat me up during the sparring session.

Q: Your winning RNLI Lifeboat image was a spectacular photograph. Can you explain how you created the shot?

The shot was taken during a joint training exercise between Stonehaven and Montrose lifeboats.I was on a 3rd boat that was playing the role of casualty vessel. In the shot you see the Stonehaven’s Atlantic 85 “Jamie Hunter” airborne as it crosses over the wake created by the Montrose Shannon class “Ian Grant

What you can’t see is the crew member holding onto the back of my lifejacket, and the other crew member who was letting me know when a wave was about to hit our boat, so that I could brace for the impact and movement.

I knew that there was a good chance of getting a good action shot when Malcolm took the helm, he is very skilled at showing the boats capabilities. My Canon 1DX Mkii may be an aging body now in the world of mirrorless, but it is perfect for this kind of shoot.

Q: What advice can you share for people interested in creating a personal project of images based on a one particular subject or genre?

I am currently on this journey myself. I have found writing a project plan helpful. The plan includes:

Objective – what am I trying to achieve. Resources

– What do I need to achieve the images, this includes people, props and equipment. Schedule

– When are the best opportunities to achieve the images, taking into consideration weather and people’s availability.

Q: A photographer or artist whose work inspires you?

I am a fan of Mark Harris, Manny Ortiz, Sean Tucker and Peter McKinnon.

Q: Favourite place in the world, and why?

I have been fortunate in my career to travel to many countries across the globe, including South Korea, Dubai, USA (mainly Alabama, Ft Lauderdale and New Orleans), and many Western European countries. My favourite holiday was to Dubrovnik, the old town and blue waters were mesmerising. If I was to leave the UK I would move to Norway, I love the Norwegian pace of life and the scenery is incredible.

Q: Your favourite food?

Honey roast gammon with all the trimmings, yum!

Q: Three words that describe you?

Fair, Compassionate, Complex

Q: Where next?

Hopefully, my Craftsman panel isn’t too far over the horizon!

- Thank you Ryan for sharing an insight into your work.

Smith”.

S U R A N C E

Mark Harris Craftsman - May 2023

Timeless Dog Portraits

In 2020, as we were coming out of lockdown, I set myself the challenge of putting together a panel for Craftsmen. Previously a lot of my subjects were either friends or models hired at a studio, so I wanted to do something different.

I grew up having dogs, but it was only 6 years ago I finally got my own. Eddie the Goldendoodle quickly became my “muse”. Even now, if I get my camera bag and I don’t take him with me he sits crying at the door. When I get back, he always has a sniff as if to say, “you’ve been with other dogs, haven’t you!!” He’s the first one to try different lighting or composition ideas and knows exactly what is expected of him, unlike many of my other models!

All the “models” are relatively local to me in North Oxfordshire, initially from a “model call” on the local dog owners Facebook group but word quickly spread, and I had people reaching out to me directly from further afield. Most of the images in the panel were shot in my home garage studio, but in the last few months I’ve achieved a lifetime ambition and renting my own dedicated studio space. I mainly offer 10x8 mounted prints to customers, but increasingly being asked to supply other products, often tray frame canvas, which seem to work well with my style of photography. I’ve followed Glyn Dewis for many years, and over that time we have become good friends. My style is heavily influenced by his “Timeless” portraits. So, I set about creating my panel based on that on a simple (often one light) setup to create portraits of dogs to try to capture their different personalities. I wanted to create that “painterly” field and just like Glyn does with his portraits, in particular focussing on capturing the eyes.

I found that even when the dog isn’t directly staring straight into the lens, the personality still shines through. Some come across as slightly arrogant, looking down their nose at me. This is all you’re going to get from me for those treats!

Others are more elusive and don’t want to give away any emotion. Often this is when they have a very close relationship with their owner. Some look sad, but that’s just the face they have, it’s more of a weary acceptance that they are being asked to do something. This is especially the case with older dogs. Others are simply excited! Waiting for the flash to go off so they can get another treat. But all of them have personalities.

Self-doubt meant that I wanted to submit images to the IOM to make sure that they were of a decent standard and was able to achieve the Bar again in 2022. It was a valuable experience as some images that I felt were just entered to make the numbers up, ended up doing better than my “favourite” images. Then working with my Mentor, Saraya, we worked through the finer points of finishing touches of images, paper choice, mount, size etc. I was finally ready to take the leap. The panel is printed on the new Permajet Heritage Smoot Rag, which is a gorgeous paper and more resistant to fingerprints than my original choice the Permajet FB Matt 285. In fact, you may recognize one of my images as Glyn used it in a promotional video for Permajet when the paper was launched. It’s fair to say, I’ve become fairly obsessed with paper choice now and have test prints on about half a dozen different types before finally deciding. It’s been a long road, and something I have thoroughly enjoyed.

- Mark Harris Craftsman

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