Creative Light - Issue 61

EDITOR’S CHOICE

FIRST PLACE

Top 7 Silvers of the Month

Andrew Thomas

12

40

54

68

81

All-Round Photographer of the Year 2023

Molly Hollman

Behind the Scenes of a Mentoring Session Part 2 of the Series

Charlotte Bellamy

Canon Dynamic Duo

Peter Morgan

Platinum Palladium Prints

Roberto Aguilar

Guild Partners & Members Benefits

Julie Oswin EDITOR

Welcome to Issue 61 of Creative Light, the Guild of Photographers’ Online Magazine! Following the celebration of our milestone 60th issue, I am thrilled to present another collection of captivating articles and features that delve into the essence of photography and the creative spirit that drives it.

The Guild of Photographers remains dedicated to fostering a community where professionals, newcomers, and photography enthusiasts can engage, discover, and find inspiration. In this issue, we continue to highlight the extraordinary talents within our membership and explore the profound impact of photography on our everyday lives. Featured is the wonderful work of Molly Hollman, who won the All-Round Photographer of the Year 2023. Additionally, I have selected my Top 7 Silvers for the Editor’s Choice - because I couldn’t just select one!

Julie Oswin, Editor & Creator of Creative Light Magazine

“ Remember, creativity is not just about seeing; it’s about feeling. It’s about capturing those fleeting moments that tell a story, evoke an emotion or simply take your breath away and at Creative Light Magazine, we’re here to help you do just that.” - Julie Oswin

FRONT COVER

The front cover of this edition of Creative Light has been chosen from the Gold Awards for 2024. The image, captured and created by Angi Wallace beautifully embodies folklore and fantasy with a striking red accent. Angi’s photography, inspired by folklore, fantasy, and fairy tales, often features ethereal and magical themes. Her recent focus includes macro subjects like insects, fungi, and flowers, along with an enchanting project on submerged flowers. .

PHOTO: IAN TAYLOR

Spotlight on the Guild’s AllRound Photographer of the Year 2023 - Molly Hollman

Molly is an award-winning photographer specialising in particularly close-up flower, plant and insect photography. She is a member of the Professional Garden Photographers Association (PGPA) and the Guild of Photographers (with whom she won the ‘Flora and Plants’ category in 2021 and the Insects category in 2022, and then Natural World Photographer of the Year and All-round photographer of the Year this February). In 2022, she won the ‘Natural World - Botannical and Fungi’ category with the Societies of Photographers.

She has also won many awards in the International Garden Photographer of the Year competition and Close Up Photographer of the Year (2021 and 2022). In 2021, she won the ‘Plants’ category of the RHS Photographic Competition. Last year, she was delighted to be crowned Garden Photographer of the Year - Portfolio Category by the Garden Media Guild at the awards ceremony in London, alongside Alan Titchmarsh, Carole Klein, Adam Frost and many more famous faces from the garden industry.

She is passionate about photographing flowers, plants, and gardens at all times of the year. She believes that encouraging others to visit gardens due to seeing her photos and writing can only be a good thing, and in particular, it can make a positive difference to mental health.

The Crowood Press published her book, Creative Flower and Plant Photography and is available from all good bookshops and Amazon. She also writes articles for the photographic press, such as Amateur Photographer magazine.

Molly lives in East Kent with Ross and her two boys and is Head of Music at a school in Ramsgate, Kent. She loves gardening and walking in gardens and the countryside.

Equipment:

Molly takes many photos with a Sony RX10iii bridge camera, often at its total reach of 600mm (about 220mm equivalent).

She also uses a Sony A7iii camera, pairing it with the following lenses:

Sony FE 55mm f1.8 ZA Carl Zeiss Sonnar T

Sigma 105mm f2.8 Macro DG DN Art Lens

SMC Pentax-M 50mm F1.7

Vivitar Auto Macro 55mm f/2.8

Samyang AF 24mm f2.8 Lens

“ My journey with IOM began about four years ago, and in fact, the first two awards ceremonies I remember were streamed as they were during the pandemic. Since then, I’ve never been able to attend in person as, sadly, our school musical (which I usually conduct) is on the same evening. This year, I finally got to participate for the first time as I asked a colleague to perform the show (which was a commitment for them from September to February, and I am very grateful!).

I was absolutely blown away to win Natural World Photographer of the Year and All-round Photographer of the Year and to receive awards from Gary Hill and Steven Thirsk. One of the most special parts of the evening, in addition to this, was to finally meet all the photographers who have inspired me since first joining the Guild five years ago, particularly my ‘buddies’ who were there on the night - Gary Neville, Jayne Bond, Graham Hazelgreaves, Helen Simon and Pete Woods. They have all given me countless tips over the years (including others who were not there on the night, such as Laura Galbraith and Claire Norman), and it is honestly thanks to them that I’ve become the photographer I am now, particularly regarding editing. And finally, thank all the judges I’ve watched and given countless webinars, which again have taken my photography forward. I didn’t even know what ‘blacks’ were five years ago, let alone whether they were in range or not!

I spent time creating some images to print and frame with Digitalab using the vouchers I won that night. Click Live has kindly offered me vouchers instead of the Click Live pass as I cannot attend the event on this occasion.”

- Molly

Q: Winning All-Round Photographer of the Year is a monumental achievement. If your IOM portfolio could speak, what story would it tell about your current journey?

My love of nature photography comes from my lifelong love of nature and desire to capture it in art. Prior to taking up photography, I was an artist, but I switched to photography about 17 years ago when my children were born, and I no longer had time to paint. I’m probably gardening more than I am taking photos, and I have an allotment, too—both of which give plenty of inspiration and willing subjects (primarily flowers and insects).

Q: Reflecting on the past year, can you share the defining moment of your high-scoring images that catapulted your work to the top?

I’ve been working more on capturing my images straight out of the camera outside in nature rather than the Open images that I photograph inside my light box and then edit quite heavily. Because of this, I was delighted when my Fern Spiral image won gold. I love to find beauty in nature that doesn’t need much editing (although I have to be careful working with the available light at the time).

Q: Every path to success is sprinkled with a bit of unpredictability. What’s the most humorous or unexpected situation you encountered while entering the IOM in 2023?

I think perhaps when one of my bronze IOM images came second in Beauty of Plants in the massive International Garden Photographer of the Year competition - different judges and competitions look for various things in a successful image, and I think the fact that I enter other competitions, as well as IOM, means that I’m able not to get too frustrated when I don’t do too well - I learn from it better too that way as it keeps my objective and ever selfcritical.

Q: Photographers often have a ‘secret sauce’—a technique, piece of gear, prop, product or software pivotal to their success. Can you share one that was instrumental for you this past year?”

Without a doubt, my small diffuser, which I use to block bright sunlight from the flowers I photograph.

Q: What do you look for in flowers and plants when planning and creating your beautiful photography?

I look for interesting patterns, colours and, most of all, light - the backgrounds in flower photography are often as important as the subjects.

Q: How do you light your images?

Usually, it is just with natural light, although my light box indoors has an LED light strip at the top.

Q: Do you use Photoshop or Lightroom to edit your images? And do you have any tips you can share?

I edit mainly in Lightroom, only taking images into Photoshop if I want to remove elements of the image or add a digital overlay. One of the chapters in my book is all about editing, and I would be here for days explaining it, but here’s my editing workflow in Lightroom:

Q: Best buy for your photography for £50 or less?

I have a Helios 44-2 2/58mm lens, which was given to me last year by a friend whose grandfather had died. She bequeathed her the lens as she wasn’t a photographer. She wanted someone to get some use from it, which was a lovely gesture.

Her favourite flowers were bluebells, so I used the lens to photograph a bluebell wood and gave her a framed picture that she could keep and, in turn, remember her grandfather by. It’s an inexpensive lens (about £20 on eBay) but superb for flower photography, especially middle-distance flowers, such as blossoms or a group of flowers. When it’s wide open, the bokeh is swirly and circular, which I love, although if this is too much, you can tame it into a more ‘regular’ lens by simply stopping down the aperture.

Q: Pursuing the Image of the Month is as challenging as rewarding, especially covering two sections. Can you share a personal hurdle you faced entering two categories.

I am very competitive and have always loved IOM. Even when I don’t do that well, I’m getting better at working out what will work and what won’t, and I am happy to lose if I feel that my

work can improve (which it always can). IOM forces me to shoot and edit regularly; as a nature photographer, I didn’t always pay too much attention to the latter, as many competitions, like WPOTY, don’t like much editing.

Q: The power of a photograph lies in its story. What overarching narrative or theme were you aiming to convey through your photography during 2023 and why?

I have spent more time this last two years photographing pollinators as so many insects are disappearing at such a rapid rate (flying insects have decreased by 60% in just the last twenty years) for example) and I want to draw people’s attention to this. I like to shoot insects in context in nature rather than super close-ups as the viewer gets a better sense of their environment.

Q: Growth is a constant in a photographer’s journey. How did mentoring, webinars, workshops and feedback from the Guild’s Judges shape your portfolio for entering the IOM competition?

As a teacher, I tell students they need to listen to lots of music to find it easier to compose. It’s the same with photography—seeing outstanding images of the kind I’m trying to create enables me to work back from the finished images and understand why they’re successful.

Q: Technology and creativity go hand in hand in photography. How have you embraced new techniques or technologies over the past year to push the boundaries of your work?

Without IOM, I would still be solely in Lightroom. I’ve learnt how to use digital overlays (similar to textures) as layer masks using Photoshop, which has transformed my photography. Now, I even sell these to photographers worldwide from my website!

Q: With the wisdom of hindsight, what advice would you give to yourself at the beginning of this year, knowing now what it takes to win?

Always sleep on an image and get another pair of eyes to look at it, just in case you’ve missed something crucial. Make sure there are no distracting elements, that your blacks and whites are within range and that you’ve gone over the whole photo at 100% for a careful final check (as that’s what the judges may do). And try to avoid getting stuck in a rut - IOM is all about the impact, so similar shots to those you’ve done already aren’t going to cut it, even if they’re technically good.

Q: How does this title influence or guide your future projects? Are there any new directions or ideas you’re excited to explore? If so, can you share them with us?

I’m stepping back a bit from IOM this year. I’m still entering to keep my hand in. Still, three a month, I’m doing things differently currently as I’m working on a portfolio about flowers going to seed, which isn’t as traditionally photogenic as a flower in its prime. I’m doing more insects, too, and also working on a project photographing flowers used traditionally as dyes and photographing them against fabric that I’ve dyed using them. I increasingly want to use art or craft as part of the image process.

Q: What inspired you to write a book on Creative Flower & Plant Photography?

About ten years ago, I was looking for a book about the many aspects of flower photography and couldn’t find one, not in the instructional sense. So I wrote my own! I spent two years researching and writing it and still can’t quite believe I got it published—I had no idea how to find a publisher, so that in itself took weeks of research.

Q: Overlays and Textures you create and sell, do you provide ‘how to guides’ with them?

Yes, I do, and it’s as comprehensive as the section in my book about how to do it. However, there are many different ways of doing things, and YouTube has many guides on using overlays.

Q: Your favourite place in the world and why?

In spring or early summer, I would like to walk along one of the Peak District’s ‘edges’ or sit in a local garden with my camera.

Q: What have you planned for 2024?

I’m writing a series of five in-depth webinars for Camerversation - an international photography webinar ‘club’ (which covers all genres), starting at the end of June this year.

If anyone is interested, here are the topics:

• Outdoor Flower and Garden Photography; • Photographing flowers and plants indoors; • Editing your flower and plant photography from start to finish; • Doing things differently/ breaking the rules; • Entering competitions and taking your photography to the next level.

- Molly Hollman

Her photography can be seen at: mollyhollman.myportfolio.com www.instagram.com/mollyhollmanphotography www.twitter.com/hollmanmolly www.facebook.com/stnicholasphotography

Website: www.mollyhollman.myportfolio.com

Professional Indemnity

Public Liability

Photographic & Technical Equipment

Commercial Legal Expenses

Personal Accident Insurance

Employers' Liability

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PHOTO: HELEN SIMON

The CEWE Photo Award is now open!

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May, the theme is ‘The Great Outdoors’.

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Gray, Vereinigtes Königrich, Matlock

PHOTO: EMMA FINCH

EDITOR’S CHOICE

Top 7 Silvers of the Month

Andrew Thomas

PHOTO: EMMA FINCH

EDITOR’S CHOICE

Top 7 Silvers of the Month

Nigel Proctor

PHOTO: DANIEL MAIN

Behind the Scenes of a Mentoring Session - Part 2 of the Series

With Charlotte Bellamy

In the last edition of Creative Light, we launched a new series of articles, taking a look behind the scenes of some mentor and feedback sessions. Both mentoring and feedback are available to all Guild members and can be used to raise your awareness and develop your photographic skills to help improve your photography. In this edition, panel member and judge Charlotte Bellamy takes us behind the scenes to another mentor session with Maureen. Ever keen to explore multiple genres, this article will be looking at abstract and ICM images. If you have ever had a go at either and wonder what you might have been missing, enjoy this behind-the-scenes peek.

Maureen has been a member of the Guild for nine years. She started working as a professional family photographer in 2012. Since COVID-19, she has re-evaluated the direction to take with her photography and has started to concentrate on abstract photography, using ICM images as the base and transforming them in Photoshop into what she hopes is art! Maureen says, “I love ICM for its ability to remove the detail and create something unexpected and have found that Photoshop has become a creative tool for me in this process whereas previously in my work I regarded it as a tool which helped me ‘fix’ my images.”

Looking through the images before the session, it was notable that they had all been crafted to a high technical level, and were beautiful images – however, I identified that there were a couple of points that cropped up in multiple images. I hope you enjoy this look behind the scenes of a mentor session. I think it will show you that sometimes very small things can make a difference in how the images are read by the viewer.

The first image we looked at was an ICM image. F22 and 1/10 sec. I found myself really drawn to this image because of the use of light, colour and lines. All these elements gave the image strength and a dynamic feel. The ICM movement that was used for this image was smooth and vertical and fit the subject matter perfectly. However, I did feel that the area of the image was distracting with the lighter colour and bright diagonal streaking lines. Also, it gave a slightly uncomfortable feeling to the image as the horizontal line between the brown and green was clearly not straight. I also noted that some of the verticals, especially on the edge, were notable as having a light angle, and I also felt that the diagonal lines heading off the bottom of the image drew the eye down and out a little. I suggested starting with playing with the crop to see if some of the distractions could be minimised this way. We decided a 5x7 crop that lost the light area off the bottom and some of the sides was a good option. With the help of a little cloning in the bottom brown area, some of the strength of the diagonal lines was reduced to hold the eye in the centre of the image. The exposure and colour were already good, so no alterations were made to these.

What I noticed was that I felt my eye was guided up through image to the brightest area – but then I asked myself. remembering that I had asked a similar question with Charles’ image; featured in the previous mentoring session (Issue 60 - Page 43) if the sunset (brightest area) was really the intention of the image. Because that was where my eye was drawn most strongly to. I also noted that the foreground detail was also pulling my attention in both images. In the left image, the bright golden light falls on the shiny rocks and creates a point of strong contrast in the right because the grass in the foreground is tonally lighter than the rock formations. I felt that the midpoint within both images was where I wanted to settle, to enjoy the rock formations and soft wave detail, and was probably what drew Charles to make the images initially. We discussed using selective dodging and burning to try and attain this.

The second image we discussed, again, had loads of positives going for it. Once again, the ICM technique was executed really well, with great movement that matched the subject matter. Working with lights in the dark is not an easy choice when you add movement into the mix. I felt the overall composition was really interesting, and I loved the use of colour in the image. However, like a few of Maureen’s other images, I did feel a little more attention could be given to asking where the eye of the viewer might be drawn. The red lines immediately caught my eye, and I felt that in the original composition, the image balance was being pulled a little to the left. Also, in the original image, I felt the bottom left red flash drew the eye, as did a number of the other light lines around the other edges of the frame. Once again, I suggested cropping as the 1st option initially to try and bring a little more balance with the strong red lines. Then, the cloning of some of the elements that still remained on the image edges. The end result was a cleaner and more balanced image.

With the following images, I showed Maureen how contrasting elements on the edges of the frame could draw the eye away from the centre of the image. In each of these examples, I have highlighted them with a purple line where I noticed elements on the edge of the image that drew the eye. In the 1st example, I felt that the light (and unbalanced in size) lines on the sides of the image were unnecessary and cropping them out would direct the eye straight into the central area of the image. In the 2nd example, the points were a little more subtle. However, I suggested that the strength and blockiness of the colour of the green shard triangle bottom right were very dominant and that darkening off the bottom right corner would help keep the eye going into the image.

Mentor sessions are not about finding faults with your images; they are also about identifying why you love to create what you do and which images speak to you as a photographer or, in Maureen’s case, a creative art photographer. Looking at a number of her images, I noticed that some of her earlier experimentation showed more interest, story emotion contrast and clear photographic elements compared with some of her more recent images. Although there are no penalties for creative post-processing to achieve the final image, I did feel it was worth remembering that The Guild is a photographic association, and therefore, the photographic elements should be clearly recognisable in all images.

Comparing these two images, I felt that the one with the circles was much stronger photographically, and I really enjoyed exploring the image with all its varying shapes, textures and colours. The image with the blue and orange I felt only really displayed a photographic element in the orange shapes and held my attention and imagination for less time.

After looking at these abstract images, we then moved onto some of Maureen’s ICM images. The first of the ICM images we looked at, I loved for its colours and beautiful composition and feeling of calm that it evoked in me as I looked at it. However, I felt that the light across the image was a little flat and I wanted to be drawn across the top of the water to reach the shore near the dark mountains. I suggested a number of ways to do this. First to crop out a little of the light sea at the bottom of the image. Then using a brush or radial filter in LR add a little light with the whites and exposure sliders to the area of the sea just in front of the dark mountains. I then suggested with a brush to darken the coastline slightly to create even greater contrast. Although not immediately noticeable, without zooming in. When I looked closer I noticed a couple of dust spots had also been missed. ICM is notorious for dust spots as you are working at high depths of field. But with this awareness should come a check, check and triple check at 100% approach before submitting any images for IOM!

Charlotte’s suggestion...

The next image we looked at I felt was another that I really enjoyed looking at with its calming movement and beautiful pastel colours. This was another that I felt could benefit from a little more contrast and a little more light to create depth. I also noted that nearly half the image was a sky that had colour but no other interest. So I suggested cropping to make the sky secondary to the land and sea elements.

I have followed Maureen’s work for a long time and love the abstract multiple exposure ICM work she has produced. Within this mentor session, as well as the more technical aspects of the images, I also asked Maureen if she had any intention with her images what she wanted the viewer to experience, or if they were made with an emotional response. I suggested thinking about this could bring a stronger connection between viewer and image, and with it a story and narrative, rather than just thinking about ‘making or creating an image in Photoshop’.

THE TAKE AWAY POINTS FROM THIS MENTORING SESSION WERE:

• Keep an eye on edges of images for any distractions.

• With ICM images, explore the use of local dodging and burning to create depth to an image.

• Use cropping as a tool to balance images and remove distractions.

• Think about what you want to convey with the abstract and ICM images; story and emotion rather than just a technique.

I have worked with Maureen before for mentoring, and so I asked her for what she felt were the benefits and outcomes of the sessions. (By the way I did not pay her to say such lovely things!)

- Charlotte Bellamy MCrGPP www.charlottebellamy.com

“I really believe in the power of mentoring. I believe it gives you the ability to move more quickly in the direction you are heading with your photography. I find that I get blinkers in relation to my images and find it difficult to see their weaknesses and having someone else looking at them is always insightful. I also see a benefit in mentoring in that it helps me to see how I could get my images to score higher in the IOM competition.

I have found Charlie’s mentoring sessions extremely useful. Charlie is straight and clear with her feedback and gives the right amount of feedback, so I don’t feel overwhelmed but have a number of concrete actions I can take to improve my images. Charlie always delivers her feedback in a kindly manner so even though she is giving constructive feedback you come away feeling positive.

In this session I have learned to pay more attention to potential distractions at the edge of my images. I will also be considering more carefully where I want the viewer to look and whether the area of greatest interest in the image has sufficient contrast to draw the viewer’s eye. I also intend to take Charlie’s suggestion and to review the wording of the IOM rules to see what merits a bronze, silver and gold and to review my own images with this wording in mind before submitting them.

I have always come away with a new insight in relation to my work after a session with Charlie and on this occasion Charlie queried the emotions behind my image and I feel that this is something I should start thinking about more from the onset in the creation of my images.

Super useful feedback as usual. Thanks Charlie.”

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EDITOR’S CHOICE

Top 7 Silvers of the Month

Jayne Bond

EDITOR’S CHOICE

Top 7 Silvers of the Month

Laura Spence

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A DYNAMIC DUO

The Canon R5 and 100mm RF Lens:

Want to get great commercial, LinkedIn headshot photos using the Canon R5 and the Canon RF 100mm f/2.8 L Macro IS USM Lens? The following guide will help you produce the best professional headshots. So, in the realm of portrait photography, headshots are a subgenre all of their own. They capture the essence of an individual, highlighting a person’s unique features and personality in a single frame. The key element in achieving stunning headshot photos is the equipment you use. In this article, we’ll explore the art of creating captivating headshots using the Canon R5 camera paired with the 100mm RF macro lens.

THE CANON R5 AND 100MM RF LENS: A DYNAMIC DUo

The Canon R5 is a flagship mirrorless camera renowned for its high-resolution sensor, advanced autofocus system, and exceptional image quality. When used with the 100mm RF macro lens, this combination becomes a powerful tool for headshot photography.

UNDERSTANDING THE 100MM RF LENS

Before delving into the intricacies of headshot photography, let’s first explore the capabilities of the 100mm RF lens. Designed specifically for Canon’s full-frame mirrorless cameras, this lens boasts a wide aperture of f/2.8, allowing for beautiful background blur (bokeh) that enhances the subject’s prominence. The 100mm focal length is ideal for headshots, providing a flattering perspective without distorting facial features. Its macro capabilities enable photographers to capture intricate details, such as the sparkle in the eyes or the subtle texture of the skin. The lens’s image stabilization feature is also crucial for maintaining sharpness, something that’s key to getting shots that are incredible at all resolutions.

continued... page 58

Peter Morgan Canon Educator

Photo Peter Morgan

MASTERING THE SHOT

Creating compelling headshots goes beyond technical specifications; it involves understanding and implementing effective composition techniques and interacting with the client to create the facial responses and expressions you want for different situations, enhancing your compositions.

The camera’s high-resolution sensor allows ample cropping in post-processing without compromising image quality, giving you the flexibility to experiment with composition during shooting and editing. The articulating touchscreen on the R5 provides easy access to settings, allowing you to compose your shot with precision when also used with eye tracking.

When framing a headshot, consider the rule of thirds. Position the eyes along the upper horizontal line, drawing attention to the most expressive part of the face. Experiment with different angles but be mindful of maintaining a natural and flattering perspective to avoid distortion. Don’t be afraid of cutting into the hairline if the hair isn’t a feature or if the person has a shaved or bald head.

UTILISING AUTOFOCUS FOR PRECISION

The Canon R5’s autofocus system is a game-changer for headshot photography. With its Dual Pixel CMOS AF II technology, the camera excels at quick and accurate focusing, even in lowlight conditions. Combined with the 100mm RF lens, which offers a silent and smooth autofocus experience, you can capture genuine expressions without disturbing your subject.

Taking advantage of the eye-tracking autofocus feature, which locks onto the subject’s eyes for precise focusing is key. This is particularly crucial in headshot photography, where the eyes are the focal point and convey much of the subject’s emotion. The Canon R5’s advanced autofocus system ensures that you can consistently achieve tack-sharp focus on the eyes, resulting in compelling and engaging headshots.

LIGHTING THE SUBJECT

Lighting plays a pivotal role in headshot photography, and the Canon R5’s impressive dynamic range coupled with the 100mm RF lens allows for stunning results in various lighting conditions. However, my choice is to use Canon’s EL-1 Speedlite, 2 x Canon 600EX-RT Speedlite and 3 of the MagMod MagBox Pro 36” Strip softboxes in a triangular configuration. The wide aperture of the 100mm RF lens enables you to isolate the subject from the background.

POST-PROCESSING AND FINE-TUNING

After capturing the perfect headshot, post-processing is the final step in bringing your vision to life. The Canon R5’s high-resolution files provide ample detail for editing, and the 100mm RF lens delivers images with pleasing contrast and color rendition.

Consider using Adobe Lightroom or your preferred editing software to fine-tune exposure, color balance, and contrast. Pay special attention to the eyes, as they are the focal point of headshots. Enhance details without overdoing it, ensuring a natural and authentic representation of your subject.

CONCLUSION

In the realm of headshot photography, the Canon R5 and 100mm RF lens combination stands out as a dynamic duo, offering the tools and features necessary to capture stunning and compelling portraits. From mastering composition to utilizing advanced autofocus and harnessing the power of natural light, this pairing opens up a world of possibilities for photographers seeking to elevate their headshot game.

Whether you’re photographing individuals for professional profiles, capturing actors’ headshots, or simply aiming to create timeless portraits, the Canon R5 and 100mm RF lens provide the precision and image quality needed to turn your vision into reality. As you embark on your headshot photography journey, remember that technical proficiency, creative composition, and a deep understanding of your equipment are key to unlocking the full potential of this powerful combination.

- Peter Morgan

Canon Educator

PHOTO: ANGI WALLACE

EDITOR’S CHOICE

Top 7 Silvers of the Month

Debbie Longmore

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Roberto Aguilar Photographer

Born in El Salvador and raised in the United States, Roberto discovered a love for photography when his father gifted him a 35mm camera. At the impressionable age of ten, his curiosity about the photographic process led him to the darkroom, and saw him joining photography clubs in school.

Thinking from strength to strength Roberto’s talent was evident and he soon landed the title of contributing photographer and later the photo editor for his university newspaper and yearbook.

Whilst assisting several photographers in Miami, Roberto discovered fashion and realised his potential to push images and creativity on another medium.

Drawing from his knowledge and experience Roberto took a visionary approach to capitalize on steady income working for many multinational clients in the Central American region.

In 2000, he decided to take a year off and go to Paris where he attended Spéos. A year later saw him teaching photography at Parsons Paris; dividing his time between teaching, assisting fashion photographers and testing for several model agencies.

Roberto’s move to London happened in 2004 where he was quickly recruited by the Tigi brand to shoot their advertising, making him responsible for photographing all of their major world-wide campaigns, including the multiple internal brands.

Roberto continues to sell evoking, moving, inspirational and journalistic stories by documenting these through his images and moving images on location or in studio. His work has been featured in Vogue, W Magazine, Another Magazine, and L’Officiel, amongst other international titles.

He has collaborated with Jimmy Choo, Unite Haircare, British Hair, Cadence London, The London Barber, Tigi Haircare, Bed Head, Toni&Guy, Levi’s Dockers, Ponds, Dove, Axe, Unilever, Budweiser and Coca Cola; working for the advertising giants McCann, BBDO, Young and Rubicam, Ogilvy and Mather, Grey Advertising, Ammirati Puris Lintas.

Q: As a commercial photographer for over 30 years; how and where did your photographic journey start? My journey started when I was about ten years old. There was a photography club in school, and I wanted to learn how to use the darkroom. I remember taking some negatives into school, which my parents had shot, to see if I could make some prints. Then one day, my parents had a party, and it must have been a great party because someone left behind a Canon AE-1 35mm camera and never claimed it. I decided to take it apart to find out what all the buttons and dials did. Needless to say, I ruined that camera. I then convinced my father to buy me a 35mm camera. We went to a camera store in Miami, and I distinctly remember it was a Saturday. There was a nude photography workshop happening to which I was too young to enter. However, my father did go in for about ten minutes, and I waited outside. After that, I walked out of the store with a Canon T50 and a cheap zoom lens. To this day, I think I owe my photography career to that nude seminar… hahaha! My interest peaked, and I decided to pursue photography further. I took many photography courses in high school, and at university, I became the photography editor for the university newspaper. After graduating, I began assisting other photographers. In 1994 my father convinced me to move to our home country of El Salvador. Within a few months, unfortunately, he passed away suddenly from heart failure. Being the oldest of the family, I decided to stay in the country where I started to work with some of the biggest advertising agencies in the world, shooting campaigns for the entire Central American region. In El Salvador, the market is quite broad, and I could not specialise in one particular field. A typical week could include the interior of a bank and a shoot on the beach with girls in bikinis.

In January of 2000, I got the chance to help out on production for “W” Magazine with an amazing team. This encounter made me realise that I wanted to specialise in fashion and beauty. So I decided to go abroad, and I ended up in Spéos School of Photography in Paris doing a ten-month degree program in photography. After the program ended, I was offered a job as a darkroom lab technician at Parsons School of design. I took the job parttime and, at that time, started assisting other photographers and doing some testing for some of the larger modelling agencies in Paris. In 2004 I met the owners of a worldwide beauty brand, and they offered me a job in London. I ended up working with them for over a decade, photographing all their campaigns and travelling extensively.

© TimBret-Day

© Saraya Cortaville

© Roberto Aguilar

Q: When and how did you become interested in Platinum Palladium prints?

In 2016 I was invited to a gallery opening in Paris by one of the photographers I used to assist. He had two prints there, and the whole exhibition was platinum palladium prints. After over two decades of doing photography and printing, you can figure out how things are done. These prints mesmerised me. A platinum palladium print draws you in and keeps you there. The image is embedded in the fibres of the paper as opposed to “floating” on the paper as the emulsion is brushed on. I wanted to know how the technique was done. Immediately upon my return to the UK, I started doing some research and found out that not many people do this kind of printing. However, I did find a workshop and a whole new world of what is referred to as “alternative processes” opened up. It was the darkroom that first drew me to photography; the magic of the chemistry, you could say, seduced me. I still get a kick seeing the image come up. It is pure alchemy.

Q: What motivated you to change direction from commercial photography to setting up your specialist printing lab, RJ Print Lab?

I have not changed direction; I have merely added to the services I can provide. The lab was created several years ago to print my personal work. The pandemic put a halt to the commercial work, I am hoping temporarily, and made me realise how much I enjoy the darkroom. My commercial work is starting to come back slowly, and now it is about finding a balance.

Q: Your dedication to Platinum Palladium prints (museum quality) and how you create them.

These alternative processes are historical photographic processes from the beginning of photography itself. Nowadays, we can incorporate the new with the old, which means I can take a digital image captured with the latest technology or a negative scan and create a digital negative to be used in any alternative process.

Steps to produce a Platinum Palladium print:

1: A negative is made to the final size of the print from a digital file or a scan. This means that if you want an 8x10 print, we need to make an 8x10 negative.

2: Once the negative has been created, tested and approved, a light-sensitive emulsion is mixed using a cocktail of platinum and palladium salt chemicals. This mix is used to hand coat the acid-free cotton rag paper using a synthetic bristles brush. The paper is then left to dry for about 20-40 minutes.

3: Once the paper is dry, the negative is placed on the paper and placed into a vacuum frame to be exposed to UV light.

4: The exposed paper is then passed through a few trays of chemistry for development and clearing. It is then washed for thirty minutes to an hour and hung to dry to remove the excess water.

5: The print is then set on a flat screen for its final drying overnight. The next day the print is checked and, if necessary, spotted.

Q: One piece of equipment that you cannot do without?

I am going to say a computer. I use a computer for everything nowadays.

Q: Best buy for under £50?

A V-60 Coffee Dripper and a hand held coffee grinder all for under £50. Never underestimate the power of a freshly ground speciality cup of coffee.

Q: As a commercial photographer, what area did you specialise in?

I still do! I specialise in fashion and beauty. I love photographing people.

Q: Your limited edition prints that you create are printed on Hahnemuller Platinum Rag as standard. Can you explain why this particular paper works for your printing processes?

Platinum palladium prints will never fade due to the chemical composition of the emulsion. The noble metals are platinum, palladium and gold. It is said that these do not fade over time. As you can imagine, the chemistry prices fluctuate depending on the demand for these precious metals; therefore, you want to have a paper that will last. Although you could technically print on any paper, a few papers are made specifically for the process. Hahnemuehle Platinum Rag is one of them. I do print on this, but I do find that it is not only beautiful but also very dependable and readily available. This paper is 100% cotton paper. It is acid-free and does not contain any alkaline buffers.

Q: What motivates you to get up in the morning? Photography. I am still obsessed with photography!

© TimBret-Day

© Roberto Aguilar | Beauty Lab

Q: Henry Fox Talbot invented the Salt Print in 1839can you explain the processes involved in creating this type of image?

I think you mean creating this type of print. Salt prints were the first time in history where a negative was made and could be used to create multiple copies of an image. The process begins with the preparation of the paper. A weak salt solution is brushed on the paper and left to dry prior to any light-sensitive emulsion. This allows the silver nitrate to be fixed on the paper. The process is quite simple; once the salt solution has dried, you can coat the paper with a solution of silver nitrate and expose it to ultraviolet light (the sun). The exposed print is then submerged in a few chemical trays and washed for about 30 minutes. This is very similar to regular silver gelatine (wet) darkroom print.

Cyanotype Prints are some of my favourites because of their versatility. These were commonly referred to as blueprints because, in effect, they are Prussian Blue. They are probably what I would recommend anyone to start with. You can buy the chemistry already made in places like Amazon. The chemistry comes in two bottles marked solution A and solution B. You add the same amount from each bottle and coat your paper. I believe you can even buy pre-coated paper. They can be done on any paper, and they develop in plain water. The ease and low cost of making these prints allow for experimentation. If you ever get a chance to go to the V&A Museum, you will get to see some of Anna Atkins cyanotypes. She was the first one to create the first book of photographs, and these were cyanotypes. (https://www.nhm.ac.uk/discover/annaatkins-cyanotypes-the-first-book-of-photographs.html)

Q: Your favourite image that you have created, captured and printed?

I can’s say that I’ve gotten there yet. This year I have set myself a project of printing 100 of my images using different alternative processes. I will let you know if one of these becomes my favourite.

Q: What advice can you share for people interested in taking up darkroom work, processing and printing their own images?

Come and do a workshop with me in County Durham; it will change your photographic path forever. As a photographer, I believe it is of utmost importance to print your images. As they say, “the big eye doesn’t lie”, and a print leaves nowhere to hide any mistakes. It doesn’t have to be a handmade print; any print will do. Just print your images!

Q: How important is the use of today’s digital technology in the creation of your printing services today?

Digital technology allows us many freedoms today. I have clients from all over the world who send me files via the internet.

Also, most of us nowadays walk around with cameras on our phones. I have a few clients who send me files taken on their phones. Digital technology is what makes my business possible today.

© Roberto Aguilar

© Roberto Aguilar

Q: Cyanotype Printing, what is involved in creating this type of image?

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

I can always escape to the darkroom. I am in my own cocoon there.

Q: Typical day at your lab? How long does it take to create a print for a client?

There is not a typical day at the lab. All prints come with different challenges. A typical printing day will include checking the humidity first. Usually, between 45-55% is perfect for platinum palladium printing for me. If it’s too low or too high, I need to make some adjustments to exposure and coating. I will usually run a small calibration strip before I do any prints to make sure I don’t need to make any adjustments there, and then I will check the negatives I’ve done the night before. Once all that is done, I will pick the paper, mark it accordingly and mix some chemistry. A typical print will take about an hour once all the set-up is done, not counting the waiting times for emulsion to dry and the actual print to dry(usually overnight). I will say up to two days if you include prepping the file, negative printing, processing and drying times, and spotting.

Q: Who inspires you?

I think someone like Irving Penn has always been an inspiration. Not only was he a great photographer but also a great platinum-palladium printer at a time when very few could afford to print in the medium. I am also very inspired by the work I see on social media. There is some amazing work out there being produced.

Q: If you were to be on a desert island and only take one item, what would it be?

I watch many of these “Naked and Afraid” survivor series on TV, and they are given a choice of one item. I always think to myself either a mosquito net to keep all the bugs away or a fire starter kit to keep warm and boil water… although I don’t think this is the answer you want to hear…haha. I could say a camera with many rolls of film… a digital camera would need a charger and electricity. Tough question!

Q: How do you relax?

I’ve been asked this question before, and people laugh when I tell them that photography is my job and as a hobby, I do photography... I mean... I have three degrees in photography. When I am not shooting for work, I am at the lab printing my own work. When I am with my partner and daughter, I photograph them!

Q: Three individual words that describe you?

Passionate, Creative, Dedicated

Q: Favourite food?

I don’t have one favourite food… I love sushi, pasta and steak, not necessarily in that order.

Q: Where next?

I am open to all possibilities as long as it involves photography.

- Thank you Roberto for sharing an insight into your photographic journey and your specialist printing. Inspiring.

PHOTO JACKI GORDON

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