Turning Pro Issue 4

THE PHOTOGRAPHER’S GUIDE TO TURNING PRO ISSUE 4

Issue 4 £6.99

Issue 4

BUSINESS + + + +

Crowdfunding Avoiding Mate’s Rates The True Cost of Weddings The Language of Networking

Inspiration + Studio Sensation: Water Wigs! + Styling: Bowers & Wilkins + 125 Years of National Geographic

Terry O’Neill: Join this Exclusive Club!

TRAINING: Invest in Yourself

Gear + Olympus OM-D E-M1 + Canon 200-400mm

THE DEATH OF PHOTOJOURNALISM Should We Blame Apple?

MY FIRST YEAR BRIAN DORAN

My First Year Taking the plunge to go full-time or setting up shop solo can be a daunting task. We talk to ďŹ rst-time photographers who have been there and want to share their experiences

BRIAN DORAN: WEDDING AND PORTRAIT PHOTOGRAPHER Into his first year of professional photography, BRIAN DORAN still finds his background in graphic design useful in perfecting his art, with timeless results. But that’s not all it takes. He tells Victoria Dovey how a bit of magic goes a long way in the business.

VD: How did you first get into photography?

BD: When I was a child, my older cousin (whom I idolised) had his own little home darkroom and I was fascinated by how he could produce ‘magical’ photographic prints from a tiny negative film strip. Since that time the ‘magic’ of photography has stayed with me and throughout my childhood a camera was never far from my side. The next big step in my photographic journey occurred whilst studying for my graphic design degree. Part of my course consisted

a SLR camera – how to go beyond automatic modes and explore the exciting realms of creative

more and more, offering to do the photography

shoot. Once the shoot is done, the first thing I do

photography. The journey continued as a hobby

on the websites and in the brochures

is back up the files to as many devices as I can

but took a back seat as I pursued my graphic design career.

I was producing. It was around this time I was also becoming confident in doing portraiture

(I’m a little paranoid about backing-up files, but it’s better to be safe than sorry).

VD: How did you become interested in wedding

work and decided to take a more serious approach to selling my work. I started my

On a non-shoot day I would probably set aside time for Lightroom/Photoshop editing, or putting

and portrait photography?

BD: I suppose taking photographs of my children

business in tandem with my graphic design career and, since I was working from home as

together a client’s album. I would also respond to client or potential client enquiries; this is

gave me my first experience in proper portraiture practices. Like most things I do, I studied the

a freelancer, I was able to ‘marry’ both careers simultaneously, without too much hassle.

extremely important to do at the first available opportunity, as many potential clients will have

mechanics of the subject and practiced, practiced

I still see myself as a graphic designer who

a list of photographers and will go with the first

until parents of my children’s friend’s asked me to photograph their kids and the friends of their

uses his camera to create graphics that people will buy. I also still use most of my graphics

to get back to them. Social media also plays a major role in my promotional activities, so I would

friends asked me to do theirs, and so on.

I thought: ‘Wait a minute, I should charge for

knowledge to run the other creative parts of my business, including designing albums for clients,

spend some time updating my various pages and having a look at the competition to see who’s

this.’ With regards to wedding photography, I was honestly never that keen to pursue it as a

promotional material and creating and developing my website.

doing what. Most days I would also set aside some time for the dreaded admin; I feel if I do

career. I believed it was the domain of stuffy old men who over-used Photoshop and tried to over

VD: Can you describe a typical day?

a little a day and keep on top of it then it won’t impact on my life too much. No matter what jobs

process every shot with the latest fad. It was only

BD: I usually have two typical days, one doing a

I’ve got on, I will always set a little time aside

when a friend asked me to do their wedding that I really developed a passion for this type

shoot and the other a non-shoot day, at home editing. If I’m doing a shoot I will always arrive

for what I call ‘camera practice’. It might only be 30 minutes or it might be half a day, but I firmly

of photography. I can honestly say that it is now by far my favourite subject to photograph.

at the location well before the agreed time and start doing some test shots of the area, checking

believe that in order to be an expert in my field, I have to be constantly learning and practising

VD: How did you start your business?

out lighting and general conditions etc. Once the client has arrived, I would explain exactly what

new techniques. I’m always photographing crazy things (and I get strange looks) but in practice,

BD: During my time as a traditional graphic designer I found myself picking up the camera

I was planning for the shoot and possibly show them some posing ideas on my iPad, then do the

the subject doesn’t really matter, it’s the lighting and technique I’m trying to hone.

BRIAN DORAN

of a couple of photography modules, which introduced me to my first experience of using

MY FIRST YEAR BRIAN’S GEAR

2 x Canon EOS 5D Mark II bodies Canon 50mm f/1.8 prime Canon 24mm-70mm f/2.8 Canon 70mm-200mm f/2.8 2x external flashes 2 x reflectors 1 x tripod and 1 x monopod Loads of batteries and memory cards A decent bag

Top Tips s Always have business cards to hand and be professional, you never know who you will bump in to. s Make sure your website is high quality and brand it in line with all your social media pages – it gives you a professional feel. s Buy the best camera equipment you can afford and insure it! In relative terms, it’s not that expensive if you price jobs correctly. People will take you seriously and feel confident in booking you if they see you have invested your money in the business. s Don’t spend too much money on promotional stuff, just think outside the box. Do portraits of your friends, family and their children as gifts and they’ll surely promote you. s Network with wedding suppliers and offer shoots for bridal shops. s Offer a Photo Booth service if you do weddings and tag everyone on Facebook. s Keep current with courses, seminars and knowing other photographers in the area. s Don’t over process in Photoshop. It may look good just now but it will become very dated, very quickly. s Stay on top of things – use workflows for every job and follow every enquiry at the very first opportunity.

BRIAN DORAN

Working from home can have its ups and

terms of photography. I always try to note down

downs but I try to stick to a rigid day of working hours to enable me to spend quality time with

at the end of every shoot what I can improve on and try and carry that through.

my family. It is very important to try and strike a

With regards to doing anything differently

balance in this working environment. Usually, on off days we will do a family thing together which

within the business, I would have liked to have spent a bit more time pricing my work properly

can be anything from spending the night in a camper van to visiting a park, castle or museum.

and striking the balance between getting the job and actually making some money from it. I have

These activities usually entail bringing along the camera and getting some family shots of the kids

now spent more time researching this area and it is now starting to bear fruit.

growing up and enjoying life.

VD: What advice would you give to someone

PROS s Doing a job I love and getting paid to do it. s The moment when you hand over wedding photographs to a client – makes it all worthwhile. s Making nervous people feel relaxed and actually enjoy the process.

CONS s The mother of the bride at weddings. s The cost of equipment and the frequency of new products.

VD: What is the key to running a successful

thinking of setting up a photography business?

photography business?

BD: I believe there are many aspects to running

BD: Firstly, make sure that photography is your absolute passion as some days (especially admin

a successful photography business. It’s different for different people, but I think the most

days), it’s what gets you through. Make sure you have a sound business plan and set up for tax

important thing to do is to work out what you want to get out of your business and study the

from day one – follow it to the letter of the law.

Buy the best camera equipment you can afford,

am currently building my portfolio and training to move into capturing weddings exclusively –

best way to achieve it effectively, without cutting corners. I also believe that you must treat every

people will take you seriously and your images will be of a high standard, assuming you can take

becoming an expert in this field. I know that this make take a while to achieve but I’m determined

job with a high degree of professionalism, even

good photographs. Don’t spend too much money

to move in this direction, as capturing weddings

if the job is small, boring or difficult, you never know where it may lead. It’s very important to be

on promotional stuff; there are many ways to get your name out there; think outside the box and

is my favourite part of the job by some distance.

proud of every job you do as this will provide the motivation to stay at the top of your game and

effectively exploit social media in a professional manner as best you can.

carry you forward to the next.

VD: What’s next? What are you doing to prepare VD: What would you do differently?

BD: I don’t really regret anything I have done in

for the future?

BD: My future aspirations are pretty simple. I

www.doranphotography.co.uk

BUSINESS

Stand out from the crowd Living in a generation of innovation and technology certainly has its upside. Victoria Dovey explores the world of crowd sourcing and the impact it can have for photographers today

YEVGEN ROMANENKO

I

to achieve things such as book publication, gallery exhibiting and mass print sales – others celebrate the democratic nature of such opportunities which showcases talent in a much more cutting edge, Darwinian manner.

We explore the world of crowd funding and what it can mean for budding photographers, whose ideas may be much deeper than their pockets.

n today’s shaky economy, bank loans are not exactly the norm, least of

HOW TO MAKE THE MOST OF CROWD SOURCING

all to creative individuals whose dreams may well be inventive, beautiful and worthwhile, but have far less tangible proďŹ ts than a fast-food

Most crowd sourcing websites work in the same sort of way. in a nutshell, you pitch your idea to the rafters of the internet, state a monetary target you

franchise. It would seem that in a society with ever increasing disparity,

wish to achieve, offer incentives for those who want to support you, work

if you want to achieve something meaningful, you may have to pay for it yourself. And yet this new and rather skint generation of bohemians, of

like hell to promote it and hope people will pledge their funds.

which I am unashamedly a part of, seem to have no problem funding new and exciting creative endeavours.

s 4HE )DEA Don’t think you have to be a cutting-edge, creative genius to be successful on

Crowd sourcing is a means of gaining capital for projects, allowing photographers to reach out to their client base before their products are

these sites. A simple and well presented idea will do just as well as the latest craze in lenses. Photographer Richard Renaldi took portraits of strangers

even produced. It gives the artist a sense of scale of demand for their ideas and essentially cuts out the middleman by enabling them to ďŹ nance ventures

in transient moments of intimate interaction with breathtaking results and managed to raise $80,000 on Kickstarter to fund the publication of a special

via good will, support and pre-order. Sites like crowdfunder.co.uk,

edition book, Touching Strangers. A simple and elegant idea.

indiegogo.com, kickstarter.com and sponsume.com are fantastic tools for students with little to no means of exhibiting their work and a win-win

s 4HE 0ITCH

situation for contributors and producers alike. More entrepreneurial sites such as seedrs.com offer an accessible route into venture capitalism with

Your best bet to attract attention will be a video showcasing your project.

4HESE RANGE FROM ABSTRACT AND EYE CATCHING SCENES OF PHOTO SHOOTS WITH

business ideas being invested in by shareholders sat in the living room with the click of a button. While some moguls of industry question the

on-beat soundtracks, to simple and honest Q&As, explaining the good that a noble venture will achieve like Alessandra McAllister’s project on

repercussions of youth bypassing the perhaps necessary experience that comes with working up the ladder – as one would have to do traditionally

CROWDFUNDER CO UK 4HE PROJECT EMPOWERS STREET CHILDREN IN -EXICO WITH PHOTOGRAPHY 4HEY WERE GIVEN LESSONS IN CAMERA USE AND COMPOSITION AND

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a means to express themselves. Their pictures were then exhibited and auctioned in Mexico, London and Liverpool with the profits invested into providing a safe environment for the children, as well as continuing their means of communication. A project like this will often speak for itself. Above all else though, be sure your video is projecting you, not just your idea. ~ C74 C0A64C Set a realistic target of what it is you want to achieve. This is important not only because it will give you a better time line and breakdown of your project in your mind, but as a means of protecting your investors. For most sites, if you do not achieve 100 per cent of your goals, you do not receive any of the

JOE GIACOMET

finance. Most sites take between four and eight per cent of your target as a

9^T 6XPR^\Tc{b 2PbW 5^a 6^[S bW^^c

hosting cost, so remember to factor this in. Don’t think that crowd funding is not for you because you have either particularly lofty or particularly humble aspirations, either. Many of the sites range from student photographers requiring as little as a few hundred pounds to frame their pieces for an exhibit, or a thousand or so to self publish a collection of photos, to hundreds of thousands. James Jackson in Bradford, for example, is looking for £199,000 to fund his digital film canister, Digipod on indiegogo.com, which fits most SLR cameras. Most spectacularly, there have been millions of dollars pledged towards the launch of a photographic space telescope – the sky is apparently

F7> 0A4 C74H. C74 186 58E4

not even the limit anymore. Wherever possible, provide a breakdown of the costs for your online audience. They are more likely to contribute if they can

crowdfunder.co.uk Launched in 2010, Crowdfunder is now the UK’s leading

see where the money is going!

reward-based funding platform, helping projects across the country and abroad into Europe.

~ C74 8=24=C8E4B People are much more likely to contribute if they are getting something

We like: Their partnership with Plymouth University and efforts to help fund student projects.

back in return. These don’t have to be expensive canvas prints of your photos, or a 4* hotel stay and invitation to your gallery exhibit. Tier your

indiegogo.com Founded in 2007, citizen of the world Indiegogo is much

perks from small contributions of £10-£50, to the very large of hundreds, perhaps even thousands, depending on your project, and assign your perks

more of a universal platform. It may have a lower

accordingly. Giving credit on your website, unique postcard prints or pre-

presence in the UK, but it’s arguably the best known on a global scale.

orders of your book will do for the lower tiers, but the more creative and low-cost of ideas, the more successful your project will be. Joe Giacomet, who

We like: Their 25 per cent discount for non profits. kickstarter.com

crowd funded his Cash For Gold Olympic Kickstarter project earlier this year offered behind-the-scene videos as an insight on the techniques he uses for

Passionate, American-based company Kickstarter boasts combined pledges of $778 million to date since its commencement in 2009.

We like: How hands-on the company is. From their

budding photographers as a low-cost and highly effective incentive. In last month’s issue of Photography Monthly, we also featured the Muka Shuttr, a Bluetooth camera control for your smartphone; our PM innovation 2013 award winner. Muku really took advantage of Kickstarter’s ability to pre-sale

commitment to answering questions for creators and

their affordably-priced product as a perk and sold over 2500 units before

backers alike, to collaborating a list of 2012’s best projects. sponsume.com

commercial production had even started.

A smaller but nonetheless more intimate service from Sponsume, who have a glowing customer service record and

~ C74 ?A><>C8=6 A big part of your success on these sites will be your promoting. You can

lots of happy, funded creators.

We like: Their collaboration with ‘super sponsumees’, such

have the best idea on the internet but if people don’t know about it, they aren’t going to fund it. Use any existing networking you have such as your

as the Arts Hub and the British Film Institute to help get

website’s mailing list, or past clients, to build enthusiasm before the project even goes live. Social media sharing is obviously crucial in spreading the word

small projects on these big organisation’s radars. seedrs.com

and it always helps to have a product that people are excited about. The new

Seedrs works on more of an investment reward system, as opposed to donation, and are the leading equity crowd

Lomography Petzval portrait lens Kickstarter project exploded on Twitter earlier this year and raised close to £1.4 million in funding and pre-orders – a

sourcing platform, growing considerably since their release in 2013.

far cry from its $100,000 target. That’s not to say that old-school techniques like getting on the phone and ringing those who you know will be interested

We like: The accessibility of investing in companies and becoming shareholders in such exciting ventures.

won’t be just as effective, if you call the right people it can be even better.

This is also where your promotion video and examples of your work will really come into their own and don’t forget to update along the way, to keep your target market engaged.

Joe Giacomet’s Cash For Gold shoot Site: kickstarter.com Target: £1500 Raised: £1517

BUSINESS

CASE STUDIES

Previously featured in PP, in an effort to showcase the effect of a post-Olympic depression, Joe Giacomet wanted to set up and shoot one of the mascots, ‘cashing in’ his one per cent gold medals. The price tag for such daring ideas, however, can easily run further than one would hope.

Joe’s target would have been higher, were it not for his ELVIS HALILOVI

resourcefulness in sourcing his own props and the use of his own studio, but he breaks down the rest of the costs for contributors to clearly see.

He discussed with us both the pros and the cons of using Kickstarter

Elvis Halilovic’s Ondu Wooden Pinhole Camera Site: kickstarter.com Target: $10,000 Raised: $109,391

as a platform. For instance, whilst its online community is six-times larger than its nearest competitor, Indiegogo, the site can be very “American centric”. He described the project as “an emotional rollercoaster”, and while things were looking good at first, his confidence began to wane in accordance to the backers. With a lot

Ondu CEO, carpenter and photography enthusiast Elvic Halilovic has spent the past seven years using self-made wooden pinhole cameras

of hard work, blogging, promotion and social media, Joe eventually reached his target. “I don’t believe it’s a game changer, but it’s an

with startling results. Certain he could achieve the same effect on a mass scale and wanting to dedicate all of his time, his project went

interesting development for photographers,” he says, emphasising the importance of a hard slog with plenty of research, “nailing” your

live and looking for funding in May. In just a month he had received nearly 11 times his target goal, to his surprise: “I expected maybe two

pitch and video and promoting using every outlet available. “It’s really hard to get featured on blogs,” he says. “But a good project

times as many orders but never this – I’m really thankful for all of the

and a pitch should get you in there.”

support.” Elvis and the team at Ondu made a variety of six pinhole cameras for distribution in a “durable and simple” design. Charming is

Stand Out Feature:

not something we usually look for in cameras, but it’s hard not to blush at the sight of this adorable and brilliant set.

The concept is certainly amusing but also poignant, striking a chord with the collective conscious of the British internet masses. But as Joe

Elvis and the team chose Kickstarter because of their “notable exposure” and said: “It’s easy to manage and simple to set up and

told us, perhaps not for our cousins on the other side of the pond.

Nonetheless, Joe’s dedication to the project, with additional updates

run a campaign.”

for backers, both creates and spurs-on a vital following. “I think in this day and age, it’s more important to give people an insight into the

Stand out feature: “I follow the idea that if you do something you like with passion and

way you work and the processes you use to stand out from the crowd.

This applies even more so to me, as I have a specific way of working

love, making a living from it should follow as a logical consequence,”

which people who have never worked in the advertising business

said Elvis. “But keep in mind, ‘passion’ means a lot of hard work for something you enjoy.” Elvis’s personality and passion for the project

may not understand. I gave behind-the-scenes updates, stills from the set build, a behind-the-scenes documentary and a time-lapse of the

shines in both his video and text. The message that we should be more invested in our prints, clearly comes across on the page.

whole project. People seemed to really like these and it gave added value to the project.”

Award-winning Yevgen Romanenko’s unique Art Book Site: indiegogo.com Target: $10,000 Raised: $1726 with 26 days to go

the most recognised platform and would advise the site

A perfectionist with passion for photography, Yevgen Romanenko is a selftaught photographer, a self-made character with a self-perpetuating love

cover costs. He also urges participants to not just display

of fine art. It’s rather fitting then that he is self-producing his first art book after two years in the world of professional photography.

their best work but also to describe yourselves!

to any photographers acting as individuals, to help

Stand Out Feature: The fast-paced, lively video

“The more money I raise, the nicer the book can be.” He has uniquely opted for the site’s flexible funding, where the campaign will receive all

and stunning examples of Yevgen’s work really let us see

the funds regardless of whether the target is met.

The incentives range from an eBook for a mobile device to prints in

and become excited about the potential of this project.

varying sizes, but Yevgen really takes advantage of the pre-ordering nature of these sites, with the book itself dominating the perk boxes.

Yevgen, from Ukraine, told us that worldwide Indiegogo is probably

YEVGEN ROMANENKO

Yevgen’s goal is to create a limited edition collection of his beauty, fashion and fine-art nude photos from examples of his work – the outcome will surely be a startling splendour. He comments on the site:

Creative Review Commercial success is often cited as rare in the creative sphere. Are we letting our lack of creative confidence get in the way of money making ideas? Victoria Dovey reviews Doug Richard’s book How to Start a Creative Business

M

any of you will be familiar with Doug Richards from his role in the infamous show, Dragon’s Den. But the mogul’s knowledge of business, especially in the creative field, runs far astray of the confines of your television.

Richards has over three decades in the business and has helped some of the most successful creative careers in the field flourish in that time. His ‘jargon-free’ book lifts the curtain on his bullet-proof plan into ten digestible chunks which might make you feel queasy, but are nonetheless more than important to ask when setting up your business.

Richard certainly gives great myth-busting advice for creative types who can typically be rather clueless when it comes to commerce; but while he claims the plan can apply to any creative business, his blanket, cover-all approach may not be entirely applicable for the most unique of ideas. If your scheme was hatched a long way outside ‘the box’, it may not be best to rely on this as your only source.

Saying that, it contains essential business know-how, great motivation to get your dream career up and running and countless real life examples of how businesses succeed – and how they can fail, too.

What’s great about Richard’s approach is that he manages to un-stigmatise the word ‘creative’ in the realm of thriving trade, which can typically conjure images of head-in-clouds creators and far-fetched plans bred out of an imagined utopia. But he does so without neutralising it entirely. Richard sees the potential of creativity in business and does not think the two words are antonymous in the slightest, but more harmonious concepts. He also takes overused business stories like ‘right-place, right-time’ and turns them on their head. For instance Rose Wolfenden,

Abstract is certainly something Richard steers clear of.

CEO of Tatty Devine, admits chance encounters had a role in her success, but it was taking full advantage of these

His language is so simple and the format is so well put together that he has opportunity to describe every stage in

which really gained her prominence. There are plenty of remarkably honest case studies who admit their mistakes

great detail without seeming to go on a tangent or lose the reader’s focus. And focus is something which is important

(for better or worse), as well sharing as their top tips. These are the kinds of things creative entrepreneurs need to

for creative types like photographers, who can often get distracted by something shiny in the periphery. I call this

hear about, not just bullet-pointed abstract mantras with

magpie syndrome, and Richard’s methodology is a great

pictures of kittens trying to climb trees.

structure to get you much more as the crow flies.

BUSINESS AUTOTUNE IN AUDIO BOOKS

If time is of the essence and, with precious hours, you can’t bear to delve headfirst into a book yet still yearn for some learning, then why not multi-task. Audio books are a fantastic way of filling your noggin with some knowledge and can be listened to when you’re at the desktop editing or, like Stewart Randall from Folio Albums, when out on the road driving or on the train. “Anyone starting out in business needs to learn about marketing and branding. Audio books are the best source for me, Seth Godin’s Purple Cow and James Burgin’s Branding for Profit are great ones to listen to,” says Stewart. Other top picks, Sun Tzu’s The Art of War based upon ancient military strategies interpreted and applied to the world of branding, and also The Chimp Paradox: The Acclaimed Mind Management Programme to Help You Achieve Success, Confidence and Happiness by Dr Steve Peters, currently standing at number one in the UK top business audio books.

BUSINESS BOOKS We trawled through Amazon to bring you our top five photography business books: 1. Setting Up a Successful Photography Business:

How to be a Professional Photographer (Setting Up Guides) by Lisa Pritchard – An essential handbook which covers everything you need to know when first starting out. Written by the owner of successful Lisa Pritchard Agency she explores how to publicise yourself, build a portfolio, contracts and dealing with agents amongst many other topics.

2. VisionMongers: Making a Life and a Living in Photography (Voices That Matter) by David DuChemin – Looking back on his experience in vocational photography, David shares why staying true to your craft and vision will lead you to success, whilst sharing the stories of those who have made it including Chase Jarvis and Gavin Gough.

3. Photos That Sell: The Art of Successful Freelance

Photography by Lee Frost – It’s one thing to have a nice image but it’s another to have an image that sells. Written for those who want to build a business, Lee offers advice on marketing along with photographic tips, techniques, set ups and compositions. A great read for freelance photographers looking for inspiration.

4. The Writer’s and Photographer’s Guide to Global

Markets by Michael Sedge – Looking to expand your horizons and delve into international markets? This beacon of business gold gives you a whole host of leads into potential markets that are always on the look-out for new photos. It will guide you on how to work with overseas editors, art directors and agencies, and you’ll also learn how to deal with foreign finances.

5. Crowdsourcing: How the Power of the Crowd is

Driving the Future of Business by Jeff Howe – The guy who uttered the word ‘crowdsourcing’ first, in 2006, has now penned a whole book on the topic.

An innovative way of funding your photography, Jeff defines the internet revolution that has become a new driving force behind business.

TRAINING REKHA GARTON

Training In need of some extra-curricular activity to fuel your passion? We present the best training bodies and seminars around to ďŹ ll your noggin with knowledge

TRAINING KATE HOPEWELL-SMITH

FROM TRAINING WHEELS TO TOP GEAR

Workshops

Victoria Dovey investigates photography courses, degrees and accreditation for photographers in all shapes and sizes, from the hobbyist looking to go pro, the perpetual student or the old dog learning new tricks

Having letters after your name certainly has its upside. The prestige and confidence you portray with a degree or an accreditation will certainly

help your business model, much like cycling without training wheels will earn you street cred in the infant school playground. But with a market

saturated in photography courses and dozens of avenues to get you to your next step, it can be hard to decide which route to pursue to get you to the top of the trail. One thing is certainly for sure though – while a surge in clientele or a salary bump isn’t exactly the most detrimental of

benefits (far from it!), there is far more to gain from training than meets the eye. For most photographers, the qualifications they work to achieve take them much further up the mountain than they ever first thought, with views along the way they never could have imagined.

Thinking of going back to university to get your Bachelors or MA? CREATIVE SKILL SET If you’re looking to gain more formal qualifications as a path into photography or think re-entering education will give your photography business more of an edge, the Creative Skill Set is a great place to gather information and advice, search for courses which suit you and potentially offer funding for training. They are the ‘licensed Sector Skills Council for entertainment media, fashion and textiles, publishing and advertising, marketing and communications’ with an aim to unite and encourage creative industries via research, funding, consulting and communicating.

The site is a great platform for scouring the many courses available as gateways to creative industry, enabling you to seek out undergraduate and postgraduate degrees, short courses which work around you and apprenticeships to help you hit the ground running. All the courses offered through Creative Skill Set have the Creative Skill Set Tick – a kitemark for qualifications endorsed by the industry and a recommended route to get you into your desired profession.

You don’t need to have a clear idea of the kind of course you want to do either. There are many tools available to help you assess your existing skills or ambitions to try and find the right one for you. Not all of these are on a full time basis either – ideal for the already professional or those in transitional stages.

The institute really recognises creativity as a tangible profession and offers REKHA GARTON

plenty of advice on how to exist in this perhaps more completive realm of industry across a number of fields and keeps up-to-date with all related news to give you some edge. There is subsidised funding available, to help reduce the cost of course fees and make the plunge into education a bit less scary.

For more information, visit them online: www.skillset.org

Rekha Garton is a part time professional photographer based in Norwich composing freelance shoots and working for Getty.

She attended the Norwich University of the Arts (NUA) to pursue a bachelor’s degree in Photography and Graphic Design.

With the combination of a graphics course and the option to specialise in a degree in photography, Rekha

Having only seven peers instilled a slight competiveness to the project, enabling all to ‘excel naturally’ in the duration and Rekha stresses the

was given the opportunity to try many fields such as animation and illustration, which not only gave her

great support she received from the staff. “The support was one of the best parts of this course. My teacher who retired the year I left (who

insight into new practises but can often help solidify the ambitions of a wavering student. “It was definitely a practical, hands-on course. We

was hopefully joking when he said it was because of me) was a constant educator and friend. If our grades were lagging a little, he would make

were constantly given projects that pushed us into using the studio, lights, location and everything, so we didn’t stay in our safety spot.”

a point of speaking to us privately to see if NUA could do anything to help, whether we needed some time out or were just being lazy. He

Lighting was something Rekha was previously unacquainted with,

often encouraged me to do extra projects.”

“but being told I needed to for a project made me realise how difficult it can be. The studio technicians were a godsend; so patient, kind and

In reference to completing a formal degree in photography, Rekha admits to the issue being a little controversial or ‘tricky’. “The creatives

the most valuable encyclopaedias on the subject of studio lighting you could hope for.” The final year focuses on photography as a

of this day and age seem to have to tap into something much bigger than academia. It’s not that it doesn’t matter, but it is a feeling and

business which Rekha admits was very useful, but could have included much more detail.

opinion when it comes to creative works,” she comments and likens the situation to customers buying music from unqualified musicians.

TRAINING Interested in getting those all important letters behind your name of Licentiate, Associate and Fellowship level?

BRITISH INSTITUTE OF PROFESSIONAL PHOTOGRAPHERS (BIPP) If you’re looking to get accredited, the British Institute for Professional Photographers is certainly one of the ways to go, and what’s more, the qualifications offered are

Tim Stubbings (42) is a commercial photographer and qualified member of the BIPP based in Whitstable, Kent. He specialises in creating location editorial and commercial images for private sector, public sector and agency clients, together with studio photography of people and products.

“Although I was a graduate and had had a successful

Creative Skill Set recommended. The institute’s history stretches back over 100 years and it proudly boasts over 3200 members. Of course, we recommend once you’ve

alternative career, I was not going to go back to college to do another degree. When I first decided to set up

joined as a provisional member to get your portfolio reviewed as soon as possible to become a Licentiateship, so that you can take advantage of the BIPP status. Working

the business, I felt it was really important to have some sort benchmark for quality and also on-going

towards an Associate or even Fellowship level can be hugely beneficial for your career within the industry, but may not always be something individual clients look

professional development, so after a lot of research I went for the BIPP scheme, starting with licentiate in

for. Nonetheless, the experience may prove to be invaluable.

commercial photography.”

The BIPP like to encourage a personal style and you will find the submission process may be a lot more laborious than other societies. They offer training and

For Tim, it wasn’t just a matter of being part of a society. He wanted to stand out from the crowd of

workshops, raise the bar across the industry with awards as well as hosting and promoting photography events across the country. Becoming a member will give

practising photographers and be tried and tested to make sure his photography was at a high standard and the

you permission to use the BIPP logo, to have those all important letters behind your name, offer you access and discount to a huge number of professional services and

three levels of qualified membership available at the BIPP appealed the most. “Although I was confident in

lets you be part of a huge online community. The great part about being a part of any society is the support and advice you receive from like-minded peers, as well as

what I could do, I knew that I wouldn’t hire me. I needed to gain as much credibility as quickly as possible, plus

coming across photographic techniques that differ largely to yours, forcing you to challenge your own work and be constantly aware of the ever-changing, morphing

have a path to follow to try and improve my work. I also needed somebody outside of my immediate circle to

world of photography styles.

critique my work.”

For more information on what it means to be accredited as a member at the

One of the other draws of the BIPP for Tim was the practical nature of the courses offered. “What you’ll find

BIPP, visit their website: www.bipp.com

with the BIPP is that there is a generosity of time and you’re assigned a mentor. The flexibility is there in the BIPP’s training programme for you to indulge any area of interest. You’re encouraged to seek the absolute best in composition and business advice is always consistent.

Every course I’ve attended has always been routed in reality and a strong commercial sense.”

“They will buy it because they like it; it speaks to them in some way.”

Nonetheless, the skills and experience Rekha learnt on the course may be

In terms of whether being a qualified member of photographic societies is something clients look for, Tim

less important than the qualification itself. “I met some amazing people.

I had all the facilities I could ever need at my fingertips and got some

thanks the BIPP for a recent surge of consumers being encouraged to hire trusted or vetted photographers of

invaluable advice. Some wonderful things happened whilst I was at NUA, like getting my Getty contract, getting my first book cover, collaborating

a certain quality level. This is something which applies to both his customers in the public and private sector.

with local and worldwide artists and shooting my first celebrity.” Not only that, but NUA taught Rekha essentials such as routine and finding

At the heart of his motivation for being a BIPP member,

inspiration. “It’s shown me how to do the boring stock stuff successfully to

however, education is something which truly dominates, with Tim offering training tips for other photographers

pay the bills when the creative work just isn’t cutting it for a month or so, and that it’s okay to do that. NUA helped put my feet on the ground, level

via his website. “I think that any external input – whether from courses or other places – is key to keeping fresh

my head, keep me steady and showed me it can work if you try.”

“I’m still on the learning road of these things but no doubt I will get

enough to pass on knowledge and skills to others.

But it’s also about being open about deconstructing

there soon, it’s just a matter of time and, of course, self-motivation.”

how images are taken. Most of my blog posts include some information about how lighting techniques were

www.ru-photography.co.uk

TRAINING

achieved or environmental challenges overcome.”

This critique and input from the mentorship program, as well as focus on attention to detail and attending courses from the BIPP, has helped Tim push both his career and interest in photography. Striving to always reach the next level, he is currently working towards his associate level qualification, which he will earn after a submission of work followed by a face-to-face assessment in front of a qualification panel.

His success has landed him clients such as the National Trust, Eurotunnel and the NHS. www.timstubbings.co.uk

SOCIETY OF WEDDING AND PORTRAIT PHOTOGRAPHERS (SWPP) Depending on your field of photography, there are a huge number of societies out there including the Society of International Travel and Tourism Photographers, the Society of International Sport and Leisure Photographers and the Society of International Sport and Leisure Photographers. The most popular and most renowned is, of course, the SWPP. Like the BIPP, the SWPP offer Licentiate, Associateship and Fellowship level, but have also recently unveiled a Craftsman level, for the most experienced photographers in the

Accreditation is important because it raises the bar for the whole industry and makes the business a safer place for clients who may be stung by nightmarish wedding photographers, but it also provides invaluable skills for photographers.

Once more, the society organises many courses and events for its members, with annual conventions boasting the most prestigious of speakers.

Visit the SWPP’s website for more details: www.swpp.co.uk

WOODLAND HILL PHOTOGRAPHY

business. Members can benefit from a fantastic ‘Mentor Me’ scheme, where an experienced photographer is assigned to those working towards accreditation.

Claire Hill ABIPP LMPA DipPP ASWPP is the owner of Woodland Hill Photography based in East Grinstead, West Sussex.

She specialises in Wedding and Portrait photography and is the official photographer for Emma Tindley, one of the country’s leading bridal designers.

“My target markets really do notice my qualifications.

me some time to get my head around what they wanted, but it was

Some photographers say that it is of no consequence to their clients so why bother; it is to mine though. I

worthwhile. I submitted for my Licentiate qualification and I passed, unbeknown to me the work was then assessed for the Associate and I

gained my Licentiate with the SWPP in 2010 and then my Associateship was gained in March 2012. The BIPP Associateship

was upgraded. The work I showed the BIPP was prolific and they really did know me as a photographer by the end of it.”

was achieved in August 2012. I have also gained a few awards along the way, which is nice.”

“If you want to progress further then nothing can beat a personal mentor,” Claire says, speaking of the Mentor Me service

Claire emphasises the importance of attending courses which will

which the SWPP can offer. “When I was working for my original

help you by examining your own skill level accordingly. Her training with various bodies, including the BIPP and SWPP, has been varied

Licentiate with the SWPP, I took advantage of it. It’s a brilliant way of getting used to being mentored and having one’s work critiqued

and rewarding each in their own way. “The BIPP has a completely different approach to qualification; their ethos is to get to know the

without the terror of it being face to face! It takes time to get used to having image critiques and because it is anonymous, it makes the

photographer and in order to do this, so much more work has to be shown. My first three qualifications were panel based and it did take

process more palatable.”

Claire stressed to us the level of hard work which is a crucial

TRAINING EMILY HANCOCK

and essential part of success. “Passion is a word that is bandied about so much in this industry; passion alone is not enough, I am afraid. Hard work, exceptional skills, commitment and a good business brain is a must. The L,A and F are very intense and you have to be prepared to put a lot of work in, mainly on your own and only with contact hours if you have a one-toone mentor. The ultimate pinnacle is the Fellowship; it is hard, which is why only the top few per cent in the country have attained it. This process should not be easy; when gained, these qualifications should be something to be proud of.”

“Every level is challenging and sometimes I wondered

Looking for shorter, more practical based courses or alternatives to degrees?

what on earth I was doing, but the whole process is one huge learning curve.” Claire plans to work towards her Fellowship

LONDON SCHOOL OF PHOTOGRAPHY (LSP)

but looks back on the nail-biting hours during and after

in the arts. It runs everything from evening seminars to full time professional

assessment. “Sitting in the waiting room seemed like forever; there is that moment after every exam where you have not

photography courses. The classes always aim to be a rather intimate number of eight and the courses pride themselves on their practical nature, forcing

passed or failed and when you are lead into the assessment room – you wish that moment could go on forever. When I

photographers beyond the realms of what they thought possible. Applicants can choose from evening, weekend, week long or six-month long courses on a full or

pass, the feeling is absolutely brilliant. Each progression up the qualification ladder built on this knowledge, so anyone

part-time basis. The LSP lecturers and teachers are all professionals in their field and are happy to provide aftercare long after the course has been completed.

thinking of gaining their qualifications should relish in the building of foundations with their Licentiate, then layering on

There is much more emphasis on ‘fulfilment’ than technical success, though this is also likely to follow with the access to highly skilled workshops and discussions.

more and more skills and knowledge as they progress further.

Antonio Leanza, founder and CEO, has over three decades of valuable expertise

The advice I would give is do not treat the distinctions as a box ticking exercise, the process to gaining the distinction is as

for students to reap and other members are highly appraised in the industry. If traditional learning methods have failed you in the past, LSP’s philosophy is more

important as the pass achieved.”

‘coaching than teaching’ and has some extremely impressive results.

www.clairehillphotography.com

For a wider range of course information, visit: www.londonschoolofphotography.co.uk

The London School of Photography is one of the most recommended schools

Already running a flourishing business and with many high distinctions behind her, it would seem there was

looking around for seminars. It’s interesting to hear people speak. A close friend and I always go together and we say, if we can come back

not much Emily technically required to learn about photography. And yet, she decided to embark on an

with just one golden nugget then it’s been worth it.”

One of the most common complaints of photographers is how

evening seminar at the London School of Photography earlier this

lonely the solitary business can be and getting involved in societies

year. The school was certainly on her radar but was recommended by a teacher and close friend. “My mentor (Zoe Whishaw) taught the

and taking courses and seminars at schools can be a great way to network and feel part of something much bigger. “You’re working

class and I’m on a journey on a slight tangent to explore fine art and stock photography.” The course taught conceptual photography, how

on your own in front of a computer quite a bit so it’s nice to get out and meet other people.” Emily tells us how the practice of learning

to understand the way the stock libraries work and what it is they look for, and despite her success already, Emily found the experience

is not necessarily all about qualification and skills earned, but the people you can meet along the way, as well as the process itself.

amazingly helpful for her business.

“It was lovely. We had a nice small group of us (around eight) and

“It’s less about being taught and more about unleashing some deep creativity within me. The seminar I took at the LSP certainly helped

the actual venue was really gorgeous with a massive wooden table

with creative thinking.

we all sat round. The quality of the speaker was amazing – Zoe is so highly qualified. It was outstanding, everything about it.”

“Everyone should embrace training and invest in it because it is hugely important and responsible for where I am now. As for the

Emily, who has herself been training for around two and a half years, finds education to be an extremely valuable cornerstone of the

London School of Photography, I cannot fault it. It was awesome!”

industry and says it’s important to stay on the cutting edge both for business and her teaching. “I have a couple of mentors and I’m always

www.emilyhancock.co.uk

EMILY HANCOCK

Emily Hancock is an equine, classic portrait and wedding photographer based in the New Forest. A perpetual learner, Emily has achieved the prestigious Fellowship level of membership at the BIPP, but talks to us about her experiences with the London School of Photography.

Just three years ago, Kate was panicked and reluctant to agree to do a wedding job. It took the advice of a fellow photographer and mentor over coffee to take the step to enrol in the 12-month bespoke program from Aspire. Today, not only is Kate running a successful photography business (that do indeed cater to weddings), but she is well renowned in the photography industry itself. “When I made the decision I wanted to set up a photography business, I wasn’t so much worried about actually running a business – I have quite a lot of business experience – but I didn’t know the photography market at all and I didn’t want to make mistakes and waste money.” Kate initially took a distance learning ‘Art of Photography’ course with the OCA and found it to be great if you are lacking in the basics, and she finds a lot of people who she trains today indeed are, but, “bespoke was more about launching a lifestyle photography business in the current economy”.

“Aspire changed my life. I’m under no illusion of how significant

KATE HOPEWELL-SMITH

it’s been and this even started before I finished bespoke. I started the course in September and had launched my brand and website the following April. Already by August I was taking bookings and beginning to run a business and I had even booked David Tennant’s wedding before I finished the course. It was all very quick and scary!”

She described how her distinct personal style was nurtured by Jane Breakell, who paid attention to every detail, even her website content, as well as gaining great business sense from Catherine Connor.

As well as still being in close contact with the photographers she

ASPIRE

trained with, offering support to one another and swapping business ideas, Kate is also now part of the Aspire family, offering training on

Aspire are the largest and one of the most sought after photography training institutes around – especially if you are a lifestyle photographer. The team’s two

behalf of the company. “Perpetual training is massively important, even as a trainer. It’s important to pay it forward. The minute I learn

vital mechanisms consist of Catherine Connor, your business guru who will be sure to teach you every relevant component of a photography business in today’s

something new, I pass it on. It’s essential we all keep training and there’s not enough investment, I don’t think people understand the

economy with a smile on her face, and Jane Breakell who will work tirelessly on every detail of your photography, brand and portfolio.

importance of it – for both photography and business.”

Kate may be biased, but honestly points out the importance of

The courses offered are more for those who have their mind set on starting

aligning yourself with a training institute who match your needs – a

up a business although there are many options available to clients. They offer a one day training course, an A-Z four day seminar and the legendary 12-month

crucial point since a recent explosion of organisations available to offer training. “Look at what kind of photographer you are and what you

Bespoke course for those looking to launch a career in their chosen field. Big names such as Damian Lovegrove, Kate Hopewell-Smith and Brett Harkness

want to get out of it and then make sure it’s in line with what’s on offer. Don’t be afraid to look around or contact the trainers. Mentoring

have completed the longer course with startling success. The aftercare available in their transitions program allows those who have completed the bespoke to

is a big commitment and I try to make sure I can give people what they want before signing up.”

network and regularly meet to swap trade secrets and share their knowledge and the great thing about the trainers at Aspire is their democratic belief in the

So where does Kate think she would be without Aspire? “Would I have a successful client business without them? I hope so. Would

distribution of that knowledge.

I have had any kind of reputation in the industry. No, I don’t think I

Since 1998, Aspire has been creating unique training experiences for photographers of every level and continue to deliver a high standard of education

would for one second. It’s not something I expected. I’m very grateful to still have their support. It’s been bigger and better than I ever hoped

today. Their support and impact on the world of photography resonates throughout the industry.

it would be. Every day it amazes me, I’m still in shock.” www.katehopewellsmith.com

For more information, visit: www.aspirephotographytraining.co.uk

TRAINING

Kate Hopewell-Smith is a portrait, boudoir and wedding photographer working throughout the UK. She tells us how her life dramatically changed following a 12-month bespoke course from Aspire.

TANYA AHMED

OPEN COLLEGE OF ARTS (OCA) The Open College of Arts is one of the most popular distance learning options for budding

Want to complete a distance learning course at your own pace?

photographers. They describe themselves as “an educational charity dedicated to widening participation in arts education” and have certainly achieved their mission in making arts education more accessible. Many participants in their course say they would otherwise not have been able to afford a degree or attend a formal institution and the OCA has made this possible.

For over 15 years, the OCA has offered Bachelor and Master of Art qualifications in a wide range of creative industries including photography, with accredited degrees from the University of Creative Arts. The online format allows for a more flexible format whilst the structure given in the modules is extremely clear. Students have access to a wide range of support such as an online learning community, a library of resources, a personal tutor and course material – the student work to come out of the program has been celebrated with many awards.

For information on enrolling, entry requirements and course details, visit: www.oca-uk.com

TRAINING TANYA AHMED

Tanya Ahmed is a photographer from New York City exploring diverse urban environments with her work. She pursued her Bachelor of Arts with the OCA and was awarded a 1st class degree earlier this year.

Tanya studied for a BA (hons) in Photography with

up to her. Giving her contemporary and critical skills which went

the Open College of the Arts and was assessed and awarded a first in July 2013. She tell us: “Without

far beyond anything she had previously studied. “I had many of my perceptions challenged and learnt to better understand and position

the OCA I would not have a degree.” After studying photography full time, in the mid-eighties, at Berkshire College of Art and Design in Reading, Tanya left with a BTEC and BIPP qualification

my work intellectually. Now have a much more determined path forward and feel that I can communicate on a different level.”

Finding studying with the OCA surprising in many ways, she

and began an illustrious career in New York instead. “I chose to do further study not necessarily to further my professional career

also received what she describes as an “incidental and fantastically enlightening” crash course in business, education and artist

(although it certainly opens up options for a “must have a BA” job, but to explore and kick-start a more considered direction in my

collaboration when the OCA and Bank Street Arts invited her to inaugurate their collaboration with her work.

personal work.” Her work has so far included freelancing for New York museums as well as working full time as a Senior Photographer

“In the OCA there is everyone. From red hot emerging photographers to inspiring pensioners in the online community,

for the NYPD. However, living the dream abroad certainly provided some

college staff and tutors all have a genuine and infectious love of photography. I never could have imagined the constant stretching I

obstacles in gaining the qualifications which Tanya desired. “Fees

felt as each student or tutor questioned and shared their different

that would buy a small house prohibited me from undergraduate education in America, until I came across an ad for the OCA. The BA

ideas and thoughts on all aspects of photography. It was caring and supportive, connecting across business, education and personal

study regime fitted around my anti-social work hours and the fees were affordable. I did my homework next to my kids doing theirs and

levels, I only regret not being in the UK in person to join work groups and study visits.

it didn’t matter that I lived in New York!”

Tanya explained how doing the course was like a world opening

www.tanyaahmed.com

The photography institute is a purely online body that provides diplomas in professional photography. It is a great option for those on a budget as there are many options to finance the course while still providing a great deal of support for its students.

There are 12 modules in the course, covering areas such as cameras and lenses, shutter, aperture, ISO and their relationship, exposure and metering, lighting, composition, equipment and software, post-production, portfolio building and putting a business plan together. Students download their modules one by one and read through the information. It’s not all book work. As well as theoretical learning, students are required to compete and submit a practical assignment before moving on and each module is assessed by a personal tutor.

The great thing about such a flexible course like this means that you can use the course as a springboard into a new career without surrendering your old income or just invest in some much needed self improvement alongside your business. The Photography Institute offers some of the most advanced material in the industry to its students, allowing them to stay on the cutting edge.

For more information, visit: www.thephotographyinstitute.co.uk

Alison McKenny is a full-time professional photographer based in Suffolk, specialising in contemporary wedding, family and lifestyle portraits. Her desire to improve her basic camera skills led to a life changing passion for all things photography and the professional photography course with the Photography Institute helped her get there.

Allison had already been to university where she plastered her walls with photographs she had taken

really about getting to know your camera and lenses and correct use of light. Regarding composition, I feel it’s something you may

of friends and family members. She wasn’t ready for this kind of commitment again to retrain, but opted

or may not have an eye for. I hope I do have an eye for it, but again it’s something that you develop over time. I think getting inspiration

for an online diploma professional photographer course from the Photography Institute, instead. “It started out as a hobby but just

from other photographers’ work and questioning yourself on why you like it, why you don’t and what you would do differently, helps

grew from there, and I haven’t stopped learning since.

to keep your work fresh and constantly improving.

“As this course was based online, you could decide how long you take to do it. They give you up to a year to complete it, but

“I was looking for something that would cover a lot of information on photography, but that would allow me to tackle it in my own

you can do it over 24 weeks if you want to. I found it challenging at times but I put everything into it and felt I got a lot out of it as

time. I was still working part time in recruitment at this point and was only using a point and shoot camera. I really just wanted to

a result. I allowed myself a year to complete it (a module a month) and that worked well for me.” Allison was able to transition from

learn how to use my camera properly and had thought I would do it as a hobby, not considering that I could actually do photography

semi pro to full-time during this time and the money she made from photography she invested straight back into the business. By the time

professionally. I fell in love with photography hook, line and sinker by the time I had completed the second module. I took the plunge

she went full-time, she had already built up a client business and

and bought a Canon EOS 5D Mark II and a 24-70mm lens and I

provided herself with top line equipment, enabling her to cut all ties with her old life.

haven’t looked back since. The course was ideal for me as it was flexible (allowing me to work around my job and children), very

Although there was support available from online tutors and social network groups, Allison didn’t always take full advantage of this

good value for money and it started out slow, which is what I really needed. I set my business up by the end of the course and had a

offering. She also admits the course is more aimed at those staring out on photography, as she explains: “You do learn about focusing,

website and paying clients and I never dreamt that would be possible after only a year.”

sharpness and depth of field etc. early on in the course, but that is something that I have worked at and improved on over time. It is

www.alisonmckennyphotography.com

TRAINING

PHOTOGRAPHY INSTITUTE (ONLINE)