Professional Photo 4

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Welcome

welcome

BELOW: Tom Oldham was one of the first to get his hands on Hasselblad’s H6D. Read his opinions on it on page 43.

@PHOTOPROUK

Go to a camera launch these days and there’s a recurring message that the manufacturers are keen to get across.

More than ever before, they tell us, they’re listening to feedback from consumers and acting upon it. I’m not quite sure which company was the first to make this part of its marketing spiel but there’s little doubt that there’s a liberal sprinkling of it in virtually every press release I read.

The latest was Hasselblad at its launch of the H6D – you can read my first look on page 43 – where CEO Perry Oosting confirmed that existing users had specifically asked for the design of the camera to stay in line with its predecessors. Hasselblad listened, focused their attentions on other aspects of the camera and have produced something rather wonderful as a result.

Listening to customer feedback is a bit of a no-brainer when you think about it. People who are buying your products providing honest opinions about what you do or provide. I always welcome feedback about Professional Photo, for example, because it’s vitally important for us to produce a magazine that you want to read. But if you ask for feedback, you’ve got to be ready to take the brickbats as well as the bouquets.

Responding to negative feedback is, I think, far more important than taking the plaudits and I’ve seen plenty of people – photographers included – who have reacted really badly to someone giving their honest opinion.

So how would you react? You supply some images and the customer thinks they aren’t to standard. I’d always view it that it’s better that they voiced concerns and gave you a chance to address the situation, than they leave disgruntled and you see them complaining about you on social media.

The customer is king and Hasselblad, along with most other camera manufacturers, know it. The question is: do you know it too? Enjoy the issue – and be sure to tell me what you think!

Editorial director Roger Payne rogerpayne@bright-publishing.com @RogPayne

ISSUE 120 PROFESSIONAL PHOTO 003

© LEL BURNETT

Contents

EDITORIAL Editorial director Roger Payne 01223 492244 rogerpayne@bright-publishing.com Deputy editor Lisa Clatworthy Contributing editor Terry Hope Features writer Jemma Dodd Sub editor Catherine Brodie Contributors Ian Farrell, Adam Duckworth, Andrew Billington, Will Cheung ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Senior sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com DESIGN Design director Andy Jennings Senior designer Mark George Ad production Lucy Woolcomb

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WEB Digital development manager Ashley Norton Interactive designer Will Woodgate PUBLISHING Managing directors Andy Brogden & Matt Pluck Head of circulation Chris Haslum SUBSCRIPTION AND BACK ISSUES Subscribe online: www.brightsubs.com/photopro Email: subs@photopromagazine.com Subscription hotline: 01778 392497 NEWS-STAND DISTRIBUTION COMAG, Tavistock Road, West Drayton, Middlesex UB7 7QE 01895 433600 PRINTED IN THE UK BY Warners Midlands plc using only paper from FSC/PEFC suppliers www.warners.co.uk

Professional Photo is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Professional Photo is a registered trademark of Bright Publishing Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

When you have finished with this magazine, please recycle it 004 PROFESSIONAL PHOTO ISSUE 119

033 SUBSCRIPTION OFFER – GET 16 ISSUES FOR £29 It’s never been easier or cheaper to subscribe to Professional Photo.

See page 73 for more info on our special offer…

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055 @PHOTOPROUK

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COVER UPFRONT

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COVER PLATON

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COVER BUILDING YOUR BRAND

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COVER REPORTAGE WEDDINGS

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PROJECT: CURTAIN CALL

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COVER BREAK INTO FASHION

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COVER FREEZING ACTION

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RISING STAR

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COVER HASSELBLAD CFV-50C

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PORTABLE MEMORY

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COVER RENTAL NOTES

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THE STORY BEHIND

A motion-freezing, Lotteryfunding, cake-smashing, reportage-loving, Hasselbladlaunching round-up The man behind the portraits of the world’s most famous faces Essential brand advice from someone who’s been there and sold the T-shirt!

No interference, no posing, no groups; are you ready to give clients great reportage images?

Matt Humphrey’s year-long look at London stage shows Four seasoned professionals reveal what it takes to make it How to stop subjects in their tracks with on-location lighting Al Overdrive: Cool name, cool images. No wonder he’s a star The digital back that’s breathing new life into old ’blads Three new ways to skin the ‘backing up on location’ cat Looking to hire kit for your next job? Try this little lot Innocuous white fence changes course of photographic history

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© REMO NEUHAUS

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EDITORIAL Editorial director Roger Payne 01223 492244 rogerpayne@bright-publishing.com Deputy editor Lisa Clatworthy Contributing editor Terry Hope Features writer Jemma Dodd Sub editor Catherine Brodie Contributors Ian Farrell, Dan Morris, Will Cheung ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Senior sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com DESIGN Design director Andy Jennings Senior designer Mark George Ad production Lucy Woolcomb WEB Digital development manager Ashley Norton Interactive designer Will Woodgate PUBLISHING Managing directors Andy Brogden & Matt Pluck Head of circulation Chris Haslum SUBSCRIPTION AND BACK ISSUES Subscribe online: www.brightsubs.com/photopro Email: subs@photopromagazine.com Subscription hotline: 01778 392497 NEWS-STAND DISTRIBUTION COMAG, Tavistock Road, West Drayton, Middlesex UB7 7QE 01895 433600 PRINTED IN THE UK BY Warners Midlands plc using only paper from FSC/PEFC suppliers www.warners.co.uk

Professional Photo is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Professional Photo is a registered trademark of Bright Publishing Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

When you have finished with this magazine, please recycle it 004 PROFESSIONAL PHOTO ISSUE 120

074 SUBSCRIPTION OFFER – GET 16 ISSUES FOR £29 It’s never been easier or cheaper to subscribe to Professional Photo.

See page 20 for more info on our special offer…

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Contents

inside #120

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041 @PHOTOPROUK

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COVER UPFRONT

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COVER REMO NEUHAUS

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COVER POWER OF INSTAGRAM

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COVER NEW KIT SPECIAL

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LIGHTING SECRETS

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PROJECT: DRAG ARTIST

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COVER PHOTO FESTIVALS

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RISING STAR: NATALIE J WATTS

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TECHNIQUE: COVER VERSIONS

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BAGS BUYERS’ GUIDE

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THE STORY BEHIND

Awards-packed section highlights the best of the AoP, the EPAs and TIPA. An acronym test will follow afterwards Extraordinary portraits that keep this man extraordinarily busy Wedding photographer Dan Morris is an Instagram fan. Find out why you should be too Alert the bank manager, we’re reviewing the D5, EOS-1D X MkII and Hasselblad H6D! Using portable flash to give natural-looking results Magnus Hastings’s right royal set of drag queen portraits Why wellies, waterproofs and a tent could be essential to help you grow your business Wedding shooter reveals best reason ever for quitting a job!

One set of images, three different retouchers. How will the results vary? Hugely Bags of new ways to carry your gear. Literally Now here’s a sight you don’t see every day…

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UPFRONT

VARIOUS

IAN FARRELL

Given the troubling events happening around the world at the moment, entries to World Press Photo 2016 were always going to be pretty harrowing in their subject matter. The contest honours photographers from all around the world who’ve managed to capture topics and themes that are of great journalistic importance on camera. This year’s subjects ranged from the aftermath of Nepal’s earthquake to the ‘Je Suis Charlie’ movement and, of course, Syria.

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© KEVIN FRAYER

World Press Photo 2016

@PHOTOPROUK

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© WARREN RICHARDSON

UPFRONT

Photographs of the five-year conflict, which has affected much of the Middle East and caused the biggest refugee crisis since the Second World War, dominated the competition, taking many of the top spots across the 15 subject categories. The overall title of World Press Photo of the Year 2015 went to Warren Richardson for his image Hope for a new life.

This grainy black & white photograph, taken in the middle of the night, shows refugees struggling to cross into the EU, over the border between Serbia and Hungary, before the Hungarian authorities finish erecting a fence to secure the crossing. Richardson – a freelance photojournalist known for his work on human and environmental issues – recalled the extraordinary conditions under which he managed to capture the image.

“I camped with the refugees for five days on the border. A group of about 200 people arrived, and they moved under the trees along the fence line. They sent women and children, then fathers and elderly men first. I must have been with this crew for about five hours and we played cat and mouse with the police the whole night.

“I was exhausted by the time I took the picture. It was around three o’clock in the 008 PROFESSIONAL PHOTO ISSUE 118

morning and you can’t use a flash while the police are trying to find these people, because I would just give them away. So I had to use the moonlight alone.”

Commenting on Richardson’s photograph (which also won first prize in the Spot News category) Francis Kohn, who chaired the general jury of judges, remarked on its instant impact. “Early on we looked at this photo and we knew it was an important one. It had such power because of its simplicity, especially the symbolism of the barbed wire. We thought it had almost everything in there to give a strong visual of what’s happening with the refugees … it’s a very classical photo.”

Other photojournalists recognised for their work in the Middle East include Sameer Al-Doumy, for a powerful series showing the aftermath of air strikes in Syria, and Mauricio Lima, whose image of a badly injured IS fighter being treated at a Kurdish hospital earned him first prize in the News Singles category.

Elsewhere in the world, journalists tackled a range of cultural issues.

Canadian photographer Kevin Frayer’s image showing men in the streets of the northern Shanxi province of China, against a backdrop of coal-fired power stations, highlights one of the world’s

greatest social-environmental issues and earned Frayer first prize in the Daily Life single image category.

The environmental theme continues with Tim Laymen’s photo essay Tough times for orangutans and Brent Stirton’s Ivory wars, which depicts the continuing struggle against elephant poaching.

These photographers won first and second prizes, respectively, in the Nature stories category.

When seeing images like those depicted in World Press Photo 2016, it’s sometimes difficult to reconcile how such awful events can be photographed so beautifully, and how one is meant to feel when looking at them. But the power of the photography on display here only goes to add more gravitas to the messages they are trying to convey, and is testament to the extraordinary role that still images continue to play in modern journalism. worldpressphoto.org You can find the winning and runner-up images in all 15 categories on the World Press Photo website. An international touring exhibition makes its way to the UK in the summer, showing at the Scottish Parliament, Edinburgh from 29 June to 23 July.

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© SERGEY PONOMAREV

© TIM LAMAN

© KEVIN FRAYER

World Press Photo 2016

PREVIOUS SPREAD: The Larung Gar Buddhist Academy in Sichuan, China by Kevin Frayer.

LEFT: Warren Richardson’s winning entry, Hope for a new life, shows migrants crossing the border from Serbia into Hungary.

© ANUAR PATJANE FLORIUK

© BRENT STIRTON

THIS PAGE (CLOCKWISE FROM TOP LEFT): A member of International Animal Rescue carries a baby Bornean orangutan out of a house where it was kept illegally as a pet; Smoke billows from stacks as men push a tricycle through a neighbourhood next to a coal-fired power plant in China’s northern Shanxi province; Migrants struggle to climb onto a train headed to Zagreb, the Croatian capital; A recently defected member of the Lord’s Resistance Army shows ivory that he hid from his former association; A humpback whale and her newborn calf swim near Roca Partida, off the coast of Mexico

@PHOTOPROUK

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UPFRONT

LISA CLATWORTHY

This is how photographers from around the world and across the decades see Great Britain and its people. How will we view their images of us?

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Magnum photographer Martin Parr’s been busy. Not only is his own exhibition Unseen City currently on at London’s Guildhall Art Gallery, he’s also curating Strange and Familiar at the Barbican.

Strange and Familiar: Britain as Revealed

by International Photographers depicts our country through the eyes of social documentary, architecture, street and portrait shooters from around the world, from the 1930s to the present day. It’s a huge topic, and the exhibition is large,

as Barbican curator Alona Pardo, who has been collaborating with Parr, tells us: “There’s plenty to see. We’ve got about 350 prints in the show, but we’re also showing 60 photo books, rare and out of print works. We actually selected just 23 photographers, we could have shown many more.”

Among those photographers are some well-known names such as Henri Cartier-Bresson and Bruce Gilden and some lesser known ones, like WWW.ABSOLUTEPHOTO.COM

© HENRI CARTIER-BRESSON / MAGNUM PHOTOS © HANS VAN DER MEER / COURTESY OF THE ARTIST

© AKIHIKO OKAMURA / COURTESY OF THE ESTATE OF AKIHIKO OKAMURA, HAKODATE, JAPAN

© SERGIO LARRAIN / MAGNUM PHOTOS

A strange exhibition

OPPOSITE: Akihiko Okamura, Northern Ireland, 1970s TOP LEFT: Sergio Larrain, London. Baker St underground station, 1958-1959 TOP RIGHT: Henri Cartier-Bresson, Coronation of King George VI, Trafalgar Square, London, 12 May 1937 ABOVE: Hans van der Meer, Mytholmroyd, England, 2004

@PHOTOPROUK

Akihiko Okamura. A photojournalist who covered the Vietnam War and the Biafran conflict, “Okamura was clearly drawn to photograph conflict, but with such a different gaze from anyone else photographing at the time. He photographed across the Republic and Northern Ireland. His photographs are very beautiful, lyrical colour works that feel very different. His work has never been shown here in the UK; we came across his work in a recent retrospective in Japan. I think he’ll be an absolute revelation,” says Pardo.

Among the other works new to the British public are 51 images from Gilles Peress’s study of the Northern Irish Troubles from the Protestants point of view. Also getting a first UK showing

is Raymond Depardon’s work from Glasgow, commissioned by The Sunday Times in 1980 but never published. Two unknowns that Parr was keen to include are Frank Habicht and Gian Butturini.

“They had fallen off the radar, but made a fantastic body of work around the 60s,” explains Pardo. “At the same time Brian Duffy and Norman Parkinson were working, Habicht and Butturini were out on the street photographing a much more dystopian vision of 60s Britain.”

Two criteria were applied to choosing the photographers. Firstly, the work had to be truly representative of Great Britain, “including Scotland, Wales, England, north to south and east to west, as well as Northern Ireland, and charting the social history of Britain, ISSUE 118 PROFESSIONAL PHOTO 015

Competition

WIN! SHOWCASE YOUR WORK WITH ANTALIS A

ntalis has teamed up with one of the 20th century’s greatest British photographers Don McCullin to introduce a spectacular range of papers, achieving the finest quality of digital litho printing. The campaign also provides followers of Antalis with a unique opportunity to get involved in a photography competition with some outstanding prizes.

War and reportage photographer Don McCullin is currently completing the printing of Irreconcilable Truths, a threevolume limited-edition retrospective of his life’s work.

“Preparing to realise Irreconcilable Truths has been a two-year process of reviewing the whole of my archive and curating almost 700 images that I consider to be the portfolio that defines the entirety of my career. Yet, having published almost 30 books all subject to inevitable commercial compromise, this time I was dedicated to ensuring that what was possible with litho printing could match as closely as possible what I was achieving in my own darkroom,” Don says.

“The final decision was straightforward; Antalis’s Cocoon 020 PROFESSIONAL PHOTO ISSUE 119

Recycled for the reproduction of images in Irreconcilable Truths, and also the same supplier’s Mohawk Superfine stock for the digital reproduction of accompanying monographs – including a first-ever printing of a selection of my colour photography.”

HOW TO ENTER Antalis is giving readers the opportunity to showcase their work and win some great prizes. Simply upload an image to antaliscarefullycurated.com to enter, and your work will be featured on the website. Each month entries will be reduced to a final selection that will remain displayed on the website up until the final judging of the competition.

The top three successful entries will receive a copy of Don’s limited-edition, three-volume retrospective of his life’s work, Irreconcilable Truths, signed by Don. The overall competition winner will then also receive a printed portfolio of their work, printed on any paper from the Antalis range.

Early entrants will also be in with a chance of attending the Photo London event, which takes place at Somerset House on 19-22 May, where Don McCullin will be announced as a Master of Photography. antaliscarefullycurated.com

PRIZES The first 100 successful entries will receive a copy of An Alternative Pallet, a coloured monograph featuring a selection of never before seen Don McCullin images.

Terms & conditions

Entries must be uploaded to the website, antaliscarefullycurated.com by midday, 1 December 2016 and the winner will be notified by email within 28 days. This competition is open to UK residents only, aged 18 and over. One entry per email address. All images must be the entrant’s own work and copyright of the image remains with the photographer. Employees of Bright Publishing and Antalis and their immediate families and agents may not enter. Entries not in accordance with these rules will be disqualified: by entering, competitors will be deemed to have agreed to be bound by these rules. The prize must be taken as offered with no alternative and does not include any models, travel or accommodation. In the event that the prize cannot be supplied no liability will attach to Bright. For full Ts&Cs visit bright-publishing.com.

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A strange exhibition

ABOVE LEFT: Candida Höfer, Liverpool IX, 1968 ABOVE: VG Bild-Kunst, Bonn 2015; Edith Tudor-Hart. Kensal House, London ca. 1938 LEFT: Tina Barney, The Red Sheath, 2001 BELOW: Cas Oorthuys, London, 1953 BELOW LEFT: Akihiko Okamura, Northern Ireland, 1970s

© CAS OORTHUYS / NEDERLANDS FOTOMUSEUM

© TINA BARNEY / COURTESY OF PAUL KASMIN GALLERY

© EDITH TUDOR-HART / NATIONAL GALLERIES OF SCOTLAND

© CANDIDA HÖFER, KÖLN

how we’ve changed and how others see us and how they’ve influenced British photography. Ultimately the show charts a history of Britain through the medium of photography.”

Secondly, the photographers must not have settled permanently in Britain.

“They had to be people who were travelling through or may have spent up to a decade here, but they hadn’t become affiliated or appropriated into the mainstream of British photography.”

“The show’s quite bleak,” continues Pardo. “It is a portrait of a Britain that’s quite down at heel, it’s about austerity and poverty, unemployment. It charts the economic and social decline to the Thatcher years, from post-war austerity, to that one moment of euphoria in the 60s and then the pretty bleak 70s and 80s with strikes and urban decay.”

Echoing this bleakness, the galleries within the exhibition are all grey.

However, it’s not an exhibition to simply be walked around. There is a curated route, as its architecture, commissioned

by Pardo from architecture practice Witherford Watson Mann, leads you on a prescribed walk through the chronologically presented works. “But within the gargantuan space we’ve created a library area that acts as the backbone of the show, which people can come in and out of. You’re encouraged to sit down, take a moment, read a book.

Hopefully people will engage with that space, spend time in there, and get to know the photographers more.” barbican.org.uk/artgallery

© AKIHIKO OKAMURA / COURTESY OF THE ESTATE OF AKIHIKO OKAMURA, HAKODATE, JAPAN

Strange and Familiar is at the Barbican Art Gallery, London until 19 June. Tickets are £12.

@PHOTOPROUK

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UPFRONT

kit news

New gear to get you warming up the credit card

LEICA GOES BACK TO BASICS Leica has introduced the M-D (Typ 262), a fifth model in its M range of rangefinder models, and arguably its most outstanding feature is something that’s missing. For the first time in a Leica M digital camera, the M-D doesn’t feature a rear LCD, underlining the company’s ‘Das Wesentliche’ principle of concentrating on the essentials of photography. Instead of the rear screen, the back of the camera features a large ISO dial, while other camera functions are kept equally minimal; just a shutter speed dial, shutter release and hotshoe can be found on the top-plate.

“With the exclusion of the ubiquitous LCD screen, photographers must return to the principles of photography when shooting with the Leica M-D: accurate framing and composition, selecting the appropriate parameters and settings, and ensuring that they capture the decisive moment with the thought and consideration that has always been

necessary in analogue photography,” says Jason Heward, MD of Leica UK. “This unique rangefinder camera also brings back the fascination and expectation associated with film – returning photography to its origins during the capturing process, whilst maintaining the obvious convenience and benefits of digital technology.”

Technically speaking, the M-D shares the same sensor as the Leica M (Typ 262), a 24-megapixel fullframe CMOS offering. The M-D shoots only Raw files in the DNG format and doesn’t have any video recording capability. Images can be captured at up to three frames-per-second, but the camera also features a shutter cocking system that is very quiet when shooting in the single exposure mode.

Available now in a black finish, the M-D costs £4650.

FURTHER REFINEMENTS FOR LIGHT BLUE Light Blue software has been updated, with the latest version offering integration with the ShootProof online gallery system.

Users with the new version 6.1 and Light Blue’s online services can use ShootProof to showcase their work in online galleries and use sales tools to sell images to clients. Any orders placed are automatically forwarded to Light Blue’s Inbox from where they can be imported without any further information needing to be re-entered.

In addition to these changes, version 6.1 also features improved online forms as well as seeing the introduction of translations of the built-in templates used for such things as creating invoices.

German is the first language to be incorporated.

Existing Light Blue users can read more detail about the changes by using the Check For Updates command within the software. lightbluesoftware.com

uk.leica-camera.com

SAMYANG LAUNCHES AF OPTICS Samyang has made the leap to autofocus with the launch of 14mm and 50mm lenses. It’s the first time the company has produced an AF lens, having made a name for itself with good quality manual focus optics at extremely competitive prices.

The 14mm f/2.8 ED AS IF UMC and 50mm f/1.4 AS IF UMC lenses are both designed for full-frame Sony E-mount mirrorless cameras and feature aspherical lenses in their construction to deliver high resolution and minimal aberrations. They’re also claimed to deliver beautiful bokeh. The lenses will be available in June when prices will be confirmed. samyanglensglobal.com

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Kit news

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ZEISS WIDENS BATIS LENS LINE-UP Zeiss has added an 18mm f/2.8 wide-angle lens to its Batis range. Available for Sony E-mount cameras, the 18mm offers a 99° field of view and incorporates an OLED screen to show focusing distance and depth-of-field.

The autofocus optic features 11 elements in ten groups. Four are aspheric on both sides and seven are made from special glass to boost image quality. It also features a rubberised manual focusing ring and is dust and weather-sealed for use in all conditions. Available now, it costs £1189. zeiss.com/batis

BRIEFLY… 1 Jessops has opened its 51st store. The shop, at North Street in Brighton, was opened by CEO Neil Old and is set to offer the company’s full portfolio of services, including rental, trade-ins, sensor cleaning and an on-site lab. You can call the store on 01273 325727.

jessops.com Sigma’s MC-11 mount converter is now available in the UK. The converter allows you to use Sigma lenses with a Canon EOS or Sigma mount on Sony E-mount camera bodies and costs £219.99. Some lenses will require a firmware update to function correctly; the MC-11’s LED blinks to indicate an update is needed.

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sigma-imaging-uk.com

3 Sony will start its Imaging Pro support programme in the UK in September. The free service is open to professional photographers using at least two selected Sony bodies and three lenses and includes a dedicated phone help desk, free collections and returns on servicing, free backup loan units and a free twice-yearly sensor clean.

sony.co.uk 4 Kenro is the new UK distributor for NanGuang LED lighting. The current line-up features two kits: the Luxpad 43 Kit for general use and the CNT96-3 LED Photo Light Kit for smaller desktop applications. Prices are £599.94 and £179.94 respectively.

PELI CASES NOW UP TO 40 LIGHTER Peli has reworked the design of its hard cases to reduce the weight by up to 40%. The new Peli Air cases, which are made from premium lightweight resin, are just as durable as their weightier counterparts, but every aspect of the design has been re-engineered to lighten the load. The company now claims the protective cases are the lightest on the market.

Initially, six sizes will be available from the 1535, which is a wheeled carry-on case, through to the large 1605, but further models are anticipated. Peli says there will be 20 new sizes in the next 18 months.

kenro.co.uk

peli.com

@PHOTOPROUK

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UPFRONT

kit news

New gear to get you warming up the credit card

PRO KIT SCOOPS PHOTOGRAPHY NEWS AWARDS The annual Photography News awards has seen a range of professional products pick up trophies. Prizes were awarded in no fewer than 47 categories, with any products launched in 2015 eligible. Votes were cast by Photography News readers.

The Professional DSLR award went to the Canon EOS 5DS/R, while the Fujifilm X-T1 took the Professional CSC gong and the Hasselblad H5D-50c walked off with the Medium-format Camera award.

Canon also saw success in the Prime Standard Lens category, where the EF 35mm f/1.4L II USM won. The Zeiss Otus 85mm f/1.4, meanwhile, picked up the Prime Telephoto Lens award.

The studio flash categories were hotly contested with Profoto’s B2 winning

Portable Flash, Elinchrom’s BRX500 taking Monobloc Flash and broncolor’s Scoro S1600RFS winning the Mains Flash Power Pack award. Inkjet Printer was won

by Epson’s SureColor SC-P800.

Jessops won Best Retailer, while Calumet Rental scooped Best Hire Centre and Aaduki took Best Insurance Provider.

Loxley Colour, meanwhile, won both Best Processing Lab and Best Book Service.

You can see the full list of winners in all 47 categories in the latest issue of Photography News, which is available free from leading photo retailers, or can be viewed online at:

TAMRON UPDATES A CLASSIC The latest incarnation of Tamron’s popular 90mm macro lens is now on sale. Following in the footsteps of the first version, which appeared over 30 years ago, the new SP 90mm f/2.8 VC USD Macro offers a 1:1 reproduction ratio and sees improvements to vibration compensation and focusing systems, plus improved weatherproofing capabilities. It’s also the first Tamron lens that allows users to update firmware, customise the AF and adjust the lens set up via the new Tamron TAP-in console. The lens is available now in Canon and Nikon fittings for £580, with a Sony A-mount version also in the pipeline, although no timescale has been confirmed.

Also announced is the world’s first full-frame 85mm with vibration compensation. The SP 85mm f/1.8 VC USD will initially be available in Nikon and Canon fits, with a Sony version to follow.

Pricing is to be confirmed. intro2020.co.uk

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NIKON CONFIRM D5 IS IN THE WORKS We knew it was going to happen anyway, but Nikon has officially confirmed that a range-topping D5 digital SLR is in development.

The company stopped short of suggesting any particular specification details for the FX-format model, but they did also confirm that a new Wireless Transmitter – the WT-6 – and a new flashgun – the Speedlight SB-5000 – are also on the cards, perhaps suggesting key areas where the new model will excel. No launch date has been confirmed.

If you’re eyeing the current Nikon line-up, you may want to take advantage of a battery grip offer running until 28 January 2016. Buy the D7200 or D610 in body only or kit form before this date and you’ll receive a free battery grip. nikon.co.uk/promotions

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Kit news

NIKON DISCOUNTS PRO LENSES Nikon UK has announced a promotion that might just put a spring in your step if you are thinking about adding a lens to your gear arsenal. Buy one of 14 selected Nikkor lenses before 29 June and you’ll be able to claim back up to £150. So if you fancy an ultra-high performance prime, like the AF-S Nikkor 85mm f/1.4G or a classic telezoom such as the 70-200mm f/2.8G EG VR II, this could be a good time to raid your piggy bank.

See www.nikon.co.uk/promotions for more specific details of the lenses on offer. nikon.co.uk

LOWEPRO OFFERS DRONE A HOME ELINCHROM OFFERS IMPROVED KIT OPTIONS

CANON ANNOUNCES HIGH-SPEC EOS 80D

Elinchrom has added extra appeal to its studio and location lighting kits.

The D-Lite RX, BRX and ELC Pro HD lighting packages all now benefit from EL-Skyport Transmitter Plus technology for greater control over power, a 200m shooting range and better durability Both the Transmitter Plus and a ProTec Location bag have also been added to the ELB 400 flash kits. All products now benefit from a three-year warranty, for extra peace of mind.

Although unlikely to be the mainstay of any pro’s shooting kit, Canon’s new EOS 80D could be a viable back-up, or a camera for a second shooter. The 24.2-megapixel APS-C sensor works with a DIGIC 6 processor and 45 AF points, all of which are cross type.

Shooting at up to 7fps, the camera offers an ISO range of 100-16,000 (expandable to ISO 25,600) and offers Full HD video at 60p. It also has a 100% viewfinder.

The EOS 80D costs £999.99, body only.

With drone sales flying high, Lowepro has announced a new backpack designed for models including the DJI Phantom and 3DR Solo. Drone enthusiasts have, apparently, been involved in the design of the DroneGuard Backpack 450 AW, which features a FormShell outer and modular interior to keep your kit protected.

It also has space for a 10-inch tablet and other essentials such as headphones and sunglasses.

The pack has a breathable harness and features a built-in weather cover should you get caught out in the elements.

Available now, it costs £220. lowepro.co.uk

theflashcentre.com

canon.co.uk

BRIEFLY… 1 Toshiba has introduced a new high-speed UHS-II compatible microSD card and boosted the capacity of its existing UHS-I compliant SDXC card to 128GB. The new Exceria Pro microSD card offers read/write speeds up to 270MB/s and is available in sizes up to 64GB.

silver, with the first two available exclusively at Apple Stores. If you want more space, the new 2TB and 3TB G-Drive Mobile USB drives are available in black aluminium and feature a USB 3.0 connection. Prices from £92 + VAT.

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toshiba-memory.com Sigma has released a firmware update for its 150-600mm DG OS HSM lenses for Canon and Nikon DSLRs. The free update improves the AF algorithm to boost focusing speeds by between 20 and 50%. Users with a Sigma USB Dock can perform the upgrade themselves.

Those who don’t should contact Sigma Imaging UK to get it updated free of charge.

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sigma-imaging-uk.com 3 G-Technology’s latest G-Drive Mobile USB-C drives is designed especially for users with slim laptops featuring the new USB Type-C connection. The 1TB drives are available in three colours; gold, space grey and

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4 Olympus has announced a limited edition version of its OM-D EM10 Mark II CSC. Just 3500 examples of the Fox Brown coloured camera will be available worldwide and come with a premium leather strap and silver lens cap. The camera is available now for £699.99 including 14-42mm pancake lens.

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olympus.co.uk 5 Lightroom 2.0 is now available for Android devices. Updates in the new version include an in-app camera that supports image capture in the DNG format, a Dehaze tool and Split Toning. The app is available from the Google Play store.

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adobe.com/uk/products/lightroom-mobile

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PLATON

TERRY HOPE

Celebrated photographer Platon successfully crossed the Atlantic to conquer New York, where he’s developed a reputation for his striking portraits of the world’s most powerful and influential figures

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t’s not easy to photograph powerful politicians and heads of states. For a start there’s the question of access: how exactly do you arrange a sitting with someone who might rule a country? The more important someone is, the bigger their entourage and the tighter their security and PR control, diminishing the chances of snatching a defining moment.

If you do manage to set up a shoot the danger is that you have to play by their rules and work within the very limited time you’re allowed.

All of which makes the achievement of Platon in producing an extraordinary set of pictures of some of the most important figures to ever strut the international stage – including some of the more notorious ones – all the more jaw-dropping. Just how, for example, did he get Bill Clinton to drop his guard for a very revealing portrait – nicknamed by some ‘the crotch shot’ – and what exactly is the story behind that iconic, and slightly menacing, picture of Vladimir Putin?

The story of how Platon not only did all of this but also, in the process,

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crossed the Atlantic to conquer a city as hyper-competitive as New York is a fascinating one, and the way in which he’s confronted his challenges and turned his apparent disadvantages into advantages should act as an inspiration to anyone who has ever been cowed by the thought of taking the next big step.

Platon’s opportunity to go and work in the Big Apple came about when he was invited to work for the late John Kennedy Jr and his political magazine, George. He was already established as a successful portraitist at that time, having worked for British Vogue for several years, but even so it was a brave move for anyone to make, considering the very different living and working environment that would inevitably be encountered.

“Although the British and Americans share the same language I think culturally we are very different,” he says. “The British are still entrenched in this idea of Victorian values, tact, diplomacy and keeping a calm surface.

However, there’s also an inherent class system in England, and the taboo of moving up or down in that is still very much entrenched in our psyche.

PREVIOUS SPREAD: Willie Nelson BELOW LEFT: Michelle Obama BELOW RIGHT: George Bush RIGHT: Al Pacino

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LEFT: Dr Dre NEXT SPREAD LEFT: Barack Obama NEXT SPREAD RIGHT: Vladimir Putin

In America, however, there’s liberation from that; you’re as good as yesterday’s work, so that’s all you need to know.

If you’re dedicated, committed and talented and can deliver then you’ll get another opportunity.

“This means that things move really, really fast here. When I first came to America I arrived with just a camera and a suitcase and a year later I was in the White House working with the Clinton administration. I just don’t think I could have done it that fast in the UK: it’s a whole different thing. Having said that, the British tend to see the details that perhaps we sometimes don’t notice in New York. Here it’s about doing stuff, achieving, winning and scoring.

Working in London is much more subtle and complicated. I’m not sure one is better than the other, and maybe whether you thrive or not just depends on who you are.”

The big names The first famous person Platon ever photographed was soul singer James Brown, and he came away from the experience slightly deflated. It hadn’t been a private sitting, rather it was a press junket for an upcoming show he was doing in London, and there was the usual jostling for position and the feeling of having to accept whatever was being handed out.

“I had this incredible guy in front of me and I knew he wasn’t mine. There was this gang of hungry predators with cameras surrounding him, and I was in totally the wrong environment to grab an intimate portrait. For me it was a crystallising moment where I realised this wasn’t me: I didn’t want to fight from the crowd for a look in the eye, I wanted this guy on my own, in my environment where I could reach him, get to him, figure out who he was and connect with him.

“From that moment on my goal was to do things another way. For me the sitting, the intimacy, the connection, the privacy and the mutual respect is what is so inherent in my work and I can’t function any other way.”

Often given just a matter of a few minutes – or less – within which to capture his subjects Platon has to work fast, and to do this he has to mentally strip back the façade that his subject might have erected around themselves

to find an essence of the real person, however famous and unapproachable they might initially appear. In an age where even ordinary people, carefully constructing their selfies from the most flattering angle, are presenting a brand image, it takes an insightful eye to cut through and achieve a more realistic interpretation that might actually reveal a little more.

“I believe that more than ever we need a sense of authenticity and truth,” says Platon. “We need the opportunity to look into someone’s eyes and say ‘who are you really?’ What’s it really like to meet this person? What do you feel like when you’re in the presence of Putin or Obama? What does that do to you?

“I feel it’s essential to tear down that façade, and it doesn’t matter if I have 30 seconds – as I did when I photographed Hugo Chavez, the President of Venezuela – or an hour. It’s not about time; it’s a question of power and a commitment to connect. However, this approach is intense and you can’t sustain it for long, it’s just too exhausting, for the sitter and me. So you have to do it fast and be prepared to tear down that wall.

“Above everything you have to be a human being, and not be seduced by an illusion of supremacy, because it doesn’t exist. I don’t believe that anyone is supreme to anyone else: we’re all just people, we all have talents and, equally, we all have flaws. My job as a photographer is to humanise the system and destroy the illusion of supremacy.”

It also helps, of course, to have a good opening line and to be naturally confident around people, however big their reputation might be. When Platon was sent to Moscow by Time magazine to photograph Putin, for example, he had to dedicate a week to the shoot so that he would be ready at a moment’s notice to grab his camera and set up the shot. It was five days before a black BMW pulled up outside his hotel to take him to his appointment, which was in Putin’s private dacha, located in the middle of a dark gothic forest outside Moscow.

“When I arrived there were snipers everywhere and three or four feet of snow,” he says. “It was like a scene from a Cold War movie. They made me go through all my equipment in the snow before ushering me into the building, and made me wait in a room for eight and a half hours.

“MY JOB AS A PHOTOGRAPHER IS TO HUMANISE THE SYSTEM AND DESTROY THE ILLUSION OF SUPREMACY” @PHOTOPROUK

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Then they said: ‘You’ve got 15 minutes to set up your lights. I had 20 guys watching every move I made.”

Platon dissolved the intimidating atmosphere with his first comment: “I’m a big Beatles fan: are you?” When Putin responded that he loved them the ice was broken, and it was then possible to have a conversation and, at one point, to arrange a Hasselblad just an inch from the Russian premier’s face for a gangsterish-style portrait.

“It was such a bizarre moment in time,” says Platon. “The ultimate irony about my Putin portrait is that many of his opponents in the human rights community have now claimed this as a banner to show everything that’s wrong with power and authority in today’s Russia, and it’s used by the people to inspire courage when standing for change.

“It wasn’t long before I would return to Russia with my foundation [The People’s Portfolio] to celebrate with all the courageous human rights activists that emerged in Russia’s civil society under Putin’s iron grip. I constantly seem to tread a very delicate path between power and moral compass.”

The perfect tool Because he’s focused so intensely on watching out for the moment, Platon has never been obsessed with his camera gear, preferring instead to work with something that he trusts implicitly to simply do its job.

Currently his tools of choice are Hasselblad H5D-50s, and he’s used the brand for years: he knows it will do everything he asks of it and that gives him one less thing to worry about.

“The first time I really connected with photography was when I was at art college studying design and they gave me an old Hasselblad to experiment with in the studio,” he recalls. “From that moment on a door opened, and I’ve grown up with Hasselblad as a brand.

I have no interest in experimenting with other medium-format cameras: I don’t experiment for the sake of experimenting and prefer continuity.

Quite simply, if it works I’ll stick with it, because my energy goes into the message, the picture, not trying out a million different cameras to see which ones feels right.

“The Hasselblad creates a moment of theatre; I’m not capturing a fly on the wall, I’m collaborating with my sitter to make a moment that will last forever in time. They are aware of it, I’m aware of it, the camera is in between us and it just feels more powerful and stately as a tool. I do use 35mm cameras on occasion if I’m working with available light, and @PHOTOPROUK

LEFT: Bill Clinton RIGHT: George Clooney

“THE HASSELBLAD CREATES A WEIGHT, A STATELY QUALITY THAT MY SITTER AND I FEEL” they’re great for capturing things like a shaft of light from a window. I find 35mm more informal, and I really enjoy the bounce from one to the other, but the Hasselblad creates a weight, a stately quality that both my sitter and I feel.”

Starting out, could Platon have ever envisaged coming quite so far as he has?

His answer is disarmingly honest and speaks volumes about the confidence he has in himself, but it’s simply intended to be realistic rather than arrogant.

“I expected to be where I am now around 15 years earlier than it happened,” he says. “Sometimes I wish things had moved faster because I have this terrible feeling of time running out.

However I’m actually glad it didn’t because I’ve matured in that extra time

and now know how to avoid the pitfalls of ego and my moral compass going haywire. I’m more effective now, more aware of the highs and lows of life and more appreciative of what I have. If I’d been here earlier I would have blown it.

“Mark Zuckerberg has a poster in his office that says ‘what would you do if you weren’t afraid?’ That’s become a quiet mantra in the back of my mind: if I weren’t afraid, what would I be doing?

It’s a great call to arms for everyone.

Time to be courageous folks, time to reach out with the open hand of friendship. I happen to have a camera in my hand.”

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SWISS WATCH REMO NEUHAUS

KINGSLEY SINGLETON

We catch up with Remo Neuhaus after his latest shoot in Gran Canaria, and find out about his photographic exploits from Altruism and Ambassadorial roles, to Zinedine Zidane and Zurich…

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t’s a little past 7pm on a February evening, and on the Canary Islands the warmth of the day is fading into a cool twilight. It’s here, on Gran Canaria’s mountain roads, that Remo Neuhaus has just finished shooting his latest campaign, for the sports brand Bauerfeind featuring Olympic triathlon gold medal winner, Nicola Spirig. The sun is still weak, and the breeze at this altitude has kept the day fresh, but the North African dust and heat is still a far cry from his lakestrewn and snow-streaked native Switzerland. Remo is used to feeling the heat though. Having built a highly respected portfolio shooting for bluechip clients like FIFA, Caterpillar, Lacoste and New Balance, alongside celebrities and sporting stars such as Zinedine Zidane and Amy MacDonald, his life has not been without pressure. And he spent his formative years in the high temperatures of the commercial kitchen, managing successful restaurants in the Swiss capital, Bern. So, there’s little heat, metaphorical or literal, that he can’t take. But restauranteur becomes globetrotting professional photographer?

Run that past us again?

“Yeah,” he agrees, “it’s not the most obvious transition, is it? But I think, because I’ve had so many experiences, so many stressful situations with guests

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and clients over 20 years, it’s all led to a certain calm now.”

This pacific attitude he now applies to whatever, or whoever, he’s shooting, and it’s something that’s marked him out as one of Switzerland’s goto photographers. “Many working photographers,” he explains, “can be a little conceited and they take themselves too seriously. For me, all people are the same, and I give them all the same respect. So you see it’s identical whether I’m shooting a star or a street worker – I treat them with the same respect. I think people can feel this energy and it relaxes them; it brings out their best, as well as my own.”

Based on that approach, what would he say to prospective professional portrait photographers then? Obviously it’s proof that building a career like his takes more than just technical proficiency? “Oh yes, so something else I do is always read about the people that I shoot. I want to know who this is; how he or she thinks; their history… it’s only then that I have the target to make the portrait and it can become how I see this person. You have to immerse yourself in them to produce your best work.”

Of course Remo’s path took in traditional photographic study, too – he attended the CAP Photo School in Zurich – but more importantly his story seems to be about practice, persistence and

PREVIOUS SPREAD: Verena Kosheen from the 2016 Olmo fashion calendar BELOW LEFT: Model Ronja Furrer for Stromer BELOW RIGHT: Model Sabrina Colombi RIGHT: Actor Anatole Taubman

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“I CAN BE REALLY OBSTINATE… IF IT DOESN’T WORK TODAY, I WILL TRY AGAIN AND AGAIN” on-the-job experience. Book learning, after all can only take you so far. He took several assistant jobs to learn from those plying their trade and says, “it was so important to see how photographers behaved with clients, definitely, but there was another lesson; I saw how they worked. In doing so, I also realised the importance of my own style; that I had to make pictures myself because only I can see what I really want in an image.”

That’s not to say that things always went smoothly, and he emphasises that his growth as a pro, made possible by practical experience, was underpinned by trial and error. “That’s key for me. I always push myself to try new shots and

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adopt new techniques; the challenge is so important that even now I set up and I practise before the final job, just to make sure that everything will go smoothly. I can be really obstinate with my ambitions. If it doesn’t work today, I will try again and again and that way, it will usually work tomorrow.”

This rehearsed, systemic approach has paid off: “In the last three years I’ve made some great leaps in terms of the number and size of clients I’m dealing with, and it’s all built on the foundation of those experiences. It’s like the shoot today,” he continues, “the target up here was to get a series of three pics with Nicola running, stretching and cycling.

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We had a great brief, a superb subject, a really good team – which is always the basis for a good result – and in the end, the client was very happy.”

Delving deeper, you can see how Remo’s fastidious approach meant that his prior experiences contributed to its success. After steering the agency away from a more sterile studio and composite route, he suggested shooting in the same location that Nicola Spirig uses for her training, making for a more natural and relaxed subject. Prior to this, he had been shooting with another athlete, Judith Wyder, a three-time European and world champion in orienteering. Accompanying her in training in a time-for-images arrangement, he got to perfect his approach to shooting a moving athlete using high-speed flash. “Shooting with Judith Wyder before naturally helped me prepare for this shoot and it was highly successful. Knowing that the technique was perfected and 95% of the images I’d @PHOTOPROUK

take would be sharp despite her speed, we could focus more on the fine details of Nicola’s movement and her facial expressions.”

Of course creative enthusiasm has to be tempered with the responsibilities of growing his business, and there Remo displays similarly energies which have put him in the enviable position of a packed diary and several excellent ambassador relationships with leading companies. “I’m really a lucky guy as I’m fully booked. That hasn’t come about through what you might call a classic advertising approach, but I do put a lot of effort into my presence on social media. As well as the usual Facebook and Instagram pages, I have a blog and I make sure to keep the flow of updates going.”

And it’s not just an online presence Remo maintains; he also regularly exhibits work in Zurich and Bern, so what does he see as the importance of this, both creatively and from a

THIS SPREAD: Olympic gold medallist Nicola Spirig in Gran Canaria

business perspective? “Well, I love to have the printed products in my hands – to feel the paper – and I love to see big images! I think that’s the same for a lot of people and when you’re looking to impress and to stay in potential clients’ minds, it can help. When I exhibit, it’s always in large sizes, because the quality and my style with the mediumformat Pentax 645z really comes out in enlargements.” In September he is exhibiting at Bern’s prestigious Werkschau exhibition for the first time.

Remo’s Facebook and Instagram pages and the blog on his site showcase the need for a constant flow of information in the digital age. Sometimes it might seem like you’re hurling your thoughts and images into the void with no return on your energies, but if your shots are good ISSUE 120 PROFESSIONAL PHOTO 029

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PREVIOUS SPREAD LEFT: Andjela Milanovic from the 2016 Olmo fashion calendar RIGHT: From a personal project with model Bianca Bauer FAR LEFT CLOCKWISE FROM TOP RIGHT: From the Soccer Stars series – Zinedine Zidane, Paolo Maldini, Ronaldo and Luis Figo LEFT: Dario Tozzi and Isabel Mueller for Enrico Bizzarro & Prive Academy

“PERSONAL PROJECTS CAN ALWAYS FIND THEIR WAY INTO THE BUSINESS SIDE” enough, it’s only a matter of time before someone comes calling. Remo’s blog includes everything from behind-thescenes information on his commercial shoots to personal projects.

In his case, this visibility led to relationships with Pentax, Elinchrom, BMW, Breitling and Profot AG (a photography store in Switzerland), for whom he also writes a blog. “With Pentax, I just sent them my pictures and videos, because at that moment I was making portraits of world-famous footballers including Zidane, Ronaldo, Figo, Maldini and others. They liked the pics so much that I became an ambassador for the 645z.” @PHOTOPROUK

Remo’s Soccer Stars series began as a free project; he was shooting the players in a charity match for UNICEF in Bern.

“I asked the organisers if I could make a portrait series and sell every picture for UNICEF; we raised more than CHF5000 (£3500) for a good cause.” This altruism also led to work with a FIFA magazine, and on these pages, you’ll also find shots from his collaboration with the Olmo fashion store; another good example of how a little networking raised his profile.

“That’s a project between the owner of the store, Luc Pauchard, and me. We were both at an event, and we hatched the idea of the Olmo calendar. It’s very limited – only 333 every year – but it’s lots of fun.

And it all helps open even more doors down the line.”

Asking Remo how he balances these personal projects with the paying business, it’s clear that the line is blurred by his appreciation of the life he’s leading. It must help when the two naturally inform one another, though?

“Yes, that’s the cool part; personal projects that I try out and techniques that I learn can always find their way into the business side. For instance, in the beginning, I worked mainly on portraits and sports as well as the commercial jobs, but at the moment I’m getting really interested in fashion and models.

It’s a great experience, working with beautiful models not just in the studio, but on location. I’ve learnt that, for me, it’s so important that, when I work with women, the shots have style.”

And looking forward? “It’s a challenge, but always a good one; I have so many ideas and so many different inspirations.

There is so little time that my task is always to manage my energy, because I’m always enthralled by the world; in that way, I’m like a child and my eyes are always open.” remoneuhaus.com @remoneuhaus remo.neuhaus.photography ISSUE 120 PROFESSIONAL PHOTO 033

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Business matters

Been there, sold the T-shirt

Building a brand ADAM ELMAKIAS JEMMA DODD

You might be an amazing photographer, but does your branding represent you well? Three photographers from different genres reveal all about their effective, and sometimes quirky, brands @PHOTOPROUK

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randing isn’t just about a logo, it’s much, much more. You can try and avoid it, but in the modern day everyone is expected to have a website and a social media presence, and if you don’t, it’s all shock horror. Online platforms not only provide a perfect place for sharing work, they also allow you to put a message across to an audience, in business terms that means showcasing your brand, work and selling products.

San Diego-based music photographer, Adam Elmakias started shooting concerts from the age of 16 as a way to get into them for free. Ten years later and he’s a big name in the music industry

amongst bands, music fans and even other photographers. His social media stats of 87.5k Twitter followers, 466.8k Instagram followers, 123.5k Facebook likes and even more on other social platforms are definitely something to brag about, not forgetting his portfolio of shots that ranges from the likes of Metallica to Justin Bieber. So where did his big break come from, is there a key recipe for growing your following?

“There weren’t really any big jumps, it’s been slow and steady for ten years now,” Adam tell us. “Social media is definitely a good outlet and a way to get in. If you’re starting out it’s so much easier to take a good photo and be able to show people.”

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“IT SHOULD HAPPEN EFFORTLESSLY, BUT IT SHOULDN’T BE WHAT YOU FOCUS ON EVERY DAY AS IT CAN BECOME COUNTERPRODUCTIVE”

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ABOVE: All Time Low are one of Adam's regular clients.

This shot of frontman and guitarist Alex, was taken at a show in Los Angeles CA.

BELOW: Adam’s branding is consistent throughout his online presence, which includes his website, Twitter, Facebook and Instagram © ADAM ELMAKIAS

In terms of growth it might not be something you can really measure, but it will happen. Adam’s following has grown over time, which reinforces the need to keep at it, while not giving yourself a hard time for having just a couple of hundred followers.

“Sometimes it goes up, sometimes it goes down. At the moment it’s not as popular as it was a year ago in the social spectrum, but that’s how, quote unquote, celebrity as in being an object, how that life works, it goes up and down,” he says.

Building a brand online means you need to invest time in your online activity. This has to be one of the biggest challenges for busy photographers who would rather be out shooting images than huddled over a keyboard, blogging into the wee small hours.

Adam found that initially he spent a lot of time online, and suggests that people wanting to build a brand need to do the same, but not to the point that it becomes all-consuming. “I guess my view has changed on how much time I spend,” he tells us. “When I was younger, I definitely used the Internet a lot and it helped me to get where I am, but at the same time I didn’t want it to become all I did. It should happen effortlessly, but it shouldn’t be what you focus on every day as it can become counterproductive.”

Interacting with your audience is key.

Think about the last time you tweeted a brand, celebrity or someone whose work you were fond of. If they didn’t respond, were you disappointed? And if they did reply, like or retweet your post how did that make you feel? We all like a bit of acknowledgement and appreciation every now and then, and your audience is just the same.

“Of course interaction is important, but I can’t respond to everyone otherwise I’d go crazy. When I started with Myspace in the early days I just started talking to people and word of mouth was really good. Now I have someone who works for me and responds to all of my Facebook messages and emails, because we get a lot.

Unfortunately I just don’t have the time to respond to everyone, if I happen to

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Business matters

CASE STUDY ELSPETH VAN DER HOLE

be on the computer at the time then I’ll respond,” Adam confesses.

When it comes to posting content online you need to consider what type of content you want to post. Rather than just uploading a photo, try writing a blog and share it across your social channels.

You also need to ensure that the content you are posting reflects your brand.

Timing is another important factor, consider when your audience is most likely to be active online. For a music photographer this might be just after a gig has finished, otherwise between 5:30 and 6:30pm when people are commuting from work, or even at lunchtime or weekends. You also need to consider how often you post. @PHOTOPROUK

My photography predominantly covers fashion and beauty, both editorial and commercial.

Originally I kept myself completely separate from my work; and then I decided to test the market by gradually introducing my face and personality into my brand.

People began to be much more receptive to my work once they could see the person behind it. Eventually myself and my work drew level and even The Prince’s Trust, who I secured a business loan with after completing their Enterprise course, identified me as ‘my own brand’ when I was setting up my business.

My research into branding wasn’t really conventional, as it was more of a social experiment - seeing how my target market reacted when I made the business more personal.

When it comes to ensuring that my branding covers all fields of my work - well, as I am my brand, then I make sure that it is personal, emotional when it seems necessary and a healthy balance of my talent and what makes my business tick, me!

In terms of my logo I didn’t have a graphic designer - originally I got sick of using stereotypical fonts to

watermark my images and simply scribbled my signature on the corner of any online images to stop them from being stolen. To my surprise people repeatedly asked me what font I was using and it seemed to be a hit so I stuck with it!

It has developed over a number of years, from carefully drawn out designs to playing with already existing fonts. However I have ended up with something so simple and unique that it just works. I guess as I am my brand it makes sense for it to be my handwriting, and expressing more of myself within my work!

From my point of view you need to decide whether you will be your brand, or whether your work will be your brand. It’s incredibly important to differentiate between the two.

I have been selling prints for some time and took the next step into more practical, everyday merchandise, so creating phone cases just seemed like a natural progression. I originally sold just images of my work on the cases, but after several requests I have released some with my logo on too, also personalising some in my handwriting/ similar style to logo. Next in the pipeline is to look into a clothing line - T-shirts, leggings etc. So watch this space! elspethvanderhole.com

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© STEVE GERRARD

Business matters

CASE STUDY STEVE GERRARD I shoot bands, portraits and weddings. That may sound varied but it’s all about capturing people and being as creative with that as possible.

Shooting a groom and his groomsmen isn’t that different to shooting portraits of a band.

When it came to branding I wanted something that wasn’t too ‘wedding-y’. My wedding clients tend to be people who are looking for something different. They’re often big music fans too. I didn’t want my music clients to be put off when they see that I shoot weddings as well. I wanted something a little edgier, modern and, if I’m honest, a bit cooler.

Myself and my partner Evelyne make up the team for our wedding photography, and we did tonnes of research! We started a Pinterest board and added loads of artwork, concert posters, branding, fonts and colour schemes. Once we had enough we began scaling it back to something that would give our designer a good idea of what we had in mind.

We wanted something that was immediately striking and different from anything we’d seen on other photographers’ websites.

I really think that branding should not just be about your logo. It should cover everything from the design of your stationery to the clothes you wear

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and the way you write on your blog.

It’s about projecting the personality of the photographer. I think our brand tells clients that we’re modern, creative, not too serious, a bit different and incorporates that rock ’n’ roll side of what we shoot. We wanted to deliberately put off certain clients. Not everyone will like our branding just like not everyone will like our images.

And that’s perfectly fine. I’m actively looking for clients who love what we do and the way in which we do it. Our branding is a major part of filtering out those clients who are not on the same page and attracting those that are.

We used the amazing people at Modern Dog in Seattle for our logo.

We spent more than we anticipated (about £3000) but I’m glad we did. We went back and forth quite a bit over a couple of months, including two or three Skype conversations, after which they presented a few options for logos etc. Once we chose one, they went back and refined it until we agreed on the finished design.

Don’t be afraid to be yourself and brand for your own personality. Don’t be scared of putting off clients, they probably weren’t your clients really anyway. Imagine your ideal client browsing through 50 photographers’ websites and ask yourself how yours will hold their attention longer than other photographers’ websites. stevegerrard.com

“Don’t post about a subject ten times a day, post about it every two days or so, just to help remind people,” Adam says.

It’s important to keep people up to date with your work, but at the same time you don’t want to annoy them by filling their feed with repetitive content.

“It just needs to be organic and fun. It shouldn’t be a task every day to maintain,” Adam adds.

So how do you come up with a successful brand? There are companies dedicated to helping people create branding for their business, but what about doing it for yourself. Adam has an interesting view: “You don’t really have to come up with it, because it’s just you.

Branding done wrong is thinking about what you want to do with it and branding done right is thinking about yourself and what you want to focus on,” he says.

“For me it’s more figuring out what I like and want to show people and then focusing on it. So, I have a cool cat, I’m bald and I really enjoy healthy food – these are all things that I enjoy and want to share,” Adam adds.

Back in the early days of Adam’s career he moved to San Diego and slept on his sister’s floor. With very little money he designed business cards in the form of a lens bracelet and bought a bulk pack for $100. He soon found that people wanted to buy the bracelets. “I went to a Warped tour and people came up asking to buy them, it was crazy,” he recalls.

While paid advertising may help, it’s little things like Adam’s bracelets that can have a big impact. While evidently not an online form of branding, they soon got picked up by Photojojo and created an online stir within the gadget industry. Websites started to feature them, which in turn helped to promote Adam’s own website and work.

To this day Adam still uses the bracelets to his advantage: “I give out my bracelets at concerts I attend to the front row of kids. They all have my website on them so it’s a cool way to connect with people,” he says.

This bracelet serves as both a marketing tool and source of income, but they aren’t Adam’s only venture, he’s got his own T-shirts, sells prints and has recently launched his own magazine showcasing his work, all in keeping with his branding.

“BRANDING DONE RIGHT IS THINKING ABOUT YOURSELF AND WHAT YOU WANT TO FOCUS ON” WWW.ABSOLUTEPHOTO.COM

© ADAM ELMAKIAS

Business matters

The magazine, Your Music Photographer features a selection of Adam’s images, as well as short handwritten captions detailing the show and artist, with comments about the image. Adam has really gone to town with the magazine; not only do fans receive it, they also get a selection of postcard printed photos, one of which promotes the release of the next issue; a thank you note; a selection of lens bracelets; and also a small alien figure.

“People say I look like an alien because of my freakishly out of this world baldness,

so I incorporated that into my branding,” Adam explains.

It’s important to keep your branding consistent and a second opinion is always useful. “The magazine was and still is my favourite and most personal project. I love it because it’s my work.

The front cover and back cover are in line with my branding. I did have a few ideas that didn’t get used; my girlfriend is good at giving me the honest, but sometimes hard to hear, truth. She has a design eye, I just take photos.”

ABOVE: Jeremy of A Day To Remember in Berlin LEFT AND BELOW: Adam’s magazine allows him to showcase his work and branding in a profitable product

“The magazine was sent out to everybody who’s in it that I know, I sent it to management and the publicists of the bands, as well as some of my friends.

I probably sent out 150 in total, but that’s marketing, the idea is that they put it on their coffee table and somebody sees it and they like it. Mostly I just want people to have it, but obviously it has other benefits,” he says. “I now have something that I can create on my own that supports me and people enjoy it.”

When it comes to creating your brand Adam suggests taking a fun approach: “Think of yourself as a cartoon character, identify five traits that you really want to focus on and every now and then post about them.

“The best thing I can say is you need to be you – not in a selfish way, but you need to figure out what you are and just do that. You don’t have to change and you don’t have to fit in with anything because then you’ll progress in a direction that you won’t enjoy. I think that the biggest thing with photography is you as a person.” adamelmakias.com @elmakias adamelmakiasdotcom elmakias elmakias

@PHOTOPROUK

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© MARK GEORGE

Business matters

Self-publishing

Brought to book VARIOUS JEMMA DODD

Want to get your work in print? Approaching a publisher isn’t the only option, you can always go it alone…

@PHOTOPROUK

A

sk any photographer – there’s nothing more satisfying than seeing your work in print.

Despite the proliferation of digital platforms for showcasing photography, the simple pleasure of holding an analogue book or magazine of your images cannot be denied. And not only from an aesthetic perspective.

Today, book publishing isn’t quite the dark art it once used to be. Approaching a publisher with a portfolio of your images is no longer the only route to market and, increasingly, photographers are choosing to self-publish books to get their images seen (and bought) by a wider audience.

But producing a book of your images shouldn’t solely be seen as a way to make money. A smartly designed publication that showcases your work at its very best can also be a powerful marketing tool to leave with potential clients.

We spoke to three photographers who have all recently had books published.

Two self-published while a third was approached by a publisher, but all three have valuable advice for those wanting to follow in their footsteps. By way of balance, we also spoke to a book publisher to learn about the industry from the other side of the fence. Want to get your work in print? Read on!

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Business matters

TONY WOROBIEC An experienced hand when it comes to books, Tony has had 15 titles published. His latest, Abandoned On The Plains: Fragments Of The American Dream, produced with his wife Eva, is the second that he’s self-published.

“The idea to publish this book was always in our minds. It’s a sequel to an earlier book Ghosts in The Wilderness (AAPPL) which was published 13 years ago.

“What makes this project so interesting is that many of the scenes we encounter recall past TV programmes or movies we have seen.

Just about everyone will have had similar experiences, so we haven’t been surprised that this new book seems to resonate with quite a wide audience.

“The costs of printing, publishing and designing the book came to slightly under £4,000 for 800 copies, which we were very pleased with. Fortunately we had produced a similar book titled The Coast together with three other colleagues, which served as a template for this latest publication. We realised then, that if you hit on the right subject and price it sensibly, it will sell. This earlier publication of a 1000 copies

“THE COST OF PUBLISHING AND PRINTING CAME TO JUST UNDER £4000 FOR 800 COPIES, WHICH WE WERE VERY PLEASED WITH” 036 PROFESSIONAL PHOTO ISSUE 118

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© TONY WOROBIEC

@PHOTOPROUK

has all but sold out, and has doubled our initial outlay. It was the success of The Coast that encouraged us to self-publish Abandoned on the Plains.

“While it certainly isn’t going to make us millionaires – one rarely engages in self-publication in order to make money – our primary motivation was a passion for the topic.

“When it came to printing we used the same printers for this book as we did with The Coast. We had previously sourced potentially interesting printers, each of which was able to show us specimen books. While pricing was important, quality was essential, so we certainly didn’t pick the cheapest option. Viewing the potential printing fidelity was absolutely crucial. In order to market the book at £10, we opted for softback, but to give it a sense of quality, we chose a page thickness of 400gsm.

“Image choice was entirely left to Eva and me, but how those images were sequenced we left to the designer. We do appreciate that the flow of the book is a very important consideration. He chose the image for the front and back cover, and it was his decision to introduce each of the sections with a doublepage spread. From my experience of earlier publications I appreciated that varying the size of the images relative to the page was an important consideration; too often newcomers to self-publication are obsessed with printing the images the same size. It is also important to understand that we can all become too close to our own images, which is why the detached objectivity of a designer is so necessary.

“When making the final selection of images, balance was critical; as this was a joint venture, a mixture of my work and Eva’s was essential. We divided the book into four sections, namely Montana, North Dakota, South Dakota and a much looser classification The Central Plains. Finally, in order to retain a visual impact, we aimed to get a good mix of panoramas and closeup details, interiors and exteriors.

“The book sells in two ways. The first is handled by RHE Media who market a hard-back version using a print on demand outlet, which is sold on Amazon. Second, I do up to 40 lectures a year to photographic organisations around the country, and these have proven a great outlet for the softback editions we have had published. In just a month of sales, we are already well on our way to covering our costs.

“Self-publishing is far easier than you might imagine. There is still an appetite for interesting photography books, but of course you do need to consider your market. Unless you are

© TONY WOROBIEC

© EVA WOROBIEC

Business matters

IMAGES: Haunting and beautiful images from Abandoned on the Plains: Fragments Of The American Dream, by Tony and Eva Worobiec.

an outrageously famous photographer, where you can simply cobble together an eclectic selection of your personal work, a great photographic book needs to reflect a specific theme; it needs to say something, which is why text can also be useful.

The main advantage of going down the self-publishing route is that you can make things happen. Traditional publishers are very cautious and risk averse, so unless you are prepared to write a book that appeals to a very wide audience, then it is unlikely to see the light of day. We did submit Abandoned on the Plains to various American publishers, and while they were extremely complimentary about the images and text, they were concerned that the subject was too narrow.

“Obviously as with any commercial venture there will always be risks, particularly if you have to stump up the cash, but providing you have given serious thought to your market, it shouldn’t deter you from giving it a go. tonyworobiec.com Abandoned on the Plains, Fragments of the American Dream by Tony and Eva Worobiec can be purchased for £15.99 from rhemediaphotography.co.uk Signed copies can be bought directly for £13.50 (includes postage and packaging).

Send cheques and address to: Tony Worobiec, 48 Forest Edge Road, Wareham, Dorset BH20 7BX. rhemediaphotography.co.uk ISSUE 118 PROFESSIONAL PHOTO 037

© TOM SOPER

Business matters

TOM SOPER After living in Singapore with his wife for five years as expats, Tom decided it was time to return to the UK, but not without taking on a personal photography project. To celebrate Singapore’s 50th Anniversary year, he shot 50 portraits of 50 Singapore residents from 50 different countries, which were later published in his book titled Singapore: A portrait in Diversity.

“My hope was that the photos and story might be published in a magazine or perhaps used by a corporate as part of their marketing around Singapore’s 50th Anniversary. I never dared to dream that the photos would actually be published as a book.

“I had previously shot some photos for one of my wife’s contacts who ran a children’s book distribution company, so when my project was nearing completion I emailed them hoping that they might be able to point me towards a publisher. Within five minutes I had an email back copying in a publisher who later agreed to publish the book and even pay me royalties!

“Once I knew that the book would be published my primary aim was to produce something beautiful that would be useful to market myself as a portrait photographer. Now I’m using the book as a marketing tool: I recently went to a meeting with a senior picture editor for an NGO who looked through a presentation of my NGO photos and was reasonably complimentary, but once she saw the book she started to take much more interest in the photos and seemed really impressed with my work.

“I had a lot of input into the design process. Soon after my meeting with the publisher all our subsequent communication leading up to the 038 PROFESSIONAL PHOTO ISSUE 118

“I WANTED TO INCLUDE WRITTEN PIECES… THEY PROVIDE SOME NICE CONTEXT” launch was done using email or Skype. The only downside was not being able to see and feel the paper and cover materials he was using.

They did send me plenty of PDFs of the layout and I spent a lot of time feeding back to them on that. But I was still very nervous about how the actual physical book would look and feel when I got to see it. But in the end I was delighted with the result.

It was a really collaborative process and I was consulted on everything.

“From the start I wanted the book to include a couple of longer written pieces. I feel that the text provides some nice context for the photographs and gives a much wider overview of expat life in Singapore. I also like the mixture of short pieces that accompanies the photos alongside a couple of longer more in-depth essays.

It gives the book a nice balance.

Throughout this process I did a great deal of proofreading. I think the publisher would have done this WWW.ABSOLUTEPHOTO.COM

© TOM SOPER

© TOM SOPER

© TOM SOPER

Business matters

IMAGES: Just a few examples of the 50 portraits from Tom’s book, which he says is very useful as a marketing tool when he’s talking to prospective clients

anyway but as soon as I received proofs I would read them through carefully and respond really quickly with any edits I felt were needed.

“All of the marketing and sales are handled by the publisher. The book is distributed to most of the large bookshops in Singapore. Friends have also given me suggestions of places to sell the book, which I have passed onto the publisher. He has then made sure that copies are sent to these shops, which is great. @PHOTOPROUK

“I was extremely lucky to find a publisher who was willing to take a chance on me. He made it clear that he was driven more by the artistic and social value of a book than by the profit he would make. I also feel that if making money had been my sole objective, I would have been disappointed!

“In general, you need to be quite patient with publishers. They have a lot of other projects to work on and will give yours the attention it deserves with plenty of time before the printing deadline.

Help them as much as possible: go out and find interesting additional content; commission essays that

will work well in the book; try and find sponsors who might help to pay for elements of the publication.

“Definitely think about the book as being a piece of art. Make it look and feel the best that you possibly can. Do all this and you stand a much better chance of selling copies and making a little money. tomsoperphotography.com Singapore: A Portrait In Diversity can be purchased directly from Tom by emailing him at tomsoper@mac.com. Alternatively it can be bought from www.ethosbooks.com. sg. This hardback book features 50 stunning portraits of people from 50 different countries.

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Business matters

CHRIS UPTON

“When it came to costings I did a lot of research – costing out the project and investigating using a publisher as well as the self-publishing option. It’s not the sort of thing you can enter into without being fully aware of the potential costs.

Prices depend on all sorts of variables such as book size, paper, number of pages, quantity etc. plus design, advertising, packaging, postage, ISBN etc costs. However for a run of 250 books I would suggest you need to allow at least £5k. So a £20 retail book only gets you to break even and that doesn’t take into account any commission you might need to pay. It also assumes you will sell all your stock. However, depending on your project, you can attempt to get some sponsorship to help alleviate costs.

“For me this book was always going to be digitally printed to keep the costs down and to retain flexibility over print runs and therefore a hardback book was not an option. The images were black & white so it was important to find a printer that understood the need to deliver exceptional print quality. I also wanted to find a local printer to enable me to build a relationship and be on hand to answer any queries and check proofs.

“It was quite an early decision that I needed to use the services of a professional designer. Darren CiolliLeach was the perfect choice as he is not only a great designer, but a superb photographer and it was good to have another view on the images, I guess you need to be asking someone with whom you trust and respect for this task.

“It was always going to be primarily about photography, and not a history book, however I felt it was important to show some text. I included an introduction, a page on the history 040 PROFESSIONAL PHOTO ISSUE 118

© CHRIS UPTON

Travel and landscape photographer Chris Upton documented the final days of Thoresby Colliery in Nottinghamshire for his book Thoresby: The End of the Mine.

It was always part of his plan to have an exhibition of the work, and produce a catalogue to support it, but he soon realised the project could be much more than that, and decided to produce a book.

of the colliery, to give it context, and some quotes from the miners to supplement the photographs and make it more interesting.

“In my research I found out the commission rates that major book stores work on and as I had wanted to keep the price reasonable, in this case £25, I decided that I would market the book myself. It is available through my website and is on sale at my exhibitions and at my lectures. I worked hard to develop relationships with local press, who publicised it for me. You need to consider how you will sell your book and how you will service the demand in terms of postage and packing.

“The main things I learnt through this process was the need for planning and how important it is to understand your audience and how you will target them. It’s also important to understand and control the budget and also the need to forecast sales accurately and set an appropriate retail price.

“You have to make the right design and printer choices too – publishing really is a team effort, and the pictures are really only the starting point. A truly great photographic book is one that people want to pick up again and again; one that retains interest and inspires the reader.

There are lots of factors to consider.

WWW.ABSOLUTEPHOTO.COM

© CHRIS UPTON

©BOB MARTIN

Business matters

THE PUBLISHER’S VIEW

© CHRIS UPTON

Toby Trotman is the commercial director of Vision Sport Publishing, the company behind Bob Martin’s 1/1000th – The Sports Photography of Bob Martin book. He offers a valuable publisher’s insight

IMAGES: Photography from Chris Upton’s book Thoresby: The End of the Mine, which was printed digitally to keep down costs and maintain some flexibility

“Clearly the fact that you are totally funding yourself is a risk, and should not be taken lightly. You also need to be able to store the books appropriately and take on all the advertising, marketing, publicity and dispatch. This is not something that every photographer wants to do, or finds particularly easy.

However you are in control, you work to your own timelines and have more of a say over design and other aspects.

Thoresby: The End Of The Mine contains 138 pages and over 200 evocative black and white images. This softback book is priced at £25 and can be brought from Chris’s website. chrisuptonphotography.com @PHOTOPROUK

What is the role of a publishing company?

There are three main facets to a publisher’s role: The first is to work with the photographer to decide on the best format for the book, and to use their experience to create the best product possible. The second is to actually put the book together, employing the most appropriate designer for the job and finding the right printers. Thirdly and finally, we use our contacts and sales channels to distribute and sell the book, which can be tricky and time consuming.

A photographer can sell some books to friends and family but can they get it onto Amazon or into the local Waterstones? A good publisher should be able to do that.

What things do you consider when choosing to publish someone’s work?

Is it good? And would people want to buy a book of the photographs?

If a photographer or their subject matter is well known it makes such a difference. The photographer is likely to provide a ream of sales opportunities through contacts and if this network or recognition doesn’t exist then selling the book will be very hard.

What does a photographer need to bring to a publisher?

A good sample of their work and a brief outline of their ideas for the book and also any likely marketing and sales channels. We do like it when someone who approaches us has thought about whether the book is likely to sell and who it will appeal to.

How does it work when it comes to budgeting?

We work in partnership with authors and photographers. We have no set way

of working with anyone. We treat each project on its own merits§.

How much say does a photographer have in how their work is published?

The photographer will have a huge amount of say. We like to work with them to push the envelope on what they think is possible to do. We want to deliver a book that, hopefully, exceeds their expectations.

What is involved in the design process?

One of our designers will produce a design treatment for a book. This would follow discussions about the shape and format for the book. A few sample spreads are designed and then discussed with the photographer to check that everyone is happy. Tweaks and redesigns often happen to ensure the book looks right and reflects the work.

What are the benefits for photographers when working with a publishing company?

Publishers will open up sales opportunities and outlets that individuals will find it hard to achieve.

They will also take over the burden of administration: distribution, invoicing, credit control and warehousing. But we also believe that the teamwork between a publishing company and a photographer will lead to a better product in the end. And importantly, a publisher can also make a photographer reflect, and really think if their book can be a success or not.

1/1000th, The Sports Photography of Bob Martin can be bought for £50 from Vision Sport Publishing. This largeformat hardback, coffee-table book has 240 pages of photos by world-renowned sports photographer, Bob Martin. visionsp.co.uk

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Technique

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WWW.ABSOLUTEPHOTO.COM

FLY ON THE WALL ANDREW BILLINGTON

More couples are asking for reportage wedding images. But do you really know what it takes to shoot them?

@PHOTOPROUK

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Technique

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Technique

F

IMAGES: Reportage is all about capturing the essence of the wedding day, without directly influencing events

@PHOTOPROUK

or a long time, the traditional approach to weddings has been to have a canon of photographs you know that you are going to replicate for every couple. Earrings being put on, the groom showing his cufflinks, an artfully arranged shot of perfume, shoes with one heel balanced inside the other. But what you can end up with are weddings albums that all look the same – only with different heads. If that’s what you do and love that’s great. If done well, it’s beautiful and that’s why there will always be a market for it. But I believe that market is shrinking, which is why I shoot reportage images.

Reportage wedding photography is about telling the story of the wedding day without manipulating events to create the photography or the narrative.

It’s a very hands-off approach. It’s grown in popularity because society is more visually literate now and the couples that I attract are responding to two things – the style of photography they see on my website and the fact that they don’t want their wedding to be shaped by the photographer.

For that reason, I don’t start any wedding day with a list of shots I’m going to get, which can be a scary prospect. Instead, I’ll start as I mean to go on when I arrive for bridal prep about an hour and half before I need to leave for the ceremony.

For the reportage wedding photographer, this represents a good warm up for shooting and a chance to meet one side of the family. Usually the first thing I’ll say is: “Hi folks – just carry on. I’m going to be taking some pictures but I don’t want to stop anything happening. If you need to throw me out of the room to change just do it.” I’ll have a camera in my hand but I’m not taking photos. I want people to feel comfortable with me around.

All the time I’m looking at the light, the space, any reflective surfaces that

might give me another angle – all those things we do very naturally as photographers. The one thing I’m not doing is touching or moving anything.

Reportage photography is all about the people but I also like to capture the details and ‘texture’ of the day. Shoes, flowers, invites, family jewellery - these are important elements to couples.

However, I’m not doing a product shoot so I want to get all of these in their context – I don’t touch or move a single thing. If the dress is in the bag, I leave it there. If the flowers are in poor light, I won’t move them. And this is for two very important reasons.

First, if I move it it’s now where it is for the purpose of taking a picture.

And second, moving anything sets up the perception that the photographer is now going to organise things to make the photos they want throughout the day – and before anything is allowed to happen for the rest of the day someone will check with you first that it’s happening in the right place. Game over.

If the dress or flowers don’t look great where they are I make a mental note to grab an interesting shot later in the day. It’s the same with shoes – some brides LOVE their shoes – and I like to get a little detail shot but I’m more likely to get this as they are being put on or as she’s stepping out of the car.

The context makes a more interesting photo that keeps the narrative of the day moving. A bridesmaid once told me that during her own wedding, the photographer disappeared with her

“I DON’T START ANY WEDDING DAY WITH A LIST OF SHOTS I’M GOING TO GET” ISSUE 119 PROFESSIONAL PHOTO 041

Technique

IMAGES: Observation is the key to success, but not purely of what is going on, you also have to be aware of the light and how it is affecting the scene.

Master these two elements and you’re on the road to success.

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Technique

shoes in the morning and when she got her images back she found that there were 22 photos of her shoes in various places in her garden!

Establishing the way I’m going to photograph early on sets the tone for the day. Everyone knows to carry on and just ignore me. But I’ve established this way before a couple even books me.

Usually the first point of contact for any couple is landing on my website, which is where I show how I’m going to work. There are no group shots on my website, there are no portraits in slideshows (I might include one portrait in a blog post), all I show are natural unposed emotion-filled photos. This is how you can book couples wanting reportage wedding photography – only show what you want to shoot.

My website is aimed as much at putting couples off booking me as booking me. If you want ‘wow’ portraits, lavish details and a ten-hour photoshoot you’ll quickly see I’m not your man! @PHOTOPROUK

“IF YOU WANT ‘WOW’ PORTRAITS AND LAVISH DETAILS YOU’LL SEE I’M NOT YOUR MAN” If I meet with couples before they book I make it clear how I work, I’ll talk them through my approach, tell them I want to keep the day flowing, tell the bride that if she wants a lovely photo of her dress hanging up then she should set that up. The clearer I am about the way I work, the more confident I can be that I’ll be able to work in that fashion and get the kind of photographs the couple saw on my website.

I offer couples complete coverage (all day photography), shorter coverage (no prep or no dancing) and complete coverage with an album. Everyone gets their edited images on a USB. My business plan is based on my price for being booked to photograph, so album sales are a bonus and means I don’t have to worry about upselling.

“But what if guests/parents ask you to set up a photo?” I hear you ask.

I do it. Rule number one is still ‘Don’t be a dick!’ and it’s quicker to do it than explain why your style doesn’t allow it.

But afterwards quickly leave the area because a queue of other expectant guests might start to form.

Weddings are about families coming together and there is still an element of formal photography in most of the weddings I shoot. But again I tackle this head on with the couples before the day. As there are no group shots on my website the couples I work with always want them done as quickly as possible.

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Technique

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Technique

“THERE IS NO FORMULA. IT’S ABOUT BEING INTERESTED AND ABSORBED IN THE DAY” I don’t gather anyone or raise my voice meaning that I can still continue to work low key afterwards and haven’t become ‘that’ photographer who shouts.

This takes five minutes. I might then step aside with the bride and groom for ten minutes for some relaxed portraits, which is more about them spending time together than me photographing.

The rest of my time at a wedding is spent looking to create interesting photographs that tell the story of the day. I’m always looking for those three key elements – light, composition and moment. But there is no formula. It’s about being interested and absorbed in the day.

I’ll find a moment (maybe a group of friends telling stories) and I’ll look at the light and work out an interesting way to frame it. Then I’m waiting for something to happen – laughter, someone spilling a drink – something to create a moment in the scene that gives the photo a narrative. Once that has happened I’ll often stick with it, see if I can make it better. For each wedding @PHOTOPROUK

I’m moving from moment to moment, trying to get the best out of each and creating the photographs I’d like to see from that wedding.

Reportage is not taking loads of photographs of anything and everything and hoping that something materialises in the edit. I think the level of observation is as considered and important as if I were posing the scene.

I’m looking for a clean or contextual background for my subject, I want the light to be good, I want people’s expressions and posture to support the moment I’m trying to capture.

Everything in the frame has to be right.

And I think all that comes with patience, interest, empathy and trust.

Shooting a reportage wedding takes you back to starting out as a photographer again, rather than a MC or entertainer. On the day you can have fun being creative. One of my favourite testimonials ever was ‘It’s like street photography, but with permission.’

MIRRORLESS MAKES PERFECT SENSE I’ve shot on mirrorless cameras for over two years now because their size and weight ideally suits the way I photograph. I switched to Fujifilm X-T1s because everything I needed to adjust while shooting was on the top-plate; there’s no need to go into menus.

The lenses are amazing and the whole system is small enough to save my back – two bodies, two lenses. I’ll generally shoot a whole day using the XF16mm and XF56mm – with an XF35mm in my pocket – and have both cameras clipped to my belt.

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Project: Sara Melotti

IN THE EYE OF THE BEHOLDER

SARA MELOTTI

LISA CLATWORTHY

When you think of beauty photography, do you imagine retouched images of models with faultless skin, bright eyes and perfect teeth? Well it’s time to think again, as fashion photographer Sara Melotti did when she set out to discover the beauty within

@PHOTOPROUK

T

he Pirelli calendar with Serena Williams was completely different – that made me very happy,” says Sara Melotti over the phone from her New York base. “Finally we’re starting to go beyond appearances. I have no problem with fashion; I think it’s a beautiful form of art which allows you to express yourself. Fashion is not the problem. It’s the way the media has used images of women.”

Melotti is no stranger to the airbrushed, unattainable images that are held up by society, media and big brands as the ideal look for women.

Indeed as a fashion photographer, she’s been helping to make these images for the past three years. As she points out

though, “they’re not real. Models are models because they’re the one per cent of the population with those physical traits, so they’re already not common.

Then they spend a few hours in hair and make-up, they come on set and I position them, and then there’s Photoshop. At the end, the girl in the picture doesn’t even look like the girl in the picture. It’s fake, yet those are the images we look up to.”

It’s been a gradual process for Melotti, pinpointing her unease with the way her images are sometimes used. But once she reached this point, she says her reaction was immediate: “I’m an optimist and an activist, so I don’t just sit and think about things, I do my best to change them.”

Melotti’s idea for bringing about this change was to begin a personal

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photography project she calls the Quest for Beauty. This would see her visit different countries and cultures all around the world, photographing women in their own everyday environments, without any of the trappings of the fashion industry.

“It’s all about beauty being within, that’s what beauty really is and that’s what I hope I’m going to be able to show,” she explains. The project is my first step to playing my part. I feel it’s the right time, because, for

example, in France they just passed a law to say that no model can be under a specific weight. Sometimes I’ve been shooting and looking at how skinny the model was I almost felt sick. It’s really heartbreaking.”

Melotti only began taking her Quest for Beauty images in the autumn, but has already shot in seven countries; the day after we spoke she was heading for Mexico and Cuba on a three-week visit.

She hopes to visit around 14 countries before the end of the year, including

“I DON’T WANT TO DECLARE WAR ON ANYONE, I JUST WANT TO CHANGE THE WORLD” 060 PROFESSIONAL PHOTO ISSUE 118

Sicily, France, Ethiopia, Madagascar and India, all while still shooting fashion work, partly to fund her project, and partly because her beef isn’t with fashion per se.

“This is not a war against fashion. I love fashion, it inspires me, I just don’t like the way women’s images are used,” she says. She’s also unhappy about the way models can be treated in the industry, recounting a time when she overheard a 15-year old model being berated by a grown man for “gaining a few pounds. It broke my heart.”

The premise of her quest is simple: “I really see beauty in everybody – as long as you’re a good person and you’re nice to people. We should start WWW.ABSOLUTEPHOTO.COM

Project: Sara Melotti

PREVIOUS SPREAD: Sara Melotti began her quest visiting (left to right) Morocco, the Italian Alps, Vietnam and New York OPPOSITE PAGE TOP AND BOTTOM: Very different cultures, from the fields of Vietnam to the pastures of the Alps THIS PAGE: Morocco presented a cultural challenge for Sara, with women not wanting to be photographed

to recondition our thinking and stop thinking ‘that model look is how we should look’, because that’s not real.

“When I started I was a little scared because I don’t want to declare war on anybody, I just want to change the world. I want a place where everyone can feel happy and good about themselves.”

On location Melotti’s first destination was the Alpine village from where her dad hails. Next she travelled to Morocco, where it wasn’t just the language that was a barrier. “Morocco was difficult because of the culture; women didn’t want to be photographed.

So the first four days in Marrakesh I got nothing and I started to panic.

@PHOTOPROUK

“I went back to my riyadh, not happy about not having any good pictures. The manager said he had the next day off, and asked if I wanted to go with him to his village in the mountains. So I did.

“I’ve seen poverty before with my own eyes, but seeing his village – the people are so poor. The people there have nothing, yet they are so happy, the women especially. It’s an oppressed culture, yet they are so happy. I found the same thing in Vietnam; the kindness of the women there was beyond beautiful.

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Project: Sara Melotti

ABOVE: Women in traditional dress in Vietnam pose for Sara’s camera.

FAR LEFT: A portrait from the Alps. By using an 85mm f/1.2 lens for all of her pictures, Sara gets a consistent style throughout the project.

MIDDLE LEFT: A friendly face from Vietnam LEFT: Shooting on the New York Subway RIGHT: On the streets of Hong Kong

@PHOTOPROUK

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“THIS IS NOT JUST PHOTOGRAPHY. I AM ON A QUEST… TO FIND THE MEANING OF BEAUTY” who can’t read or write and their lives are in this little village. They’re not touched by magazines or advertising.

“It’s amazing to see how beauty has become a man-made concept. It didn’t used to be like that.

“Beauty, to me, is more of a feeling, because when you look at something and go ‘wow!’, it’s because you feel something inside.”

On her trips, Melotti usually asks women she meets on the street if she can photograph them, but on occasion she’s contacted people beforehand, such as in Hong Kong. And in New York, she’s photographing her friends, and planning to include herself.

“I think I should do a self-portrait for the New York segment too. I want the picture to be something that represents me; I want all the women to be themselves so I try to represent them as best as I can. That’s a big responsibility.”

For all the images, she uses her Canon EOS 5D Mark II and 85mm f/1.2 lens – no lights, no props, no stylists. It’s a world away from the constructed images, with a whole team on set, that she’s used to creating for her fashion work.

“This project is all natural light. I use whatever is available. Some pictures are just snapshots, some I pose the women for, but it’s not constructed, they are where they are and everything around them was there already,” she says.

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fashion. The model is human but there are so many people on the set you just can’t connect, you just do your job.

“I made unique human connections with these women. It’s beautiful, and now I can’t get enough of it. Even if I can’t communicate with a common language, there’s this pure human connection.”

If she could afford to, Melotti would like to travel with a guide and a translator on each of her trips, to help her meet women from different walks of life and to help with the other aspect of her project. As well as taking the photos, she also asks her subject five questions – when they have a common language, that is. Perhaps the most pertinent is, ’what is beauty?’ The very question that her project seeks to answer. For her, beauty is within all of us.

What is beauty?

“The most important aspect of this quest is rediscovering that beauty is within,” she explains, “rediscovering that beauty is accessible to everyone and that the most beautiful thing in the world is to be ourselves. We’re all unique and gifted; by not bringing that out we are depriving the world of something beautiful.”

While her fashion work is currently funding this personal project, Melotti is hoping to start a Kickstarter campaign too. Not only would this help her afford the travel costs and enable her to spend longer in each destination, it would also mean she could afford the services of translators and guides. She’s

also considering an exhibition when she’s visited ten countries and selfpublishing a book containing photos form the project and the answers to her questions. “Some of these women’s stories just need to be told,” she says.

Melotti’s quest is appropriately named: it’s an adventure with a noble cause. An exploration of what beauty means away from the relentless attempts at persuasion by the advertising industry.

Changing the world will not be an easy task, and certainly not one Melotti can accomplish by herself, but it’s difficult not to admire the conviction with which she approaches the task.

“This is not just photography, this is an actual quest,” she says. “I am on a quest to find the meaning of beauty.”

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Project: Sara Melotti

OPPOSITE PAGE: Old faces and young faces, from Hong Kong and Vietnam ABOVE: When in Morocco, getting out of the city and into the villages afforded better picture opportunities RIGHT: Sara Melotti at work, shooting portraits in Morocco

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Since graduating from art school in Italy, Sara Melotti is based between New York and London, and shoots fashion for magazines and commercial clients. questforbeauty.co @SaraMelotti saramelottiphotography saramelotti_

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© MAGNUS HASTINGS - MUTHA CHUCKA

Project: Magnus Hastings

DRAG ARTIST MAGNUS HASTINGS

JEMMA DODD

Ten years in the making, rude comments from publishers and practically no budget; none of that stopped determined photographer Magnus Hastings from finishing his project

M

agnus Hastings grew up watching his father develop prints in his darkroom and was amazed by the magical process; it was seeing this that made him fall in love with photography. At 15 he dug out his father’s old enlarger from the attic and turned his own bedroom into a darkroom. Fast forward to the present day and Magnus Hastings has become a big name celebrity photographer, who has photographed the likes of Boy George, Ellie Goulding, The Saturdays, and had his work featured in Glamour Magazine, GQ magazine, The Sunday Times magazine and even more publications across the globe.

His recent publication Why Drag? was ten years in the making, so how did the idea come about? “Drag has always been close to my heart, I was a little boy who dressed up a lot, pilfered my sister’s clothes and dolls, always singing and dancing; a little drag queen basically.

And though I grew out of that and didn’t want to do drag myself, when I ended up in Sydney in 2005 it was as if I had arrived home. There was a vibrant drag scene filled with the most phenomenal queens and exciting shows, much bigger than anything in London and I was smitten,” Magnus recalls. “It’s a world that makes sense to me and I always say I’m coming from the inside looking

out. I am a participant not an observer, I absolutely see it as an art form; I don’t see men and I don’t see women, I see creatures almost like exotic birds. I think that comes across pretty well in my work. I also just love to shoot drag, I find it exciting and the queens trust me to take risks. I arrived in LA shooting celebrities but everything is so ‘blah’ with lots of ‘dreamy’ light and you have managers and publicists trying to control what you do, and I don’t like to be told what to do!” he says.

After his trip to Sydney it was then that Magnus started to consider the idea of creating a book. An earlier publicist that he met didn’t take too kindly to the idea, but that didn’t put Magnus off. “The publisher asked me who would buy the book, ‘transvestites and homosexuals?’ she said. They also suggested I get a psychiatrist to write the foreword! I made my excuses and left,” he tells us. While Magnus continued shooting drag, his primary focus shifted and it wasn’t until 2011 when he moved to LA that the project was picked up again.

“I reconnected with my friend and muse Courtney Act, who is also on the cover of the book, and she introduced me to a lot of the famous queens out here in LA. So I started shooting them and realised how much I missed and loved it. I threw myself back into it,

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© MAGNUS HASTINGS - LEXI THOMAS

© MAGNUS HASTINGS - SHANE JANEK/COURTNEY ACT

creating a Facebook page as somewhere to put the old pictures that were just sitting on hard drives called Dragged Around The World, and that got a lot of attention and very fast,” he says. “Then in 2014 I had a show in NYC of huge canvas prints, also called Why Drag? and that directly led to a book deal, which was always my intention. So the book is an expansion of that show,” Magnus says. “I had been toying with the idea of self-publishing before and funnily enough, because the best book template was square, I quickly came up with the question “why drag?” to add some text, purely as a space filler. The question was just the first thing I could think of that was broad and could be answered in many ways. I didn’t then realise that it would become a really important part of the book and exhibition, a little glimpse that humanized these queens,” he recalls. “It was interesting, there was always someone who totally fell in love with it, but there were also people who dismissed drag.”

When it came to the actual shooting process Magnus took a ‘thinking on his feet’ approach, using whatever he could find for the set-up. “Some of the shots were planned like the shot of Sharon Needles in a straight jacket. As I only had 20 minutes with her in a hotel I had to plan it meticulously. I would generally tell the queens to show up with a couple of looks and we would play. You could say it was an exercise in guerrilla photography, and I like to think it is a good example of how you can make something with no budget; you just need to know how to manipulate light, have a good eye for what’s going to work and just take risks and try everything. I used the streets of whichever city I was in as much as I could to mix it up. One of the things I am most proud of about the book is that it’s so varied,” he says.

Being already established in the world of drag meant Magnus had a head start in being able to find drag queens to be involved in his project, the majority were more than willing, while he only received two nos, one of whom’s name he got wrong in an initial email. “I haven’t misspelled a name since!” he confesses. “I would shoot at least two

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© MAGNUS HASTINGS - COCO DE BALL

© MAGNUS HASTINGS - DULCHE DE LECHE

Project: Magnus Hastings

PREVIOUS SPREAD: I shot this in a tiny San Francisco hair salon, I ordered the Burt Reynolds Playgirl as it had that old school comedy to it which suited MC perfectly

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LEFT: We shot this in LA , I met Lexi in NYC and she was just so gorgeous we made it happen when we crossed paths next

TOP: When I heard about Dulce’s Tippi Hedren performance piece complete with birds rising from the ground I needed to shoot it, I put in real birds after

ABOVE: Shot in her tiny NYC flat. I walked in and spotted her dog's cage. “Get inside that,” I said . “Really?!” she said. “Really.”

The dog jumping up was all gravy

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different looks so I could give them something to use for themselves, as well as for the book. I was very lucky as word got around that it was something to be involved in, I also asked around for recommendations and who was important in terms of drag. I was adamant that I had to have the Sisters of Perpetual Indulgence as they are so important politically within the gay rights movement. I also wanted to really show how diverse this art form is and that it really is just that; art,” he says.

With such a large-scale project you’d think there was strategic budget involved. “Budget?! I am one of those annoying artistic people who is really bad with money and budgets. I had no

budget at all, I begged, borrowed and stole whatever I could to make this happen. My main expense was hotels and flights around America, but once I got my book deal I got an advance, which couldn’t have come at a more crucial time. I just had my vision and my belief to invest in myself because I know this is my genre and I see it in a special way, I never doubted it would work out,” Magnus says.

“I have always been about thinking on my feet and trying anything, but being able to do that was such a massive part of this project and it really forced me to get skilled. I think it made me trust my photography and my eye more. I am untrained, which is fine, but it leaves

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ABOVE: I did this group shoot in my parking garage behind my LA apartment.

RIGHT TOP: I had the idea of putting Courtney in a swimming cap and nose clip, she made it perfect

you with a sense of insecurity. But I realised a long time ago that what really matters is the end result, and there can be many roads to get there. I learned to trust that I do, in fact, know what I am doing,” he says.

For the future Magnus has a few ideas up his sleeve, but wants to see what develops naturally. “Making this book was the perfect way to work for me – working for myself. Right now I am involved in all the publicity and promotion of the book, but the thing that makes me happy is thinking up crazy ideas and turning them into reality. I am still as excited by it all as when I was working it all out in my make-shift darkroom.”

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magnushastings.com @magnushastings draggedaroundtheworld

© MAGNUS HASTINGS WITH COURTNEY ACT

Magnus Hastings is based in Los Angeles and London.

He has photographed celebrities, musicians and drag queens, and has sold his work worldwide.

© MAGNUS HASTINGS - ELIZABETH JAMES

© MAGNUS HASTINGS - JAKARTA JA’IME JAYA, MAE LODA-BRIDE, WILHELMINA CAVIAR, LUCKY MADISON, MAHALIAH NAKITA, TIA WANNA, ANYA KNUTS, KRIESSON ST JAMES, BYNX MARU, MAH JONG

© MAGNUS HASTINGS - COURTNEY ACT

Project: Magnus Hastings

Why Drag? features 224 pages of the biggest and most diverse queens across the US and beyond, with a foreword by Boy George.

Available now for £35. abramsandchronicle.co.uk @PHOTOPROUK

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Rising Star: Al Overdrive

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AL OVERDRIVE

LISA CLATWORTHY

For Al Overdrive, stepping out of the lab and into the studio has meant a change of focus, resulting in a flourishing commercial and editorial career

s

wapping DNA for ISO and documentary evidence for creative portraiture, Al Overdrive is building a name for himself as a portrait, commercial and editorial photographer. He’s no newcomer to photography though; his love with the medium began much earlier.

“My earliest photography memory was of my father and I waiting to see Polaroid images ‘magically’ appear from a blank square,” he recalls. His interest continued through school and university, shooting punk gigs with a 35mm pointand-shoot and seeing his photos used on a friend’s album cover. It was at university that he got into the darkroom, developing black & white images of cell staining for biology classes, but “it wasn’t until I began working as a forensic analyst and had to be able to photograph and document evidence that I received formal training. It will be no surprise to hear that the training focused on accurate exposures and novel imaging techniques; it was our responsibility to create an image that was as ‘true to life’ as we could achieve, to be presented to the courts.”

Now Al eschews true to life, instead creating “worlds that only exist in images”. He describes his style as ‘cinematic photography’, explaining that “I like to create narratives within images or a series of images, that engage and make the viewer want to know more, using cinematic techniques.”

This approach is particularly apt as one of his current clients is Secret Cinema,

Don’t leave great shots to chance.

Choose Samsung memory cards to ensure you never miss a moment. @PHOTOPROUK

which produces immersive theatre/ cinema experiences. He’s currently working with them on their production of the horror flick 28 Days Later.

“It’s always exciting to shoot promotional photography for them,” he says, “they create really believable detailed sets, have really strong casting, a talented costume department and give me a lot of creative freedom with the images I produce to capture the feeling of the production. Everything about the set is a secret until after the show has closed, so it will be a while before this project sees the light of day.”

Portraiture is Al’s greatest passion “whether I’m shooting an actor in character for a promotional piece, or just capturing an unguarded moment with a friend that reflects their core personality.

I have a wider-ranging definition of ‘portrait’ than a lot of people do. A portrait can be a two-dimensional record of someone’s likeness, or a complete fantasy in a specifically built set where the subject is projecting a character or mood that is carefully orchestrated.”

Although Al shoots commercial and editorial work, he finds it hard to pick between them. “Honestly, I cannot pick one over the other. An editorial client brief often allows more creative freedom and spontaneity, which is creatively satisfying. Commercial work involves bigger budgets so it is easier to gain access to the crew, locations and talent to realise the vision, but there is less freedom to go in a new direction or deviate from a shot list. Each market satisfies different parts of me.”

Al is enjoying the variety of work and finds it “quite satisfying to take my portraiture experience and apply that to the creation of images that sell a mood or a feeling to you, as well as the process of creating the space in which these moods and feelings can exist.

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PREVIOUS SPREAD: Sasha, GHD casting shoot LEFT: Aima Indigo ABOVE: The Teeth of the Sea for online magazine, The Quietus

NEXT SPREAD, CLOCKWISE FROM TOP LEFT: BAFTA Guru Production Skills; singer-songwriter and music producer, George Clinton; Dr Strangelove for the Secret Cinema; Brick Lane street style for fashion bible, WWD; actor and model Sabine Roll

“BUILDING RELATIONSHIPS SEEMS TO GO A LOT FURTHER THAN PAID-FOR ADVERTS” @PHOTOPROUK

authentic within the context of the purpose. We all know that adverts are staged, but some are more real feeling than others.”

Getting clients hasn’t been difficult so far, with word of mouth playing a big part. “I’ve mostly worked via word of mouth, or have been recommended to someone by a previous client or subject.

I’ve had mixed luck with advertising, building relationships seems to go a lot further than paid-for adverts or farming a large social-media following. I’m a fan of the ‘more signal, less noise’ approach to social media.” He has however begun to embrace Instagram, posting behindthe-scenes and final images.

To grow his business, he has recently joined Seven Shoots Studio Team in Central London. Part of the digital marketing agency, Seven, the studio team offers “a well-rounded set of production facilities all in one place,” he says, “which is more reassuring for the type of commercial clients that I am planning to approach.” It’s proving to be a successful move as he’s already worked on some commercial projects with them.

Ultimately, Al would like agency representation. “Partly for them to take care of some of the logistics of larger shoots, and partly to gain access to a more international clients,” he explains.

Playing the hero “I don’t think any photographer really is that comfortable with the idea of being considered a ‘hero’, otherwise we would be on the other side of the lens,” jokes Al when asked about his heroes. “If I had to pick one as the most important or influential to me, it would be Diane Arbus. Everything from her approach to respecting her subjects through to her contrasting black & white prints is unsurpassed. Other photographers whom I have the most interest in and respect for are (in no particular order): Dan Winters, Lionel Deluy, Frank Ockenfels and Greg Williams.”

Inspiration comes from “literally everything. I have a voracious appetite for consuming information and seeing things which are not in my immediate bubble. I’m really inspired by cinema and TV shows; like most people I love the lighting in the TV show Madmen. I try to spend a lot of time at art galleries looking at mixed media but am especially interested in 17th century paintings.”

Lighting the way Leaving forensics and embarking on a creative career meant a change in approach to photography, particularly lighting, for Al. “I was trying to figure out how people achieve their lighting ISSUE 119 PROFESSIONAL PHOTO 077

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“IT TOOK ME A COUPLE OF YEARS TO EMBRACE THE IDEA OF A FACE BEING UNEVENLY LIT” effects. In this my technical background was helpful, although I admit I did have to unlearn lots of my beliefs about how to light a subject. It took me a couple of years to embrace the idea of a face being unevenly lit, or that shadows are as important as light when creating mood!”

He credits a director of photography with the best piece of lighting advice: “light the room, not the person.”

Al has also been experimenting with different cameras. “We started out with Nikons in the crime lab, so that is the brand that I am most familiar with and the system I first bought into,” he explains, but he’s hired and shot with all kinds of kit, from medium-format to Fujifilm mirrorless cameras.

Despite his technical background, he says “my only interest in cameras is as a tool.” He’s similarly pragmatic about the benefits and uses of post-processing.

LEFT: Holly Smith, GHD casting shoot ABOVE BOTTOM: This is Britain won Al Overdrive a Digital Photographer of the Year award

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ABOVE TOP: Artist and set designer Rhea Thierstein for Easy Living ABOVE RIGHT: Still from a Paolo Nutini video

His approach is already paying dividends as he has a long list of awards to his name. Interestingly though, his attitude to them is ambivalent. “I find the whole idea of awards curious,” he says. “It feels good to have your work recognised by your peers, but is no substitute for self-belief. I haven’t entered any awards this year, most that I’ve seen are ‘pay to play’ and although I understand the reality of economics, very few are worth spending £30 or more for limited prestige.” That said, a few interest him: “Winning either the Nikon or Sony World Photo awards would be quite amazing, or the Portrait Prize. It would be quite a surreal experience to see one of my own photographs up on the wall of the National Portrait Gallery.”

Maybe his dream project could yield that winning shot. He’d love to shoot a series of location portraits of his favourite actors for Vanity Fair. “I’ve heard that Brad Pitt is really hands on with the pre-production process and gets involved in coming up with ideas for shoots. A dozen world-class character actors in fantastic locations around the world isn’t too much to ask, is it?”

Since changing his forensic approach for a cinematic view, Al Overdrive has been shooting for clients and publications such as Sky TV and Condé Nast Traveller. al-overdrive.com aloverdrive @aloverdrive

CALLING ALL FUTURE STARS Are you a star of the future? If you think (and hope!) so, email rogerpayne@bright-publishing. com with your website, why we should champion your work and your three favourite images. If your portfolio is featured, you’ll receive a Samsung Pro Plus SDXC 64GB card.

ISSUE 119 PROFESSIONAL PHOTO 081

Tested: Hasselblad CFV-50c digital back

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Tested: Hasselblad CFV-50c digital back

Hasselblad 5 Tested

CFV- 0c digital back IAN FARRELL

Does adding state-of-the-art digital technology to a classic mechanical camera make sense?

C

alling the Hasselblad V system iconic seems like a huge understatement.

These classic medium-format cameras have been used to capture some of the most famous photographs of our time, from the Beatles’ journey across Abbey Road to the NASA moon landings in the 1960s and 1970s. Millions of less-famous photographers also used them for decades to shoot portraits, fashion, landscapes, still life and a whole lot more.

In some ways these are the Land Rovers of the camera world: built to deliver a reliable high-quality performance year after year. So when Hasselblad stopped making V-system cameras for good in 2001, focusing their attention on the more sophisticated H-series instead, it felt a little bit like the heart had been taken out of the company. Not that there is anything wrong with the H-series (far from it, in fact) but V-system cameras like the 501 C/M and the 503 CW had something special for nostalgic photographers like me.

But the lack of new V-series ’blads in the shops did nothing to dampen the second-hand market for the cameras, which continues to be

@PHOTOPROUK

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Tested: Hasselblad CFV-50c digital back

ABOVE: The large viewscreen is a considerable improvement over previous CFV digital backs.

BELOW: Shooting in the studio – the traditional home of the Hasselblad – yields fantastic results.

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healthy to this day. Furthermore, all of the manufacturers of medium-format digital backs continued to support the V system, including – oddly you might think – Hasselblad itself.

Likely sensing that there were literally millions of compatible cameras still out there, Hasselblad maintained its CFV range of digital backs, successively launching 16-megapixel, 39-megapixel and 50-megapixel models. What’s more, CFV backs fit every V-system Hasselblad camera made since 1957, which makes owning one a tantalising proposition if you still have old gear collecting dust, or have seen a tasty example on eBay. The latest CFV back, and the one I’ve been testing for Professional Photo this month, is the CFV-50c. Like its predecessor, it boasts a 50-megapixel resolution, but uniquely now uses CMOS sensor technology, where previous CFV backs had CCD sensors. This gives it the ability to shoot cleaner images at higher ISO sensitivities, just like DSLR cameras.

And that has huge implications for how you can now use your Hasselblad.

Design and handling We tried the CFV-50c with a Hasselblad 500C/M, along with 80mm and 150mm lenses. On 6x6cm film these lenses give standard and slightly telephoto fields of view, respectively, but the CFV-50c’s smaller 32.9x43.8mm sensor means that there is a crop factor to consider.

The eagle-eyed amongst you will have noticed that the dimensions of the CFV50c’s sensor are rectangular, not square.

This is because it’s the same one used in the 4:3 ratio H-series camera. The CFV50c gives you the option of shooting cropped square-format images too, though, and the included replacement focusing screen has markings for both rectangular and square formats. But this does lead to an interesting problem when shooting vertically.

To shoot a Hasselblad V-series camera on its side you really need to have a 90° prism finder. The waist-level and 45° finders I have are a nightmare to use in this way, and make you look pretty silly too! To get around this we’d have liked to see Hasselblad offer a rotating mount on the CFV-50c,

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Tested: Hasselblad CFV-50c digital back

similar to the rotating film backs of the Mamiya RB67 and RZ67 systems, which could enable vertical shooting with all 50 megapixels without having to move the camera.

As to its outward appearance the CFV-50c looks gorgeous! It’s styled with the black and chrome typical of Hasselblad cameras from the V system and looks just like an A12 film back from a distance. Where a film advance winding handle is traditionally found there is now a memory card door, which is opened by sliding it backwards before hinging it up.

The rest of the back is more modern looking, with a 3in TFT viewscreen dominating the rear. Push-button controls sit below this: a Menu button to access set-up and shooting options; some up/down selection keys; and a customisable P button which is useful for accessing often-used options that are buried deep in a sub menu (it otherwise takes nine clicks to delete a file, for instance).

We programmed the P button to perform a 100% magnification for checking critical focus. It’s gratifying to be able to do this; I speak from experience when I say that the viewscreen on previous models, the CFV-16 particularly, was barely good enough for menu controls in bright sunlight. This newer version is a pleasure to use.

Amongst other options the menu gives access to white-balance (curiously no Auto option is available) and sensitivity, which ranges from ISO 100 to ISO 6400. It’s also possible to set JPEG + Raw shooting from here, change the aspect ratio of the JPEG file to 1:1, and engage Live View shooting.

There is also a menu option to select for how long the sensor is powered up after the shutter is tripped. At fast shutter speeds this can be left at the ≤ 1/8sec option, but for longer exposures you’ll need to set it to match or exceed the time for which the camera’s shutter is open.

The CFV-50c also features a Firewire 800 port for tethered shooting. This is also how previous CFV models have

“THE CFV-50C IS A TANTALISING PROSPECT IF YOU’VE AN OLD HASSELBLAD OR HAVE SEEN A GOOD ONE ON EBAY” @PHOTOPROUK

HOW TO BUY A V-SYSTEM HASSELBLAD If you’re tempted by the CFV-50c, but need a camera body to put it on, you’ll need to scour the second-hand market for one.

Here is some advice for getting a good example Looking at the specification sheets of the various models of Hasselblad V cameras over the years, you might not think there is much difference between them. However, while it’s true that the basic design has changed little since 1957, there are important differences that you should know about when making a purchase.

The first camera in the system is the 500C, the ‘C’ standing for Copal – the type of leaf shutter used in the system’s lenses. These let the camera synchronise with flash at any shutter speed. The 500C gave way to the 500C/M (the M standing for modified) in 1970, which added interchangeable focusing screens and is considered by many as the minimum that photographers should consider today.

After this came the 503CX and 503CXi, which added TTL flash metering and the facility to use a motor winder. The 501C improved on the 500C/M with a few minor body modifications and a brighter focusing screen. The 501C/M and 503CW added a gliding mirror mechanism to solve the problem of viewfinder darkening with longer lenses.

Also look out for motorised 500-series bodies, which have a built-in winder: the 500EL is roughly equivalent to the 500C, the 500EL/M to the 500C/M and the 500ELX to the 503CX.

Dating a Hasselblad You can age a Hasselblad through its serial number. Note the two letters that it starts with and compare it with the code VHPICTURES. The V stands for 1, the H for 2, the P for 3 and so on. So a camera having serial number UI162949 was made in 1974.

Newer cameras are not always better. Hasselblads that have sat on a shelf can seize up when they are finally used, so it’s best to get a loved, but often-used, camera. You might also want to reserve some of your budget to get a clean lube adjust service from Hasselblad UK. If you are inspecting a Hasselblad before making the decision to buy it, make sure that the aperture closes correctly and that the shutter speeds sound different to each other. The camera should feel springy to fire and the mirror and secondary shutter curtains should move quickly. Note that the mirror won’t come down again until you wind on.

Lastly, even if you are planning to use your Hasselblad with a digital back, it’s worth getting a film back too as they are often included. If you do, make sure that the insert that holds the film and the film back housing have matching serial numbers. This avoids any nasty jams.

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Tested: Hasselblad CFV-50c digital back

ABOVE: Shooting in available light at ISO 1600, image quality is more than acceptable, which means the CFV50c can work in more places than its predecessors could.

connected to computers and will be familiar to anyone who’s used a digital medium-format camera before. But high-speed data connections have been changing a lot recently: USB 3.0 and Thunderbolt have arrived on the scene, and are more commonly found on computers nowadays.

Firewire 800 is almost impossible to find on laptops, especially Windows machines. Apple supplies a Thunderbolt-to-Firewire adapter but there are reports that this doesn’t always supply enough juice for peripherals like this. On an older MacBook Pro, however, tethered shooting was fast and robust.

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Performance Medium-format is traditionally most at home in the studio, so it’s no surprise that the CFV-50c shines in this environment. Plenty of light not only brings out the best in image quality but also makes it possible to accurately nail focus, which is essential for getting every bit of image quality from this kind of kit.

Pixel peepers will not be disappointed looking at full-resolution files at high magnification. Detail is crisp and lifelike, and it’s actually amazing how well the V system’s older optics stand up to this kind of scrutiny.

I also loved the dynamic range in images shot on the CFV-50c: 14 stops of it according to Hasselblad. It’s astonishing how much detail can be recovered from blown highlights and muddy shadows. Even images where I’d

completely under or overexposed could be recovered to a usable extent.

Shooting rate is determined by how quickly you can turn the camera’s winder handle (yes, you still have to wind on after every exposure to recock the shutter, which is surprisingly satisfying), and I wasn’t able to do this quickly enough to experience buffering.

Very occasionally I saw moiré patterns in areas of fine detail, like fabric, but these were easily removed in post-production.

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Tested: Hasselblad CFV-50c digital back

@PHOTOPROUK

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Tested: Hasselblad CFV-50c digital back

“THE CFV50C LOOKS GORGEOUS! STYLED IN BLACK AND CHROME TYPICAL OF CAMERAS FROM THE V SYSTEM”

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Tested: Hasselblad CFV-50c digital back

ABOVE: Shooting handheld on location in the Fitzwilliam Museum, Cambridge, at ISO 800 LEFT: Pixel peeping reveals exceptional sharpness and fine detail, which reproduces superbly in large prints.

While the CFV-50c’s performance in the studio was great, it wasn’t surprising.

What I was really interested in was the back’s performance on location.

My older CFV-16 is a challenge to use with available light, which limits its usefulness. Its lowest ISO is 50 (where the quality is lovely) and it can go as high as ISO 400 (where the quality is not lovely). But the CFV-50c can shoot right up to ISO 6400, which is a game changer for this type of equipment.

Big medium-format cameras like this need fast shutter speeds to prevent camera shake, and the shallower depthof-field characteristic of the larger format means that smaller apertures are often needed. So it’s a delight that results up to ISO 1600 are absolutely great to look at. At ISO 3200 perhaps more noise than I’d like is starting to appear, but it’s still not a deal-breaker.

The ISO 6400 setting should probably be reserved for emergencies only.

That might not sound like much of an achievement compared to the capabilities of top-flight DSLRs from Nikon or Canon, but in the world of medium-format photography this performance deserves nothing short of a round of applause. @PHOTOPROUK

In practice, when shooting editorial portraiture in the Fitzwilliam Museum in Cambridge – where light levels are not what could be described as bright – I was able to use the ’blad handheld at ISO 800, moving around quickly to recompose at will. The results were sharper and had more dynamic range than the nearidentical frames shot on my Nikon D800, though focusing was much harder, especially with a fidgety subject.

When shooting static objects there is an alternative to peeping down on to the Hasselblad’s ground glass screen.

The CFV-50c now delivers eminently usable Live View, which lets critical focusing be achieved with complete confidence. Access the camera’s menu to find the Live View option (which can also be assigned to the P shortcut button), then lock open the shutter and mirror with a bulb exposure to let light through onto the sensor. You can zoom in to the magnified image and move around it with the various buttons — a touchscreen would make things even simpler. When you’re done, cancel the Live View, wind on the camera to recock the shutter and you’re set to go.

It’s not a fast process by any means, but when you’re shooting product shots or still life in the studio this is a great way of working. Especially when tethered via the included Phocus software, when the Live View image can be seen on screen.

Verdict If you’ve never used cameras like the 500C/M then it’s worth considering the differences between them and modern-day DSLRs: focusing is manual, there is no TTL exposure metering or automation of any sort and the whole picture-taking process is slower. But if, like me, you embrace these differences, then there is an awful lot to like about the CFV-50c digital back.

Image quality is stellar, not just in the studio but also out and about, where it’s now possible to use your classic Hasselblad handheld thanks to its extra ISO sensitivity. Comparing results with that of a high-resolution DSLR, the ’blad delivers images that are crisper, boast more dynamic range and have that medium-format look about them.

The big question is: do these differences justify the extra cost? A CFV-50c will set you back double what a Canon EOS 5DS R costs, and that’s without buying a camera body too. But this piece of technology will let many photographers get back to their roots, using a manual mechanical camera to craft and create photographs, not snap them in an instant. Medium-format encourages a different way of working that, for some photographers, will be worth the extra investment. And for them, I have no hesitation about recommending the Hasselblad CFV-50c wholeheartedly.

SPECIFICATIONS STREET PRICE £7200 RESOLUTION 50 megapixels SENSOR 32.9x43.8mm with IR filter COLOUR DEPTH 16-bit IMAGE SIZE Raw 3FR capture 65MB, TIFF 8-bit: 154MB ISO SENSITIVITY 100, 200, 400, 800, 1600, 3200, 6400 SHUTTER SPEEDS 34mins to 1/800sec MONITOR 3in TFT STORAGE MEDIA CF, 16GB card holds approx.

240 images DIMENSIONS (WxHxD) 91x92x57mm WEIGHT 530g (excluding battery & card) CONTACT hasselblad.com

VERDICT FEATURES

4/5

HANDLING

4/5

IMAGE QUALITY

5/5

OVERALL

4.3/5

NEXT MONTH

We get hands on with Hasselblad’s new H6D - don’t miss our first look!

ISSUE 119 PROFESSIONAL PHOTO 089

Rising Star: Rokas Darulis

rising star ROKAS DARULIS

PETER DENCH

Rokas Darulis’s rise through the ranks is as stunning as the people he has photographed 080 PROFESSIONAL PHOTO ISSUE 118

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ISSUE 118 PROFESSIONAL PHOTO 081

Rising Star: Rokas Darulis

F

ashion photographer Rokas Darulis crunches his 6ft 5in, 93kg frame into a solid crouch, crams the Canon EOS 5D Mark III firmly to his eye under his black Criminal Damage snapback cap, depresses the shutter and releases a rapid rattle of frames through a 50mmm lens. “Perfect, really good, just keep moving like that” is the quiet but firm advice he delivers to 25-year old Belgium-born model, Yannick Abrath, as he fluidly moves in front of Darulis’s lens – moves that Abrath has honed over a six-year career in the industry.

Darulis, who wouldn’t look out of place on the pages of a fashion magazine himself, shoots fast: no gimmicks, no assistant, no fuss. He has to shoot fast, this street that runs parallel to London’s Waterloo Bridge is busy; a mixed-race family with orange balloons from the Giraffe restaurant chain tied to a pushchair bobble on past. Duck Tour amphibious trucks grumble menacingly close to Darulis’s Tamrac bag, plopped by the side of the pavement and a blondehaired woman in a green dress wobbles quickly towards the Hayward Gallery.

I graduated from the University of Derby in 1995 with a first-class honours degree in photography and moved swiftly to London; two years on the dole followed, sponging off my parents and scratching around for extra images to bolster my portfolio. Fourteen years later, Lithuanian Darulis graduated from Middlesex University with a first-class honours degree in photography; in his first year out of university working as a professional, commissions for magazines Pravda (in Lithuania), Monika and Tank were completed. He shot for commercial client Švyturys Beer and seven days a week for the British online fashion and beauty store ASOS. He was asked to shoot tests for Elite model management agency, a request that could have become a formulaic, factory produced series of images. They are not.

Darulis’s Portraits of Girls in my Studio (the studio being a small corner of his rented apartment) are exquisite, each shot crafted with the aspirational professionalism of Irving Penn, the

PREVIOUS SPREAD: Giedre & Julia, from the series, Seaside Stories.

TOP LEFT: “From the series, Moustache Club and Smoking Men.” TOP RIGHT: Loren, daylight shoot.

LEFT: Giedre & Julia, from the series, Seaside Stories.

RIGHT: From the series Cry Baby.

“HE SHOT SEVEN DAYS A WEEK FOR THE BRITISH ONLINE FASHION AND BEAUTY STORE ASOS” 082 PROFESSIONAL PHOTO ISSUE 118

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skill of Richard Avedon, the eye of Peter Lindbergh and the mood of Paolo Roversi. Elite was impressed enough to start paying him £30 per model, then £70 per model, then £175 per model.

It’s the Portraits of Girls in my Studio and his Seaside Stories images that convinced me, in 2012, to curate and commission his first UK solo show at White Cloth Gallery. The exhibition remains one of the most fondly remembered and talked about by those who visited.

Huge 6ft prints of chisel-chinned men crying, towered over dark, moody prints of sultry men sucking back cigarette smoke. Square formatted chaps with sculpted moustaches bristled alongside semi-naked women folded into fur coats or stretched out across crisp cotton bed sheets wearing sheer white panties.

If you can take such spontaneously delicious shots at the seaside of your friends there has to be potential. It @PHOTOPROUK

helps if your friends are spontaneously delicious and your girlfriend is the Lithuanian model, Julija Steponaviciute, aka Step. Represented by Storm model management (their website reliably informs) Step has modelled for Italian GLAMOUR, Elle France, Fashion Gone Rogue magazine and Damernas Vald Sweden among others.

Darulis was born in the small town of Siauliai, the cyclops eye of Lithuania.

He was four years old when his country officially gained independence from the Communist Soviet Union. This afforded him the opportunity to put down his wooden toys and pick up exotic imported fruits, rich in colour and flavour, that the iron curtain had denied him.

“Exotic fruits such as…?” I ask him. “The banana!” he exclaims triumphantly pointing into the air. In search of more exotic fruit or, more likely, in search of better paid work ISSUE 118 PROFESSIONAL PHOTO 083

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Rising Star: Rokas Darulis

“HIS GRANDFATHER GAVE HIM AN OLD SOVIET KIEV 35MM CAMERA TO PLAY WITH” across the free world, his diplomat parents took him to Dublin and Chicago before sending him back to live on his grandparents’ farm. On his arrival, his grandfather gave him an old Soviet KIEV 35mm camera to play around with, and Darulis was on his way.

When recently giving a talk about his career to date, at the Lithuanian equivalent of London’s Excel centre, 800 people turned up to hear him. That probably makes him one of Lithuania’s most famous sons, alongside Žydr nas Savickas who has won the country’s Strongest Man competition a record 12 times.

Balanced precariously close to the edge on the third floor balcony at the National Theatre, Darulis completes another of the required ten shots for the Korean edition of Arena Homme+ magazine and retires to take a breather and a gulp of his aloe vera mango juice.

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grey Volkswagen Transporter van he dominates: a Godzilla in the East Asian team. As the Alexander McQueen, Paul Smith, Dior and Pringle designer clothes sway around Darulis’s head in the breeze, he flips the lid on his Mac laptop, rams a 16GB Extreme III CompactFlash card into the card reader and reviews the morning’s work. The previews are beautiful and crisp, honest and enjoyable, black & white. Darulis doesn’t trust the in-camera colours.

Satisfied, he springs up onto his Nike Air Max clad feet, tucks his key chain into his long black skinny jeans, neatens his white T-shirt and bounds towards the next shoot scenario.

A few days later, I catch up with him on the trim terrace of an Italian eatery in north London. In April 2014, he packed up his bags and left expensive London to return to live in Lithuania. Arriving back in Lithuania, he had a call inviting him to join the east London based,

LEFT: Model, daylight shoot.

RIGHT: Loren, daylight shoot.

FAR RIGHT: Julija

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@PHOTOPROUK

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Rising Star: Rokas Darulis

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ABOVE LEFT: Loren, Daylight shoot.

FAR LEFT: Edda, daylight studio.

LEFT: Julija, from the series Seaside Stories.

ABOVE: Julija, daylight shoot.

Saint Luke Artist Management agency (three years after he first approached them about representation). With no need to re-pack his bags, he just turned back around and retraced his journey.

The Saint Luke agency also represents photographers Nik Hartley, Dima Hohlov, Alexandra Leese and Rahel Weiss; they could have their pick of more established photographers, but picked Darulis.

Since he’s been on the books at Saint Luke, Darulis has been busy. Very busy. He has three to four meetings a day when he’s not shooting and has shot on assignment in Shanghai and Tokyo. His diary may be full but that isn’t necessarily reflected in his bank account. The only person that seemed to be on a salary from the Korean Arena Homme + shoot was the van driver, @PHOTOPROUK

Dave. Darulis explains that most young fashion photographers aren’t paid for editorial assignments as most magazines are culpable of not offering a fee, Dazed & Confused and Wanderlust among them.

He knows he has come far since graduating from Middlesex University but appreciates he has a long way to go.

He thinks it could take another 20-30 years to achieve what photographic legends Mario Testino, Juergen Teller and Steven Meisel have achieved, and then one of them would have to stop working or die before an opportunity to shoot for the world’s most sought-after clients would be ‘up for grabs’.

A month into his university master’s degree Darulis quit, keen to get to work. He says that, in retrospect, he would have quit a month into his undergraduate degree too, to get to work assisting, which he thinks is “the best education”. There is no plan B for this alpha male (except perhaps, playing poker) with his swimmer’s frame, basketball player’s height, FBI Agent cool and photographic talent but with “patience, luck, working hard and being involved in everything you can” Darulis believes he will succeed, and I, for one, believe him.

Since graduating with a first-class degree, Darulis Rokas hasn’t been short of work, shooting fashion and editorial. He’s represented by the St Luke agency. rokasdarulis.com rokasdarulis

CALLING ALL FUTURE STARS Are you a star of the future? If you think (and hope!) so, email rogerpayne@bright-publishing. com with your website, why we should champion your work and your three favourite images. If your portfolio is featured, you’ll receive a Samsung Pro Plus SDXC 64GB card.

ISSUE 118 PROFESSIONAL PHOTO 087

Rising Star: Natalie J Watts

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rising star NATALIE J WATTS

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No matter what your situation or background, if you have a passion for your photography you can make it work. Natalie J Watts put blood, sweat and tears into hers and now has a successful career as a freelance photographer

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PREVIOUS SPREAD: “An editorial shoot from 2012 which I produced and art directed in just three days.”

ABOVE: “A double-exposure created in-camera.”

LEFT TOP: “While shooting the bridal party portraits, an old lady walked past with her shopping so we included her!”

LEFT MIDDLE: “This couple had a super-relaxed and informal wedding day. I always like to capture the atmosphere and emotion of the day.”

LEFT BOTTOM: “Confetti photographs are always my favourites - everyone always looks so filled with joy!”

NEXT SPREAD: “More photos from the editorial shot in 2012, in a poppy field.”

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p

hotography was always there for Natalie J Watts, who works under the name of Natalie J Weddings. From the day she received her first camera at the age of seven, she’d document holidays and family events and then when her son, Danny, was born she took even more photos. “It was lots of film photography, I went through rolls and rolls of film every week,” Natalie recalls. “I’ve kind of always used photography for exploration of the world and to present my vision,” she says.

At 18, as a single mum Natalie enrolled on a part-time college course and when her son was 18 months old, she returned to do a full-time course in fine art, specialising in photography, which later led to her doing a degree.

Her first taste of fashion photography @PHOTOPROUK

came from work she did above and beyond her degree. “I had some friends at university who were tattooed and into the burlesque scene, so I’d go and photograph burlesque nights. That in itself led me to meet people who had corset companies and they would hire me to shoot their clothing. It wasn’t a lot of money, but it was getting my work featured in magazines,” Natalie says.

Before finishing university Natalie secured herself work placements at Bizarre magazine and Marie Claire, before landing a job at ASOS working in the photography studio. Not all things come easy though. While a rising star in the industry now, Natalie worked all hours to pursue her photography passion, working through her lunch, evenings and weekends to shoot editorial work and build up a network of creatives.

“It was full on and being a single

mum living in London, I was having to do the school run and then run to work. Sometimes I would take Danny with me on shoots at weekends. It was really tough, but it was manageable,” she says. “I always knew that I wanted to be freelance and I’ve literally put blood, sweat and tears into what I do, it’s such a passion and I’m really just following my heart.”

While working at ASOS Natalie was headhunted for a studio manager job at Figleaves and again still juggled shoots in between. A big question for all photographers is how do you know when you’re ready to go full-time, for Natalie it was simply a feeling.

“It all got too much for me and I’ve always been about following my gut instinct. One day I heard this little voice say ‘if your manager is wearing blue, you need to quit today’. When ISSUE 120 PROFESSIONAL PHOTO 091

Rising Star: Natalie J Watts

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I got to work there she was wearing a royal blue dress,” she recalls.

“It didn’t make sense in the slightest for me to quit. I had more money going out every month than I had coming in, I was so stressed and tired, but it felt like something had to give and it wasn’t going to be my personal and creative outlet so I just handed in my notice,” Natalie tells us.

“I didn’t have regular clients lined up and I didn’t have any savings or anything like that, but I did have some of the groundwork already laid down in terms of a strong portfolio and a tight network of creatives,” she says.

“Sometimes in life you just have to take a leap of faith, and for me that’s one of the best things I’ve ever done.

That was almost six years ago and now I’m making more than double what I was in my studio manager position.”

Natalie’s first experience shooting weddings was a one-off for someone

@PHOTOPROUK

she had previously shot for while at university. For the first two years of her freelance work, Natalie focused on commercial fashion work, but soon began getting requests to shoot weddings.

“For a long time I said no, but in 2011 my friend’s wedding photographer let her down at the last minute, so I photographed her wedding. I really enjoyed it because it was a lot more personal than the fashion photography. With weddings there’s a lot more care, people have phoned me up crying and saying, ‘wow you’ve absolutely captured the magic and atmosphere’, which is lovely and that’s why I’ve started to pursue the weddings more,” she says.

From shooting eight weddings in her first year as a wedding photographer, she now has 33 booked this year already.

“Every wedding that you do, you’re opening a door to more potential clients,” she says. “My fashion photography definitely paved the way for my wedding

photography. When I first started photographing weddings it was because couples got in touch to tell me they loved my style of fashion photography and wanted me to capture their special day in my own way. That freedom and trust made me realise that there isn’t any ‘right’ way to photograph weddings and that I can use my own vision and creativity to create beautiful wedding photographs,” Natalie tells us.

With so many wedding photographers some might say it’s a crowded market, but Natalie thinks that being yourself and being passionate is key to securing clients. “They can see that I have a passion about the photography and I actually care about producing images that they love. It’s just as important for me as it is for my couples,” she says.

Natalie’s balance of weddings and fashion work gradually shifted to weddings being her main focus. “My

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Rising Star: Natalie J Watts

heart is just not in doing fashion anymore, so I’m really not chasing any fashion work. Weddings on the other hand have so much more meaning.”

In terms of getting wedding work Natalie does minimal promotion. “I feel like I’ve got to a point now where I’ve got the wheels set in motion and it’s taking care of itself quite nicely.” She has attended wedding fairs, blogs about her work, makes use of SEO and gets her work featured in wedding blogs and magazines.

“To be honest a lot of my work comes from word of mouth or referrals.

With magazine features I do it not only to bring in new clients to me, but also to reiterate to couples that I’ve already got booked that, yes, you have made the right decision, I am a good photographer, the photography that I’m producing is worthy of going in magazines and on blogs,” Natalie says.

Whether you’re an aspiring fashion or wedding photographer Natalie has some strong advice.

“Follow your heart with what you’re doing, if you don’t believe in what you’re creating then you’re not really doing the right thing. Keep networking and be kind to yourself and to others. If you’ve got the passion and dedication I think anybody can do anything, no matter what your situation or background.”

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Since her first camera aged seven, photography has been Natalie J Watts’s passion. Starting out in fashion, she’s now a fulltime wedding shooter. nataliejweddings.com @nataliejwatts facebook.com/nataliejweddings

CALLING ALL FUTURE STARS Are you a star of the future? If you think (and hope!) so, email rogerpayne@bright-publishing. com with your website, why we should champion your work and your three favourite images. If your portfolio is featured, you’ll receive a Samsung Pro Plus SDXC 64GB card.

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Buyers’ guide: Wedding presentation

Buyers’ guide

Wedding presentation JEMMA DODD

Give your wedding clients the very best from start to finish.

We look at the options available for presenting your work in style

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o you’ve edited all your client’s photos and are ready to hand them over. While you may have captured some stunning shots of the bride and groom on their special day, your service doesn’t end here. You wouldn’t rush the editing and hand over photos you weren’t happy with, just like you wouldn’t hand over prints in a scruffy

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envelope. The presentation of the finished photos needs to be spot on – this is your final chance to make a lasting impression.

So let’s take a look at a few ways of doing this, from albums to framed prints and even accessories like trimmers, for those who offer printing services. Always aim to let your clients see your images in the best possible light.

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Buyers’ guide: Wedding presentation

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nPHOTO ALBUM SET

Give the bride and groom the complete package with one of the new nPhoto Album Sets. This three-piece product includes: a beautiful handmade album; an album box with a matching front cover; and a USB case and an 8GB memory stick, so your client can have both printed and digital copies of their images. You can choose from White Lady, Black Star, Acrylic Prestige, Exclusive or Creative sets, which gives you the option to combine graphics, photos and text.

Available in sizes 20x20cm, 30x30cm or 30x45cm you can choose an album to suit your client. For a really professional and unique finish you can opt for a padded cover or even have laser etching of the names of the bride and groom or the date of the wedding on the spine – a truly personal touch.

You can also personalise things by adding extras like metal or rounded corners, metallic paper, 1200gsm thickness pages or black inserts. nphoto.co.uk 2

POINT101 FRAMED PRINTS

Some couples want more than just an album of photos to show their friends and family; some want to hang pictures on their walls to remember their wonderful wedding. Point101 offers professional printing services with gallery-quality papers and handcrafted frames that are delivered ready to hang.

With 14 frames to choose from, including white, black, silver, walnut finishes and an assortment of thicknesses, there’s something to match everyone’s home. Eight different photo papers are on offer and images can be printed from 5x7in right up to A0 size, including panoramic aspect ratios. point101.com 3

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LOXLEY COLOUR SIGNING BOOK

Give an extra gift to your wedding client in the form of a signing book. If you offer engagement shoots this is a great place to show off your pictures of the couple to everyone attending the wedding. Available in a choice of design templates, with a gloss or matt finish to the cover, this signing book will really grab attention. Choose from a classic design available in A4, 12x12in or 14x10in, or a lay-flat design in A4 or 12x12in. Create a book of up to 30 spreads, with a press paper and matt satin finish.

In addition to the Signing Book, Loxley Colour also offers an alternative: the Signing Frame, available in a choice of 120 exclusive moulding variations within 28 profiles. loxleycolour.com ISSUE 118 PROFESSIONAL PHOTO 099

Buyers’ guide: Wedding presentation

4 ROTATRIM PROFESSIONAL M24 ROTARY TRIMMER

If printing at home is more up your street then you’ll want to ensure that your images are cut to precision. The Rotatrim Professional M24 Rotary Trimmer is the most popular size of Rotatrim’s Professional M series range and allows you to cut papers up to 610mm in length and up to 3mm in thickness. Its option for two-way cutting means you don’t have to worry about pushing the handgrip and blade in the wrong direction. A transparent clampstrip allows you to position your paper accurately and make the cut at the right angle, so you can achieve perfect edges. Thanks to the finest quality Sheffield steel self-sharpening precision blades, and twin chrome steel guide rails, you can ensure there is a smooth glide for a clean cut every time. rotatrim.com 5

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ONLINE PICTURE PROOF

Give your clients the freedom of choosing their own images with the help of Online Picture Proof and a beautiful HTML5 mobile optimised photography website.

With an easy online proofing and sales system you can create your own products and packages. You can allow customers to purchase images through your website and accept online orders via credit card or debit card, by cheque or over the phone.

Online Picture Proof do not charge any commission on sales and offer a 30-day fully functional, obligation-free trial so you can test it out for yourself. There’s also free SEO and marketing tools to help you get the most from your website and attract new clients. onlinepictureproof.com 6

COLORWORLD IMAGING ALBUMS

Known throughout the industry for professional printing, quality and value for money, Colorworld Imaging offers a full range of printing services.

The Artisan Album range is perfect for your wedding clients and there are 16 genuine leather covers to choose from. You can print albums in sizes starting from 12x9in up to 16x12in and choose lustre, gloss or metallic paper.

With matted pages you can choose from black linen with white core or the white stucco effect. Additional options are also available with a cameo cover, photomontage, canvas or acrylic cover, and you can add a finishing touch to the album with a choice of leathers, silks and buckrams.

All Artisan albums are handmade in the Colorworld North East England lab. colorworldimaging.co.uk 100 PROFESSIONAL PHOTO ISSUE 118

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Buyers’ guide: Wedding presentation

7 ONE VISION IMAGING – FLORENTINE ALBUMS

One Vision has been making built-toorder wedding albums for over 40 years, and has recently launched Florentine Albums. Named after the city of Florence, known for its high-quality leather goods, the albums use only the highestquality materials and are covered in soft-touch satin-like leather, which is available in 12 different colours. Choose from lustre or glossy Fujifilm DPII Professional photographic paper, metallic photographic or fine art Giclée.

Formats are available in 8x6in and 16x12in sizes and you can choose from between ten and 60 pages, making them perfect for any wedding whether you’re there to capture a selection of images during the church ceremony or there for the full day, you can make sure you choose the right amount of pages for your chosen photos. onevisionimaging.com

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TRADE CANVAS PRINT

Trade Canvas Print can deliver highquality, handcrafted canvases at 20mm or 38mm thicknesses in bespoke sizes from 8x8in up to 60x36in. Each canvas is laminated, preventing the photo from cracking and also making it water resistant, cleanable, scratch proof and UV protected for up to 200 years. Additional features such as a pre-fitted canvas hanger can be included so your clients can hang their image up straightaway without any hassle.

If you or your client would prefer to frame the image then rolled canvases are available, these prints are laminated but aren’t stretched and have an extra 2in of printed edges to cater for any frame depth. Trade Canvas Print can also include your logo, signature or branding on the canvas. tradecanvasprint.co.uk

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HARTNACK & CO. ALBUMS

If you fancy something a little different Hartnack & Co. provides stunning leather portfolios, binders and albums. Available in 3.5mm thick brown leather or 2.5mm thick black leather every portfolio is made individually to fit the size or format of your preprinted images. Albums can be personalised with a logo or title and extra features such as business card pockets or CD/DVD pockets can also be added, ideal if you also provide your client with digital files. To add the finishing touches there is also a Clam Shell Solander Box which will be made to fit your album and will be covered in fabric. Hartnack & Co. has a wide variety of coloured buckram and book cloth fabrics to choose from. hartnackandco.com ISSUE 118 PROFESSIONAL PHOTO 103

Buyers’ guide: Backpacks, slings & messenger bags

Buyers’ guide

Backpacks, slings & messenger bags JEMMA DODD

Keep you gear safe and secure, while still being ready to capture the action

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inding the right bag for you and your kit can be a challenge, especially if you need to carry a bulk load of gear. Whether you’re crossing the city for a shoot or

spending all day on your feet at a wedding, you want a bag that offers both protection for your gear and comfort for you. We take a look at some of the best backpacks, slings and messenger bags.

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Buyers’ guide: Backpacks, slings & messenger bags

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LOWEPRO PROTACTIC SH 200 AW

The urban inspired Lowepro ProTactic SH 200 AW has a MaxFit System interior providing maximum capacity, while offering a snug fit for your gear.

Adjustable, padded dividers allow you to customise your layout with space to fit a DSLR with lens attached, plus two to three extra lenses or flashguns, a laptop or tablet up to 13 inches, as well as extra accessories and personal items. For any additional items such as a tripod, this bag features QR buckle attachment straps and MOLLE-style straps with SlipLock.

A built-in AW (All Weather) cover can be easily accessed from a compartment at the bottom for protection in the rain, while the moulded and rugged top offers extreme impact protection.

The ProTactic SH 200 AW weighs 1.7kg and has external dimensions of 37.8x20x31cm. It is priced at £125. lowepro.co.uk @PHOTOPROUK

2 CULLMANN SYDNEY PRO MAXIMA 425+

3 CRUMPLER PROPER ROADY PHOTO SLING 9000

The Sydney Pro Maxima 425+ bag can hold a medium-size DSLR, plus a tablet or laptop up to 13 inches. Robust and soft padding, as well as a rubberised bottom made of skid-resistant material keep your kit safe and also make the bag easy to clean.

A rain/sun cover-system with a detachable cover provides extra protection to your gear in rain and bright sunlight. This messenger bag has two carrying loops allowing you to attach additional items. For comfortable usage the shoulder strap features padding and can be adjusted as required. When not needed for your photography gear the Sydney Pro Maxima 425+ can be used as a business bag and can easily hold an A4 folder, as well as other accessories. This bag retails at £79.99. intro2020.co.uk

Crumpler’s Proper Roady Photo Sling 9000 is made from 1000d Chicken Tex Supreme Nylon, soft Nylex lining and waterproof ripstop. It offers space to hold a DSLR, multiple lenses, a flashgun and also has a dedicated space for a 15in laptop, meaning you can take it all with you in this padded sling bag.

Internal dividers allow you to rearrange the inside of the bag to suit the kit you need to carry, making it a versatile option. This bag can be carried by hand or over the shoulder and a third leg stabiliser strap allows you to prop up your bag when not in use. Additional zip pockets can be found on the inside and outside of the bag, which offer extra space for small items.

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Buyers’ guide: Backpacks, slings & messenger bags

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FOX TALBOT

Jessops’ Fox Talbot gadget bags draw on the heritage and early innovations of the British inventor Fox Talbot. Available in Canvas & Brown or Brown there are medium and large sizes, which feature a handle and removable shoulder strap.

The larger models can hold a DSLR, plus accessories, while the medium model, measuring 20x12x13cm, is ideal for mirrorless cameras. Each bag includes a padded pouch that can be removed to convert the bag into a day bag. Items are secured via button clips and there is a zippered pocket on the inside and another on the outside for small items. Prices range from £39.99 to £49.99. jessops.com 9

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VANGUARD UP-RISE II 48

Vanguard’s Up-Rise II 48 backpack can hold up to two DSLRs, as well as multiple lenses, plus other kit such as flashguns, so is ideal when you need multiple shooting options. There’s also a front zip pocket and mesh pockets inside for items such as a lens cap and memory cards. A fully opening front means you can easily swap over lenses or take out extra kit, while easy side access means you don’t always have to open the whole bag. You can also pack your 15in laptop, thanks to a well-padded compartment.

If your job requires a tripod you can easily attach it to the side of the bag via a pocket and secure straps. Alternatively you can store a water bottle in the pocket. Extra accessories can also be attached using the included D-rings.

The Up-Rise II 48 features a builtin protective foam and an expansion section offering even more space when required. The outside dimensions are 36x30x56cm and the bag weighs 2kg. It costs £139.99. vanguardworld.co.uk

FIG BAGS

Fig Bags and accessories are vintage style camera satchels and camera straps, aimed at those who are passionate about creating quality images and using quality goods. Handmade in England using high-quality, premium leather, Fig Bags provide easy access to your kit and longterm durability.

The Lincoln bag accommodates a DSLR, a lens and small personal items, while the Hanborough comfortably accommodates a camera, up to two lenses, personal items and an 11in tablet in the inside pocket and a 13in laptop in the main compartment.

The Lincoln bag is priced at £235 and available in seven colours, while the Hanborough costs £295 and is also available in seven colours. figbags.co.uk ISSUE 120 PROFESSIONAL PHOTO 109

Buyers’ guide: Backpacks, slings & messenger bags

4 TAMRAC CORONA 20 PROFESSIONAL BACKPACK

The Corona 20 Professional Backpack from Tamrac has ample space to hold a DSLR or large mirrorless camera as well as multiple lenses, flash units, a phone and other accessories. It also has space to store a tablet or 15in laptop. Making sure you’re ready for any shooting situation, the Corona 20 has three easy access panels, for quick access to gear.

Ensuring comfortable use it features a Padded Airmesh Harness and can be used as a backpack or sling bag. It also includes a 70D polyester seam sealed weatherproof rain cover should you need extra protection in bad weather.

The bag weighs 1.5kg and has external dimensions of 46x29x23cm; and is priced at £159.99.

If a shoulder bag is more your style Tamrac also has the Stratus 15 shoulder bag, which can hold up to two DSLRs, with lenses attached as well as extra accessories such as flashguns and triggers, thanks to its fully configurable main compartment. It also includes a variety of zippered pockets for items such as memory cards, batteries and other personal items. The Stratus 15 costs £159.99. tamrac.co.uk 5

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NEST DIVERSE 20

With this large backpack from Nest you get flexible storage, thanks to two removable inserts inside the Diverse 20 that also double as two shoulder bags.

Each insert includes internal splitters to custom fit around your kit and also have integrated pockets for smaller items. The Diverse 20 can store a DSLR with compact zoom attached, plus two lenses, a teninch tablet and more. Individually the removable shoulder bags can each hold a DSLR plus extra lenses.

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CHRISTOPHER THE CAMERA BAG

Handmade in England from lightweight and durable industrial felt and weatherproof organic cotton canvas, Christopher the camera bag will keep your gear secure and protected.

Designed for Fujifilm’s awardwinning X-Series cameras but also available without the X-branding, the bag is available in three colours, Antique Bronze, Grey Blue or Slate Green and costs £199.99. There’s additional space for an iPad and other accessories, thanks to a number of pockets. A foldaway rain cover is tucked away in the back pocket in case of wet weather and the bag comes with a detachable shoulder strap. homeofmillican.com @PHOTOPROUK

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The story behind

PHILIPPE HALSMAN ROGER PAYNE

the cats from the right and the bucket of water from the left. Four. Salvador Dali jumps and milliseconds later Philippe takes the photo!”

After each image, Halsman would then develop the shot while his assistants would mop the floor and catch and calm down the cats. They were then ready to go again.

As Halsman wrote in his book Halsman on the Creation of Photographic Ideas, “Six hours and twenty-eight throws later, the result satisfied my striving for perfection. My assistants and I were wet, dirty and near complete exhaustion - only the cats still looked like new.”

This is just one of 100 images from a collection of postcards launched by Thames & Hudson as part of a new gift range from Magnum Photos. Branded sketchbooks and a field notebook are also available. Prices start at £9.95, the postcard set - which comes in a presentation box - costs £16.95. thameshudson.co.uk © PHILIPPE HALSMAN, ‘DALÍ ATOMICUS’. NEW YORK CITY, USA, 1948 © PHILIPPE HALSMAN/MAGNUM PHOTOS

How this classic pre-Photoshop image was created using wire, water and three live cats

Nowadays, a shot like Philippe Halsman’s Dali Atomicus would barely raise an eyebrow, our immediate assumption being that it had been created with a few hours of Photoshop trickery. But in 1948, when the shot was taken, it was all down to hard work, not to mention some very tolerant cats.

The image, which referenced surreal artist Salvador Dali’s own Leda Atomica, seen in the easel on the far right of the scene, required multiple attempts as objects were suspended with wire or held by an assistant. Dali jumped, water was thrown and cats were tossed, all as Halsman captured the proceedings using a 5x4 twin-lens reflex camera he’d designed himself, which probably captured one frame approximately every 30 minutes.

According to the website shootingfilm.net, the process for image capture was as follows: “The photographer counts: One. His wife Yvonne holds the chair up. Two. The assistants get ready with the water and the cats. Three. The assistants throw

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The story behind

the milk train FOX PHOTOS/GETTY IMAGES ROGER PAYNE

All the images have been taken from the Hulton Archive and hand-printed in Getty Images’s own darkroom from the original glass plate negatives.

Inevitably, the age of the originals has meant that some are damaged, necessitating sympathetic cropping or retouching to retain the original feel of the shots in question.

Naturally, 1926: Britain through the lens barely scratches the surface of the wealth of images in the Hulton Archive, which was once described by Harold Evans as “An Aladdin’s cave of treasures… the finest in the world”.

The archive is home to an abundance of original photographic material spanning the birth of photography to the present day. We can only hope that more of it sees the light of day in the coming years.

The exhibition runs until 2 July and admission is free. The Getty Images Gallery is on Eastcastle Street, near Oxford Circus and is open from 10am to 5.30pm, Monday to Friday and 12 to 5.30pm on Saturdays. If you’re travelling through King’s Cross, you may want to allow extra time… gettyimagesgallery.com © FOX PHOTOS/GETTY IMAGES

And you thought leaves on the line was an odd excuse for a delayed train

Commuters at London’s King’s Cross station may well have seen some unusual sights on its many platforms over the years, but it’s unlikely that they’d ever have happened across a scene like this.

Taken in 1926, the year that Jack Hobbs hit 316 runs at Lord’s, John Logie Baird demonstrated a mechanical television system and Agatha Christie temporarily vanished from her Surrey home, it’s one of a number of images from the Hulton Archive that have been put together for a new exhibition: 1926: Britain through the lens.

Why 1926? Well, in addition to being the year that all the aforementioned events took place, it also saw the birth of Her Majesty Queen Elizabeth II, and gives a fascinating insight into the era.

Alongside this shot of a cow being milked, visitors to the Getty Images Gallery in central London can also delight in a wide range of scenes exploring daily life in the year. These include a policeman being given a rubber mat to keep his feet dry as he directs traffic and a group of skinnydippers taking flight along the banks of The Serpentine with a stick-wielding policewoman in hot pursuit!

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