Master Photography July/August 2016

Master PhotographyJULY/AUGUST 2016 • £7.95

PHOTOGRAPH BY DENNIS RAMOS AMPA

2 • MASTER PHOTOGRAPHY JULY/AUGUST 2016

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MASTER PHOTOGRAPHY JULY/AUGUST 2016 • 3

BROUGHT TO YOU WITH THE SUPPORT OFOUR ADVERTISERS

Cover: by Dennis Ramos AMPA. See our portfolio and story, page 34 onwards – and also see page 17, ND1000 filters, and page 36 on making (or having made) the best possible exhibition, awards, competition and qualification prints.

Dennis caught a very exact 1/1000s with his ƒ2.8 100mm lens wide open – the shortest exposure in a print series which includes a whole flock of birds posing for a two-minute shutter time.

4 Editorial

6 News with Richard Kilpatrick

10 photokina 2016 The big German world trade show will be on us before you

know it, Brexit or not! Europe, here we come.

15 Lighting: Synchro Sun Solutions The Elinchrom Skyport HS Plus, Godox X1-T, Phottix Odin

II, and emerging solutions for more versatile flash.

16 Camera News: Fujifilm X-T2 Richard Kilpatrick went to the launch of the latest Fuji

X-camera.

17 Accessories: SRB ND1000 ’Tis the season for dark glasses – very dark glasses.

18 Smartphones: Huawei P9The phone with two Leicas built-in.

20 MASTER PHOTOGRAPHY AWARDS 2017 ENTRY DETAILS AND INFORMATION

The essential stuff about entering this year’s awards.

36 Read The Fine Print: preparing for entryDavid Kilpatrick looks at issues to address when preparing awards entry digital images and the final print.

34 Fine Art Associateship: Dennis Ramos, USA Dark glasses are appropriate in Florida, and Dennis’s rich

monochrome prints go all the way to d-Max.

42 Portrait Licentiateship: Graeme Webb Dance, fashion portraits and boudoir from Scotland.

50 Wedding Licentiateship: Steven Neeson A new style and mastery of flash from Northern Ireland.

56 Portrait Licentiateship: Alex Fletcher Bumps to Butterflies, the story of a new born business.

60 Regions: MPA Scotland Awards The brave Scots reveal all, as usual.

63 Regional News

Vol 13 No 2 • July/August 2016

Master Photography

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Icon Publications Ltd can accept no responsibility for loss of or damage to photographs and manuscripts submit-ted, however caused. Responsibility for insurance and return carriage of equipment submitted for review or test rests with the owner. Views expressed in this magazine are those of the individual contributors and do not necessarily represent the views and policies of The Master Photographers Association, Icon Publications Ltd or its advertisers. All technical data and pricing information contained in news and feature articles is printed in good faith. While all advertising copy is accepted in good faith, neither Icon Publications Ltd or the Master Photographers Association can accept any legal responsibility for unjustified claims or the quality of goods or services arising from advertising in this publication. All contents including advertising artwork created by Icon Publications Ltd are copyright and cannot be reproduced by any means without prior permission. ©2016 Icon Publications Ltd. E&OE.

MASTER PHOTOGRAPHY JULY/AUGUST 2016ISSN 2042-0234 Vol 13 #2 published for the membership of

The Master Photographers Associationsix times each year

Icon Publications LimitedMaxwell Place, Maxwell Lane, Kelso, Scottish Borders TD5 7BB

www.iconpublications.com

Publisher/Editor in Chief: David Kilpatrick Hon. FMPATel: 01573 226032 Mobile: 07971 250786

email: [email protected]

Ad Sales: Diane HendersonTel: 01573 223508 email: [email protected]

News and Press Functions: Richard KilpatrickMobile: 07979 691965 email: [email protected]

CEO

Clare Louise FMPATel: 01325 356555 e-mail: [email protected]

President

Steve Walton FMPATel: 0116 2994901 e-mail: stevewaltonphotography.info Management Team

Paul Wilkinson FMPA (MPA Chairman 2015/16)Tel: 01844 290054 e-mail: [email protected]

Steve Ramsden LMPATel: 01904 479063 e-mail: [email protected]

Ray Lowe Hon.FMPATel: 01992 636152 e-mail: [email protected]

Directors

Martin Leckie LMPATel: 01467 672000 e-mail: [email protected]

Paul Cooper FMPA (Qualifications)Tel: 01904 416 684 e-mail: [email protected]

Dave Thexton LMPATel: 01229 835035 e-mail: [email protected]

Collin Davies LMPATel: 01792 883274 e-mail: [email protected]

Paul Inskip LMPATel: 01243 861634 e-mail: [email protected]

Head Office Contacts

MPA, Jubilee House, 1 Chancery Lane, Darlington DL1 5QPTel: 01325 356555 Fax: 01325 357813Website: www.masterphotographersassociation.co.ukMembership: Amanda Buckle – [email protected]: [email protected] Direct line: 01325 952259

Though every year’s Awards seem to produce a record entry in terms of images and it’s become so much easier to submit using the digital system, the judges are always

looking for what’s new and original. It is still possible to stand out from the crowd. Thousands of images entered does not mean you are competing with thousands of photographers. Not all the membership enters the awards, and the contest in real terms is often between a couple of dozen committed awards entrants. You’ll have seen their names in other awards as well. It’s very easy to think that these photographers have it all sewn up, that they will dominate the awards because they ‘know what the judges want’ but nothing could be further from the truth. Every year, new names appear and some come from nowhere to scoop the greatest titles. It doesn’t mean they suddenly became great photographers, it just means that they decided to enter the awards seriously and to submit a large enough portfolio to be in the running. You can not expect every entry to make it into the Award of Excellence bracket even if you may be good enough to ensure all your work reaches the Merit level. With the Gold titles judged on an aggregate of scores for your best five eligible im-ages – be sure to enter at least five, and in at least two different categories – it’s important to try to achieve many high scores and the best way to do this is to enter at least three times as many pictures as you initially pick out to be potential winners. Why three times as many? Your judgment and the judges’ opinions may differ. What you consider a potential Award of Excellence may end up as a high scoring Merit. It’s going to happen at least half the time. Enter two images which you reckon are the best in the world, and you will do well to get one where all the judging panel agree sufficiently to make it into the 90-plus points bracket. Enter three of your best images, and the chance of one succeeding improve. When we look back over the big winners of the last few years, most have not only got their high-flying entries they also have a good number of regular Merits, sometimes a whole series from which one single example has been seen as exceptional. So if you really want to be up there competing for the main award, don’t even think of ten or so entries being a reasonable bid to get the five pictures which in all the awards add up to the highest judging score. Enter twenty, or even thirty. That is how major photographic award-winners succeed – not by find-ing one picture which had been a highlight of the last year and deciding to enter that. Indeed a single entry can make it to the top. But today’s awards are structured to recognise consistently excellent work and not to give the big prizes to one-off lucky shots, because these are professional awards and it is consistent excellence which clients are entitled to expect. To encourage at least five entries from every entrant – prefer-ably multiples of five – the entry fee this year is £9.99 but if you buy a Five for Four voucher, you get five entries for £39.96. The costs of entry are modest compared to many other international awards and there’s no expense of printing until you are past the stage of digital judging. Don’t think in terms of that one lucky shot, view the awards entry as if you were go-ing to stage a small exhibition of your last year’s best work and enter a complete gallery of images. Then you will be competing at the same level as proven winners. – David Kilpatrick HonFMPA, Editor

Á

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NEWS send your news releases & events to [email protected]

HasselblaD’s Mirrorless Evolution – the X1DX1D£5,990HasselbladSEMANTICS are always fun when it comes to “firsts”, however, Hasselblad have pretty much released the medium-format equivalent of the original Apple Macintosh, and in doing so, may have given themselves the mo-mentum to join Pentax in shaking up the medium format digital market, rather than holding position as “the establishment”. The X1D benefits from the same technology that has allowed the latest backs to make significant advances over previous generations without massive price increases; CMOS sensors with fast LiveView, affordable cutting-edge communications and displays have all enhanced the traditional H-system and competitors, and the logical next step is to get rid of the last legacy component – the camera itself – between the lens and the sensor. The X1D is a very convincing “mirrorless made large” product, and this is the first iteration. The display is a respectable 3.0” VGA touchscreen, above which a 2.36Mp EVF keeps up with the current generation of bodies. A minimalist grip and appearance reduces the bulk dictated by the large sen-sor, and in an exceptionally smart move, the hotshoe supports Nikon TTL standard, making it instantly compatible with all manner of triggers and flash units. A 3200mAh battery should be sufficient for around 300-500 shots – there are many variables on that, of course – with dual card slots offering “around 240” shots per 16GB card. After all, these are high dynamic range, 16-bit 3FR raw files. At 725g, the camera (with battery) is impressively light for this market segment, and it offers capture rates up to 2.3 frames per second. If you want more, yes – it also offers 1080/60p HD video cap-ture, but no 4K video in this model. Connectivity includes HDMI, USB 3.0 and audio in/out. You don’t need to be a genius to see where this is going; a slim, reasonably priced, large sensor camera with video, from a firm that also offers a model with 4K video elsewhere? You can expect to see this little Hasselblad finding favour with movie producers very quickly. Naturally the registration dictates new lenses to take advantage of the compact system, and the XCD family kicks off with 45mm and 90mm primes, both featuring 1/2000th leaf shutters as you’d expect from Hasselblad. An adaptor for H-system is coming, and no doubt other adap-tors will follow from third parties. Rather than undermining the values of their H-system, Hasselblad is now in a position to compete with the Pentax 645Z’s appealing price without compromising on their premium branding, and offering something quite different in the process. Last year, Medium Format digital got usable and af-fordable for the majority of professionals. Now, it’s got interesting, with new systems and diversity coming forward. This is a system to watch for 2016 and 2017, with immense potential. * Pro Centre & other retailers * 020 7729 8822 * www.hasselblad.com

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NEWS

QualificationsOur recent qualifications submis-sions held at MPA Head Office, Darlington on Wednesday 22nd June saw six members achieve their Licentiate qualification – well done to them all ! Congratulations to all our newly qualified members whose panels will be showcased on our website shortly:

Cristian Dascalu LMPA – WeddingChanon deValois LMPA – WeddingAlex Fletcher LMPA – PortraitKaren Massey LMPA – WeddingGraeme Webb LMPA – PortraitSteven Neeson LMPA – Wedding

Special thanks to our mentors who helped our candidates through this qualifications submissions: Mike Ward AMPA Ray Lowe Hon FMPA Tom Gibson AMPA

As a photographer you create, with your own unique style, and

you’re great at what you do. Unfortunately, as a self-employed person, no matter how good you are at what you do, you always need to deal with the business admin. Whether it’s chas-ing up payments, protecting your intellectual property, or dealing with tax issues, it's not exciting. It's boring, it's non-productive and it eats into either your fee-earning time or your free time. You need to make sure you’re working and earning as much as possible – so you really can’t be ill or be called away for jury service without a dip in your income. Here’s where IPSE comes

EVENTS DIARYJuly 29th 2016Online Qualifications JudgingLicentiateship

July 31st 2016Awards Online Entry deadline

August 8th-12th 2016Master Photography AwardsInternational Online Judging

August 26th 2016Awards Print Entry deadline to HQ

September 6th 2016Photovision Roadshow DublinMPA involvement TBA

September 8th 2016Open Print Judging Darlington

September 9th 2016A&F Judging Darlington

September 20th-25th 2016 PhotokinaCologne, Germany

September 30th 2016Online Qualifications JudgingLicentiateship

October 16th 2016Meet the Masters Open DayHinckley Island HotelAwards Dinner & Presentations

October 19th 2016Photovision Roadshow EpsomMPA will be present at this event with their own standPLEASE NOTE NOT NOVEMBER AS PREVIOUSLY LISTED IN ERROR

November 25th 2016Online Qualifications JudgingLicentiateship

Sigma SD quattro now available£799.99SigmaWe’re used to long gaps between announcement and release where Sigma’s cameras are concerned, so this is a real surprise – the SD Quattro, announced earlier this year, is already landing on our shores priced at £799.99 body only, or £999.99 with a 30mm

MPA STRIKES DEAL FOR 20% OFF IPSE MEMBERSHIP

in. At IPSE, the Association of Independent Professionals and the Self Employed, we can support you and let you do what you do best. We can connect you with specialists across all those issues, as well as give you some really great additional benefits, like 20% off Adobe Creative Cloud Pho-tography Plan 15% off Adobe Creative Cloud, free access to workspaces across London, and regular networking op-

portunities. Visit http://creative.ipse.co.uk to find out more about IPSE’s offer-ing. When you’re ready to join IPSE, take advantage of MPA’s exclusive offer of 20% off your first year of member-ship – just £12.38 per month for Standard membership. Simply visithttps://www.ipse.co.uk/join and enter the discount code MPA20 – offer valid until 31 August 2016.

Pentax updates APS-C

Pentax K-70£559.99Ricoh Imaging

STAYING TRUE to the SLR form factor, Pentax has updated the APS-C range now the full-frame K-1 is on the market. The K-70 sticks to the “value for the enthusiast” model, with weathersealing, comprehensive features and a glass prism viewfinder and no real cutbacks in specification to push buyers into higher-end models. As such, the sub-£800 kit price with 18-135mm lens makes for a compelling product for those who enjoy exploring photographic techniques. The 24Mp sensor is stabilised with pixel-shift multishot, AA filter simulation and Astrotracer capabilities, and with new processing offers ISO up to 102,400. Autofocus is handled by on-sensor phase detection with contrast detection combined and conventional AF via the SAFOX module that operates down to -3 EV. 11 AF points and 77 segment metering are par for the course on mid-range SLRs, but when you have on-chip hybrid AF the chances are you won’t noticed any reduction in performance. WiFi is built in with free remote apps, GPS is supported via the existing accessory. JPEG shooters will appreciate the generally high quality of Pentax in-camera processing combined with skin tone control and clar-ity; with Pentax models we’ve reviewed in the past, the SOOC JPEGs have generally been ready to use with minimal intervention even at higher ISO. At this price point, the 14-bit processing and 6fps capability is welcome too.For K-1 owners looking for a second body, it’s clear that Pentax aren’t ne-glecting the APS-C line and are forging their own identity as a purist’s marque, with few gimmicks and many actually useful capabilities even on lower cost models. We look forward to seeing the K-70 in the near future.

Nanguang LED lightsKENRO has announced the NanGuang LED Studio Light Panel (CN-T340). It features a stepless dimmer control for adjusting the 68W 5600K output. Illumination is 4020 LM and the 340 LEDS have an average life of 50,000 hours. SRP is £209.94. A more powerful and larger NanGuang CN-T504 is larger but even slimmer, putting out 6000 LM. SRP is £263.94. The LED Fresnel Light CN-20FC is designed for use on a camera hotshoe or tripod, with flood and spotlight adjust-ment from 15-55° and adjustable colour temperature and stepless dimmer controls. SRP is £71.94. Designed for studio use, the larger LED Fresnel Light CN-30F focuses from 12-35° (stepless) and comes with a full range of accessories in-cluding barn doors and filters in a fitted case for £239.94. www.kenro.co.uk


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At photokina, the world‘s leading trade show for pho-tography, video and the whole photo imaging sector, pros and imaging enthusiasts from around the world meet with top companies of the industry to exchange ideas about new products, trends and innovations. In addition to fi ve exciting thematic worlds, virtual and augmented reality, cloud services and smart home innovations also provide

the focus of the trade fair in 2016. Make the most of the combined professional expertise at photokina: whether you are a photographer, fi lm-maker, imaging professional or specialist retailer, you’re in the right place here!

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When photokina 2016 opens its doors to around

185,000 visitors on September 20th, the starting shot will be fired for the leading trade fair of the entire photo, video and imaging industry. Around 1,000 international top com-panies, smart special suppliers and creative start-ups from 40 countries will present dealers and professional users with innovative solutions and technological developments that will be pioneering for the industry in the future. In order to allow the end consumers to experience these trends too, photokina 2016 is offering more mul-timedia events and oppor-tunities for interaction than ever before. In this way photokina is bringing all thematic worlds as well as all target groups of the imaging industry together under the umbrella ‘imaging unlim-iteD’. Beyond this, already many billboard and poster campaigns in Cologne and the surrounding region are arousing interest in photokina 2016 – the usual teasers for the big names at the show and more. photokina 2016 has set itself the aim of moving the boundaries and is opening up the event to new technolo-gies and solutions. For the imaging branch this means themes like Smart Home functions for cameras, cloud services, apps, wearables, audio and video, but also augmented and virtual real-ity. These are themes which encourage a younger target group to interest themselves in photography beyond the options of a smartphone. photokina 2016 is also demonstrating state-of-the-art photo and video techniques again this year and is at the same time offering exciting opportunities to try these out directly on-site in the course

of a whole series of new events. Below you can find an overview of the highlights in the run-up to and during the trade fair.

Fore-playIn the course of the photokina prologue, the City of Cologne is already inviting people to take part from the beginning of September. In a series of photo and video workshops, profession-als and amateurs, adults and children can look at the city from another perspective and they will also learn lots of tips and tricks on how to take photographs and make videos correctly. Spectacular large-format projections on the Rhine will amaze both big and small spectators. And while stroll-ing around one can have a souvenir snapshot taken in one of the photokina photo boxes and at the same time pick up a voucher code for a day ticket to photokina. Meanwhile, music fans can help their favourite band win the chance to perform live

on the motion Stage in Hall 5.2 during the award cer-emony of the Motion Picture Awards on September 24th. Together with the organis-ers of the Cologne c/o pop Festival (August 24th to 28th) photokina is searching for the best videos of upcoming bands. Remember, Cologne has been for four decades the recording, TV and now video studio capital of Europe.

And… action!People, who like things to be a little turbulent, should apply for the Indoor Obstacle Challenge in Hall 6 as soon as possible. From September 23rd to 25th, the task at hand for all action lovers will be to master the first indoor obstacle race in Germany – equipped with a high-tech camera naturally, which will capture a razor-sharp record-ing of the entire event. For an entry fee of 25 Euro, the first 500 applicants will receive a day ticket for photokina free of charge – so it is worth registering early atwww.photokina.com/IOC

The Copter World in Hall 6 is also inviting the guests to join in: visitors can try their hand at test flights on a drone course. Professional drone pilots will demonstrate the potential that photography and moving images from the birD’s eye view in the agile flying objects hold. In Hall 5, the theme at the VLOG CON for video blog-gers is also moving images. In live tutorials, experienced and successful YouTube-rs will give an insight into the special features of the online film – from the planning, to the production and editing, through to the distribution of content for video platforms and one’s own blog. The latest camera models and lenses can be tested in the photokina zoom area: on the Piazza, tight-walking acrobats, artists and spon-taneous walking acts will offer fantastic subjects for photography and videos from unusual angles. You can hire some equipment from the new Rental Station on the North Boulevard. Detailed information on further events as well as the entire supporting programme can be found at www.photokina.com You can see which new products will be presented at photokina 2016 in the New Products Database, which is maintained and updated by the exhibitors. photokina is also very much an image show, with the German professional and art photo organisations to the front. You will find more professional and fine art photography on show in a visit to photokina than you could expect to see in a year of other events. There are now plenty of flights from UK airports which even enable day trips. But hurry and book now!

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‘Psst – tell me a joke and I’ll take your picture and make a

real exhibition of you’them to contribute a one-line joke and a few unknown facts about themselves. Although there had never been the intention to turn the series into a full-scale project, eventually there was enough material – pictures of around 450 comedians, ranging from famous names such as Jo Brand, Sean Lock, Lee Mack, Harry Hill and Sarah Millican through to complete unknowns who were just working the circuit – to compile a book, Comedy Snapshot. Such was the positive reaction to its appearance in 2014 that it very quickly became obvious that a second volume was called for, and at this point Steve decided that he needed to adopt a more serious attitude to his photography. He began to look around for a more advanced camera that would still suit his candid approach and found what he was looking for by hanging out in Park Cameras and trying the kit that was on sale. The camera he fell for was the Fujifilm X-Pro 1 plus 18mm and 35mm lenses: “It was the perfect tool for me,” he says. “I loved its retro styling and, although it was

London-based stand-up comedian Steve Best started taking a camera along with him to his

gigs and over the years has used his ‘inside track’ status to build up an outstanding collection of

images of his fellow performers

Life as a stand-up comedian is no laughing matter. There’s endless amounts of travelling;

hours of hanging around backstage just waiting to go on; the fear of encountering a difficult audience and too many late nights to mention, but still this is a career that those involved would never swap. In this ‘another night, another town’ environment Steve Best appreciates more than most just how unique this business is, and over the twenty years he’s been treading the boards he’s built up a special camaraderie with his fellow performers and a unique understanding of what makes them tick. “I realised some time ago that I was in a very privileged position to be on the inside of this profession,” he says, “and at that time I started to take a simple point and shoot camera along with me so that I could take some snaps of the people I met up with along the way.” Steve’s interest quickly morphed into a formula: he would take un-posed pictures of his subjects using available light, whilst at the same time asking

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Making the prints for the July exhibition in BedforD’s Fringe Festival


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a digital model, it felt like a film camera to me.” Book Number Two Comedy Snapshots (with an extra ‘s’ this time) is now well on the way, featuring yet more big names such as Alexei Sayle, John Bishop and Jason Byrne (top), Jimmy Carr (bottom), Julian Clary, Katharine Ryan, Rich Hall (centre) and Frank Skinner and is being produced as a Crowdfunded publication so that Steve retains overall control. “The campaign quickly became 120% oversubscribed,” he says, “although it’s still possible for people to pre-order or pledge and there’s even an option to pledge £500 and receive the Fujifilm X70 camera (worth £549) plus both books and an invitation for two to the launch party! The project also attracted interest from Penguin Books, who asked if they could publish their own edition next year once the Crowdfunded version has come out.” Also in the pipeline is an ambitious future book project entitled Comedians Back to Front,in which Steve gets even more involved in the photography, using the rapport he’s built up with his fellow performers to candidly document them backstage and from front of house. It will offer the outsider an exclusive glimpse into the work of the comedian that could probably only ever have been compiled by someone who had fully earned the trust and cooperation of those appearing within it. An exhibition is also planned. It will take place at the Quarry Theatre, Bedford – coincidentally in the town that’s also the home to Fujifilm UK – throughout July to coincide with the Fringe Festival that’s taking place there. Around 50 A3/A2 size prints will be on display, produced by theprintspace. Fujifilm has also become involved as a sponsor, with the entire show being printed on its classic DP II Matte paper, a popular fine art choice for those putting an exhibition on the wall. Steve also has inspired plans for combining his future roles as both a stand-up comedian and a photographer of note. “I’m planning a nationwide tour of galleries,” he says, “and in tandem with showing the pictures I’ll be performing my show and taking questions from the audience. It’s a unique concept and it should be a riot, adding extra value to the audience’s enjoyment of the work.”

n

See: www.stevebest.com – www.comedysnapshot.com Crowdfunding: https://unbound.co.uk/books/comedy-snapshots


Focal length: 90mmExposure: F/5.6 1/2000sec

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SYNCHRO SUN SOLUTIONSWhatever make or type of flash you use, there’s now a way to access fast focal plane shutter speeds and use

wide apertures in broad daylight with flash fill – for control or effect

If your camera offers High Speed Synchronisation (or Auto FP in Nikon lan-

guage) this means the X-sync can be triggered slightly be-fore the shutter opens instead of during its fully open time. As long as the flash has a long stable duration, the tran-sit of the focal plane slit for between 1/500s and 1/8000s during a ‘burn’ which may be longer than 1/100s in total and have a near-constant level for 1/500s will yield a slightly graded but acceptable exposure. Since maximum flash power has just been expended when the shutter opens, it’s also a minimal exposure, and can be con-trolled by the shutter speed. Camera top battery flashguns which fire a rapidly strobing high frequency burst use the same timing, but with a level period of output, and even lower light levels. Most Canon and Nikon users have been introduced to the hyper-sync method through PocketWizard flash triggers. The later dedicated (multiple contacts in the hot shoe) models communicate with the camera and imitate a high-speed sync flashgun, even though they are normal-ly controlling a studio mains or location battery set-up. Wireless (radio frequency not infrared or visible light) triggers in the PocketWizard and Quantum systems have been extended to use TTL ex-posure as well as hyper-sync. In studio/location flash systems, we now have a wide choice of RF triggered or controlled heads, from Interfit through Godox to professional brands like Elinchrom, Profoto and Broncolor. Of these three only Profoto offers TTL, only Elinchrom offers hyper-sync. Recent entrants into the trigger field are the Chinese-made Pixel, Cactus, Phottix and Godox all of which now have UK distribution. The Phottix Odin was the first fully featured trigger (now

and V860N flashguns. All the dedication resides in the trigger receptor for the V860 series, meaning a Sony X1-TS transmitter proved able to use a Nikon dedicated iLux rebranded V860N as a remote unit at no more cost than a £13 replacement XTR-16S 2.4gHz receiver module. Until now only Cactus has offered triggers which can mix different systems in a multi-head wireless remote set-up. Where Elinchrom’s Skyport Speed trigger won’t work on the Sony MFA shoe (central contact too small) their Skyport Plus HS will, and so will the older Skyport standard with its larger centre metal blob. The Godox X1-TS when fitted to a Sony body switches the camera into flash mode, making the electronic viewfinder and white balance perfect for studio work. To use it with Elinchrom heads I just put a Skyport into its top hot shoe. The new Skyport Plus HS does the same (sets the camera correctly, which a dumb trigger does not) and although it doesn’t have a shoe on top, has a flash sync cable jack socket. For your £199 you also get full remote control of flash and modelling power, strobing and sequence firing – so the flash heads work much like advanced manual power wire-less speedlights. The Hi-Sync or hyper-sync function with these new triggers doesn’t have to be set – you just set the shutter speed in M exposure mode to anything faster than the cam-era’s X-sync (usually 1/160th to 1/250th) and it kicks in automatically. As a mirror-less system user, these new wireless RF triggers with full dedication make a great dif-ference and remove the need to have a camera set-up just for studio flash work. They also have extended range for location use. – David Kilpatrick

ÁSee: www.theflashcentre.com

joined by the Laso models) offering remote power and function control with Canon and Nikon speedlights and its own compatible guns. Work-ing with Sekonic and Phottix the Swiss maker Elinchrom has produced the £199 EL-Skyport Plus HS with many Odin-style features such as the control wheel and but-tons with LCD display. In this version which works with all Skyport RX compat-ible Elinchrom flash heads there’s no TTL but a wide set of adjustments, channel and grouping including Hi-Sync (proprietary hyper-sync) with fine tuning of the flash/shut-ter timing. This works best with the Quadra ELB 400 and HS heads, or the low cost AC-powered D-Lite4 RX which as a result becomes a more desirable choice for pro studios. The main reason the tiny D-LiteOne is used by so many newborn photographers is that it can be turned down

to just 6 Watt-seconds power, allowing very wide apertures for focus/bokeh effects even in a small studio. The RX 4 only goes down to 25Ws but it’s Hi-Sync compatible thus allowing ƒ1.4 (etc.) with the Skyport Plus HS trigger. The most interesting newcomer is the £35 Godox X1-T 2.4gHz wireless TTL trigger/controller, now made in Nikon, Canon and Sony dedicated shoe mounts. Like PocketWizard, Skyport HS Plus and Odin it has HSS flash shoe dedication plus adjustable flash timing for hyper-sync. It has a pass-through hot shoe for universal flash, or a third party trigger, as well as a PC sync cord outlet/input. This enables it to do hyper-sync with almost any suitable flash and camera – we have tested it with Elinchrom, Mecablitz, Sony, Nikon, iLux camera and studio heads and also with the native Godox TT685S

The EL-Skyport Plus HS (left column) and Godox X1-T (right column) are both made for Sony as well as Nikon and Canon.


FUJIFILM X-T2Richard Kilpatrick was at the London

launch for the 24 megapixel, 4K video capable successor to the already acclaimed X-T1 EVF mirrorless system

camera, and its new flash unit

Somehow, Fuji has managed to capture an emotional quality

in their growing army of X-system photographers that stripped the insatiable lust for new technology back to a mere “Christmas is com-ing” warmth rather than the impressive entitlement that drives most gadgets. Perhaps this is because they have paid more than lip service to the concept of Kaizen, or continu-ous improvement, providing all feasible upgrades to all users without additional cost or hurdles. Nevertheless, after four years of 16Mp adequacy it was clear a major leap would happen soon – and the X-Pro2’s 24.3Mp delivered. For fans of the more conven-tional X-T1 body, the appear-ance of a similar upgrade and X-T2 seemed more “when”, rather than “if”. Leaks aside, it’s now of-ficial, and the X-T2 is much more than an X-T1 with a higher resolution sensor. Pow-er management and process-ing upgrades have resulted in a fast, efficient compact body that covers all the bases, tak-ing the SLR-styled mirrorless from “very good” to “close to perfection” for the majority of users. The sensor is the same X-Trans III used in the X-Pro2, with 273 AF points, 77 phase-detect, and the pseudo-random CFA rather than Bayer pattern (this has given Fuji a perceived edge for many photographers). Processing the captures, a new image pipeline has a bandwidth of 100Mbps, a significant upgrade from the mid-thirties provided by the X-T1. Faster processing means faster operation all around, so the already impressive EVF

have a double-action locking button, leaving them free for easy adjustment, then locking them with a single

click rather than the predecessor’s

push-turn ac-tion. The final major change to the body is

an extra degree of articulation on

the LCD, which can be unlatched to swing

away on the right edge. Further improvements can be found in the software, where more sophisticated AF modes provide tracking optimised for all directions of movement, including objects expected to appear suddenly in the frame. This user-selected mode paradigm may seem fussy, but it removes the element of guesswork that other AF systems have opted to use, when the reality is the photographer will know better than an algorithm the movement of their subject be-fore shooting. Similarly face detection extends to choos-ing left or right eye priority – very effectively. We’ve had a short time with the pre-production mod-el. The changes to the body and controls are completely successful, the sensor perfor-mance is a known quantity. Final production models will hit the streets in a couple of months, when we’ll do a full in-depth review – but for Fuji X-users and those looking to migrate to a smaller form factor with sharp, light and compact lenses, it’s all good news. Also available to see was the pre-production model of Fuji’s new dedicated EF-X flash, with GN 50 output and remote and High Speed Sync capabilities. Surprisingly compact, the user interface is extremely intuitive, and build quality meets the solid quality of the cameras themselves. The final flour-ish, the compact, wireless Instax Share printer has also been updated, with the new SP-2 model offering higher resolution, faster printing and rechargeable power. Áwww.fujifilm.co.uk

can now offer 100fps and just 50ms lag. Brightness has increased too. Key to these improvements is a new power management system, which allows the camera to throttle back for longer battery life, or run at full speed without breaking the laws of physics and conservation of energy. X-Pro2 users will already be familiar with Eco mode – the X-T2 goes a step further. A redesigned grip carries two batteries in a sliding tray alongside the in-body bat-tery, and the first unfamiliar control, a lever marked Boost. With the grip, the frame rate increases to 11fps, AF is faster, EVF refreshes at full speed, and video recording can run to 30 minutes. Ergonomi-cally, the grip is fantastic, going so far as to add depth to the body grip as well and featuring a second joystick (the X-T2 inheriting the new menu and control layout of the X-Pro2). Fujifilm have

really thought of everything, and the two battery tray can be charged directly in the grip with a provided adap-tor. A full charge takes just two hours, and with a full three battery set the X-T2 will exceed 1000 captures. Coming back to video, the most anticipated feature of the X-T2 has come to frui-tion, and again, targets the enthusiast perfectly. 4K video is implemented with a 1.17x crop and meets industry expectations with 4:2:2 8-bit HDMI output – then adds an additional mode to allow use of footage without grading, providing all the film simula-tion modes for 4K footage as well. As with the X-T1 a microphone port lives under the cover on the left side; the grip adds a headphone socket. So, 24Mp, 11fps, 4K video. Built in WiFi, as anticipated. The wishlist has been studied, and there’s not much else that can be done without losing the character of the X-T body. There’s more, though; dual card slots and full weathersealing, and very rational changes to the hardware controls. Both ISO and exposure wheels now

Battery boost, above, and dual card shots, below; ISO lock, right.


SRB ND1000If you haven’t got one the world of time and tide is passing you by. The

almost-black filters don’t need to cost a fortune either, as the popular screw-in fittings from SRB Photographic show

In this issue we have a su-perb portfolio from Den-nis Ramos which makes

great use of light-stopper filters – pure neutral density – to capture calm, deep scenes. Even with an ND1000 fil-ter (10 stops light loss) today’s mirrorless cameras and live view modes allow viewing as if the subject was in daylight. In the past, with the optical finder of an SLR or DSLR to compose and focus the shot, working with ND1000 meant you had to remove it to set up each shot. Not so now! Cameras like the Fujifilm X-T1 and Sony A7RII which have very good high ISO and low light performance give you a normal viewfinder image in anything but the lowest light, and this includes light cut down by a 10-stop glass. I use ND1000 filters from SRB Photographic after test-ing a few different makes, from high end square systems to cheap Chinese eBay offers. SRB’s neutral density filters are certainly not expensive (£34.95 for 77mm) and equal-ly certainly Chinese, but they are not ‘cheap’ in any sense. They sell a parallel line of

Camdiox brand filters which cost less but I’d advise their own brand for the quality of mount, glass and coating. I prefer to use screw-in filters rather than holders with square filters, as long exposures in daylight can al-low light to get in where you don’t want it. Screw-in filters in 72mm and 77mm fitting do the job for me, along with a whole set of step-up and step-down rings. One issue which you may not think about at first is the white engraved lettering round the typical wide-angle lens. Because of the angle of the lens, and the parallel filter, even with a perfectly sealed screw fit a clear reflec-tion of this lettering can appear in pictures. It tends to be worst in very bright light, with an ND1000, and a small lens aperture like ƒ22 bring-ing the reflection into focus. To overcome this, you must either find a lens in the 90° or greater angle class which has no front rim lettering, or black the lettering out. I use self-adhesive German-made dead matt flock, designed to go inside the tubes of high end astronomical telescopes.

It’s not all that easy to cut the piece to fit to your lens unless you buy a craft shop circle cutter which immediately solves the problem of accu-racy and a clean edge. Getting rid of the lens-front reflection is an impor-tant step. Ensuring bayonet mount light tightness is a sec-ond. I was surprised to find that a Leica M mount, for ex-ample, isn’t actually all that light-tight when you make exposures of several minutes in bright sun. I carry another item sold by SRB, their double layer lens or gear wrap. It’s a bit like a mini dark-cloth and although it was not designed to block light, it does so when draped over lens and adaptor or camera mount areas. This heavy soft cloth is also an essential travel companion, wrapping loose items and helping keep everything clean and dry. My latest acquisition is the Voigtländer Hyper Wide-Heliar 10mm ƒ5.6, and I’m afraid that I will miss the excellent 77mm filter adap-

tor for my old 12mm. There’s no adaptor of filter made yet which could work with the 10mm, and the only solution might be a convex one. For other bulbous front element wide lenses with fixed petal lens hoods you have the op-tion of the Lee Filter system adaptors which enable you to attach the Lee SW-150 Filter Holder to the front of the ultra-wideangle Samyang AE 14mm, Nikon 14-24mm ƒ2.8, Canon 11-24mm, Canon and Nikon 14mm primes, Sigma 12-24mm Mk II, Tamron 15-30mm and Tokina 16-28mm. Lee 150mm wide rectangular filters can then cover the extreme angles involved. A second use of strong ND filters is to balance flash and daylight without hypersync, and shoot at ƒ1.2 or ƒ1.4. SRB’s new website is very clear in showing the choices open and the mail order prices are hard to beat. My last order arrived next day. – David Kilpatrick

Áwww.srb-photographic.co.uk

Left: SRB 77mm ND1000 on a 12mm Ultra Wide-Heliar with adaptor (result below). Above: taken with 72mm SRB ND1000 and 8X Red filters mounted together on 20mm Canon FD lens, 30 seconds at ISO 50, ƒ11.


One does not expect to see the Leica name on a device which

is, by the very nature of the market it inhabits, is destined to be obsolete before two summers (or one, if current weather continues). So the Huawei P9 smartphone’s prominent Leica script on the rear is as notable as the camera that sits opposite – a dual lens that hides two 12Mp modules, co-developed with Leica for reduced flare and high build quality and consistency. One module is conventional colour, and the other is a purely mono-chrome camera designed to work standalone or alongside the colour module for en-hanced low-light performance and overall sharpness and detail. 27mm ƒ2.2 equivalent lenses have a natural appeal for street shooters, though with sensors this small – roughly 6mm diagonally with a 4:3 aspect ratio – depth of field is still visually im-mense. The dual module and Leica collaboration there-fore provides something of great appeal to smartphone photographers, a “Noctilux” ƒ0.95 mode with simulated bokeh. The accurate laser-focus system of the P9 and dual cameras allow software to – quite successfully, with caveats – create strong blurred backgrounds. The ‘aperture’ control offers ƒ0.95 to ƒ16 with an amusing animated diaphragm. The results are surprisingly good if you re-member what you’re working with – a tiny sensor with a tiny lens. And as smartphone cameras go, this is fantastic. The sharpness across the lens really plays to the sensors’ advantages, particularly the monochrome side, and it has a pleasing field of view with enough apparent – simulated or otherwise – vignetting to

feel natural. Focus is fast and accurate, and the whole feel of the thing – flush, with both lenses behind a clear cover alongside the dual-tone LED flash – is of a quality de-vice. You can use the volume or fingerprint controls as a shutter release, though the volume is less intuitive than the iPhone simply because it’s on the same side as the rather obvious and tempting power button! If you do hit power with the camera open, waking from standby goes straight into the camera app at least. Even in the soft colour mode, images are saturated and rich, perhaps too much so, and all the HDR mode seems to do is boost satura-tion more. Having said that the dynamic range and grada-

tion looks far closer to the output of a compact camera than a smartphone, so the ex-treme HDR offered by say, the iPhone 6, is not as necessary if you want skies with a bit of colour and well lit fore-grounds. Selfie-obsessed users will appreciate the “Beauty” mode, which does a remark-able job of brightening eyes and smoothing skintones; apps for this are becoming widespread, and delving into the face-mapping silliness of Snapchat it’s understand-able that this has become a standard feature here. How-ever, most photographers will really value the monochrome mode. Rich, dark, contrasty and with a stable camera or good light, astonishingly sharp, this transforms the P9 from yet another competent

Android-based cameraphone to something with real char-acter. Readers with long memo-ries will remember how diverse the smartphone market was just a decade ago. In the months before the iPhone hit the world, multiple firms enjoyed a share of a wide market, and sought out customers through diversity, united only by the need to make calls, connect to WiFi and support a few eMail clients. Flip out, folding, touch keyboards, screens of all shapes & sizes, ultimately the smartphone has whittled down to a predictable roughly 4-5” diagonal flat display. Anything which differentiates your phone from the masses is valuable, and Huawei re-ally should attract buyers who are enthusiastic about smartphone photography. It’s a street-shooter’s subtle weapon, if nothing else! Android remains the most unpredictable OS on the market now, in part due to the anachronistic way that updates are distributed and controlled/approved by the carriers. This can hold back the latest OS, and fragments the market for apps a little. Further exacerbating the con-sistency problems for Android owners, different manufac-turers like to take ownership of it with tweaks and skins. Huawei has slapped their own layer of user interface on, called EMUI, and it is occasionally infuriating, un-responsive and unintuitive. If you’re an Android user already this won’t be a sur-prise and you’ll know how to tweak and adjust it to get the keyboard and performance you want. If you’re com-ing over from the iPhone, tempted by that Leica camera, prepare for a very steep and occasionally frustrating learn-ing curve. Or watch some online tutorials! If you’re

HUAWEI P9 32GBRichard Kilpatrick reviews the trending smartphone which has not one, but

TWO Leica cameras onboard…

The P9’s standard Android app interface, above, and dedicated camera interface in Leica style, left. Below, the colour and b/w twin camera lenses.

From £10 on sub-£30 contractFrom £379 PayG, £429 SIM Free

For Android users, 10/10. For iPhone users, 8/10!


coming over from Windows phone you’ll be fine, because that interface is so thoroughly broken you’ll consider any-thing an improvement. Physically the P9 is a qual-ity modern handset, with air-craft-grade aluminium, flush-fitting scratch resistant glass over a true HD 5.2” display, and incredibly thin build. Despite an 8-core processor and decent performance, the battery life is good with 3-4 days of standby not unu-sual. Charging time is quick, and although it means yet another variety of USB lead, the clever multi-orientation cable is effective. You’ll want to order spares though, as this proprietary connector isn’t going to be found when you want an emergency charger at the motorway services. A fingerprint scanner on the back, volume and power but-tons are the only hardware controls; home & navigation are all screen based. The fingerprint scanner and NFC indicate support for Android

Pay, which is becoming wide-spread in the UK now. Coming back to the camera, the control layout is heavily influenced – if not outright based on – Leica’s look & feel for the T/Q series. Swiping for photo modes is not as intuitive as you might expect purely because of the absence of icons to give you a clue – the only obvious ones being flash, filters and Pro mode. Swipe to the right and a set of square icons allow instant access to HDR, time lapse, light painting, video and dedicated monochrome photography; left brings up the settings for the camera and file handling. The Pro mode, accessed by swiping up from the shutter button,

gives manual control of the camera and again, keeps a Leica look & feel all the way through. It’s pleasing to use, but the results in day-to-day photography don’t really need it, the auto modes of what is essentially a camera dedicated to fast snapshots are more than adequate. Images can be saved to Mi-croSD card, which also allows expansion of the standard 32GB memory – two models of P9 are offered, one with 3GB application memory (for multitasking) and 32GB, the other has 4GB and 64GB stor-age. Unlike the iPhone, that storage can be expanded with MicroSD cards up to 128GB. As the card is in the SIM slot, you’ll probably want to use a filesharing app like Dropbox or Google Drive to move them rather than removing the card; the camera is recognised as a mass storage device if you tap “Photos”, allowing im-port. Helpfully the P9 mounts on the Mac with a disc image of Android File Transfer app,

making management a little easier. Once you’re familiar with – and have customised – the OS to get the best out of An-droid, the P9 is an excellent business phone and camera. The advantages of the Leica camera are clear, and the processing power puts this at the higher end of Android phones. Call quality and stability is also better than the iPhone 6S, where the Apple drops out and crackles, the P9 remained clear and strong. Good battery life, an excellent camera, and great connectivity, the downside is in the inconsistency of user interface that seems inevita-ble with Android. Leica’s work throws the weaknesses of other Android apps into relief as sharp as the monochrome camera’s images, and frankly, it’s worth learning the dif-ferences to take advantage of what is ultimately an excep-tional smartphone.

Áwww.huawei.com

Above, the ƒ0.95 simulation (left) creates neat fake bokeh while the true ƒ2.2 on a close-up (right) with the 4.5mm Leica lens is pin-sharp. Below, the ƒ0.95 simulation (large image) is compared to the actual ƒ2.2 depth of field without this process.

Above, the convincing (RGB file) black and white mode from the dedicated camera. Below, brilliant colour and high sharpness in a 12 megapixel shot.


Awards Competition Rules 2016 ● There is no limit to the number of entries you may submit● Any image which has already won a major award or title from any other Professional Photographic organisation is not permitted● Images previously entered for MPA national awards are not permitted, including reworked images● Images produced on photographic workshops/seminars are not permitted. Some categories must be from commissioned work. Non-commissioned work in the Nature/Wildlife, Landscape/Travel, Press PR & Events, Architectural and Fine Art/Pictorial categories must have been offered for licence or sale.● All images should have been created/produced between June 1st 2015 and July 31st 2016.● Entrants may submit each image only once and may NOT enter the same image in more than one category● By entering, the photographer acknowledges that employer, client and/or subject have copyright release or model release giving permission for the image to be published or exhibited in connection with these awards and that he/she is the author of the work as defined in the Design, Copyright and Patents Act 1988● Entrants agree that any entered image may be used by the Master Photographers Association in any of their printed material, publications or electronic media● Any entries which do not confirm to the rules will be withdrawn from the awards judging and no payments returned● The decision of the judges is final and no correspondence will be entered into● The judges, if agreed unanimously, may transfer any image into a more appropriate category● The MPA reserves the right to remove from the Competition any images submitted, which in the Association’s opinion, contravene legal guidelines on public decency or which would bring the Association into disrepute● The closing date for entries for digital files is Midnight 31st July 2016 When notified prints will need to be received at MPA Head Office no later than August 26th 2016● Prints will NOT be returned● Information correct at time of publication – the MPA reserve the right to amend any of the above without notice● Events may occur that render the competition itself or the awarding prizes impossible due to reasons beyond the control of the Promoter and accordingly the Promoter in its absolute discretion vary or amend the competition / promotion and the entrant agrees that no liability shall attach to the Promoter as a result thereof● Responsibility can not be accepted for entries lost damaged or delayed in transit. Proof of postage will not be accepted as proof of entry. The promoters records of entry shall be the definitive record.

IT’S TIME TO ENTER THEMASTER PHOTOGRAPHY AWARDS

www.judgify.me/mpaaward

The Master Photography Awards are supported by a many leading names in the industry. As we went to press, the contribution of several sponsors was still being agreed – you can find the latest updates on all Category and Prize sponsors on the Awards News page of the new MPA website. Just go to:

www.masterphotographersassociation.co.uk/awards-news-2016/

you can enter on-line at


Here are some categories you can enter – with examples of UK winners from 2015/16

Wedding ClassicalRestricted to images that are traditional and un-manipulated. Minor retouching, such as blink removal is acceptable but composite images, for example where a couple is superimposed on to a completely different location, should be entered into Wedding Art Fashion Category.

Wedding Art & FashionWedding images created at any time other than the day of the wedding ceremony MUST be entered into this category. This includes pictures taken at locations remote from or unconnected with the wedding venue, such as beaches or landscapes at a distance from the event requiring a separate session. Wedding Art & Fashion may include pictures taken at any time, including pictures using models and commissioned by venues, dressmakers or other third parties, which feature fashion as their focus.

By Paul Fowler

By Esme Robinson

Wedding Day & CelebrationThis category is restricted to images taken on the day(s) of the wedding ceremony. Home, gardens, function rooms, ceremony venues, parks, photogenic locations or public spaces accessible on the day of the wedding are all acceptable. So is coverage of any extended gathering or party surrounding the wedding ceremony – for example, weddings where several days of gathering or rituals are involved, weddings on cruises or at destinations abroad like beach weddings.

By Scott Hogg

Under 5sSubject must be under the age of 5 years old.

By Lisa Visser

Family PortraitImages with two or more generations present. From two individuals to group size.

By Christina Lauder

Classical PortraitThe focus here is on the traditional disciplines of portraiture, lighting, posing and composition. There are grey areas – if a professional clown wants a studio portrait, it’s probably a classical portrait despite the make-up and costume. But if you or a make-up artist style a portrait and this contributes substantially to the final image, as a private and not commercial commission, it belongs in the Portrait Art & Fashion category or in the Fine Art/Pictorial class.

By Lisa Visser

Lifestyle & LocationEnvironmental or editorial style portraiture in which the subject is placed in context, in their home or workplace, or reflecting their interests.This is also the category for outdoor portrait work, where you take your subject into a setting such as woodlands, or urban architecture.

By Andy Hook

Fashion & BeautyModel portfolio and hair stylist, makeover commissioned work. Please note that personal work or TFP (time for photos) using models and involving no commission or payment must not be entered in this class.

By Panikos Hajistilly

Portrait Art & FashionApplies to personally commissioned portraiture, which has the look of fashion photography. This should not be entered in Commercial Fashion & Beauty. Classical refers to portraits which do not rely on make-up, hair, styling or similar additional services. There are grey areas – if a professional clown wants a studio portrait, it’s probably a classical portrait despite the make-up and costume. But if you or a make-up artist style a portrait and this contributes substantially to the final image, as a private and not commercial commission, it belongs in the Portrait Art & Fashion category or in the Fine Art/Pictorial class.

By Lisa Visser

For both wedding and portrait categories, ART & FASHION is used instead of Contemporary

or Avant-Garde. In the Wedding Section, the main use of this is for entry of images taken

outside the normal wedding proceedings – for example,

pre- or post- wedding creative shoots, destination visits, or

studio sessions using wedding outfits. Bridal fashion commis-

sioned work for designers or dressmakers should be entered

in the commercial Fashion & Beauty category.


Pets & LivestockIncludes domestic and farm animals, riding or working animals. Any animal owned by the client, whether private or a breeder or farmer is eligible. The Pets & Livestock category is neatly summed up by saying that if the subject depends on a human, it belongs here – domestic pets, farm animals, zoo exhibits, captive birds, horses etc.

By Andrea Denniss

Preparing for EntryEntrants are required to upload a digital file for each image entered, maximum 4500 x 3600 pixels, min size 2400 x 3000 pixels and maximum of 5MB compressed JPEG. When your image is uploaded you will automatically receive an email confirmation of your reference number. You will be notified if your image(s) get through to the 2nd round. At this point you need to organise your image to be printed – the reference number only must be placed on the back of your print entry, together with your MPA membership number. Each print must be a minimum size 20 x 25cm/10 x 8", maximum 30 x 25cm/12 x 10", and un-mounted. Prints will not be returned. You may use lamination or textured papers. You may not enter sheet metal, acrylic, canvas, fabric or wood (etc) media. The main entry deadline is Midnight 31st July 2016 and the on-line system will operate exactly as for last year. You will be notified by email if your image requires a print submission for round 2 of judging. Album of the Year deadline is Midnight 31st August 2016. Cost per Entry: £9.99 including VAT per image/print; submission in digital form only; UK/EU only.Entries from outside EU zone: £9.99 (zero VAT). All trophies will be presented to winners at the Annual Awards Gala ‘A Celebration Of Mastery’ on October 16th 2016 at Hinckley Island Hotel, Hinckley, Leicester, England, United Kingdom. Any one not present will be required to pay any postage costs for trophies in advance should they wish to have them couriered to an alternative address.

Guidelines 2016 Commissioned: this simply means that someone paid you to create the image or asked you to create the image with the intention of purchasing the image/print.

Un-Commissioned: this means that, while no-one asked you to create the work, it was still created with the intention of commerce e.g. Fine art prints for sale, use on a stock library, at events where the person photographed may (or may not) buy a print of file.

Personal: personal work is defined as images with no commissioning client and the images were not intended for resale.

All entries into the Qualified Members Only categories MUST be from commissioned or paid work unless you see an asterisk after them in the descriptions below. Note that none of the social photography categories allows un-commissioned personal work to be entered. However, this does not rule out speculative sittings, promotional free sittings, and work undertaken at the photographer’s initiative. If the results have been offered for sale to the client they are eligible for entry. This applies even if the client did not buy the image concerned.

Awards TimelineOnline Entry Deadline 31st July 2016Online Judging:8th-12th August 2016Notification for Print Submission:15th-17th August 2016Prints to HQ Deadline:26th August 2016Print Judging:8th September 2016Awards Presentation: 16th October 2016

Nature/Wildlife, Landscape/Travel, Press PR & Events, and Fine Art/PictorialOpen to un-commissioned work. This does not mean personal work. The images should have a commercial intent, and should have been available to license or to purchase as prints during the entry year.

Creative Portrait (New)Non-commissioned, can be made up of composites; this category is to allow the photographer to enter personal creative work of all genres.

UK & Overseas MPA Qualified CategoriesFamily PortraitFashion & BeautyFine ArtIndustrial, Commercial & AdvertisingLandscape, Architectural, Travel, Nature & WildlifeLifestyle & LocationPets & LivestockPortrait Art FashionPortrait ClassicalPress PR & EventsUnder 5sWedding Art FashionWedding ClassicalWedding Day & CelebrationNewbornLicentiate Photographer of the Year

Open Categories open to non-members

UK & OverseasBride Image of the YearCreative PortraitAspiring MemberBlack & White

UK onlyCherubs – (open to Cherub Partners only)

Industrial, Commercial, Achitecture & AdvertisingFor commissioned work or in-house (staff) photography in any commercial or industrial field including advertising in any media. Architectural work may be non-commis-sioned.

By Margaret Soraya

By Richard Bradbury


Our gallery of winners will be showcased to a large audience, with a sponsorship promotional

package supplied by our headline spon-sors The Photography Show in conjunc-tion with Digital Camera and Professional Photography magazines. Supporting the professional photogra-pher, The Photography Show will return to the Birmingham NEC for the third year, from March 18th to 21st 2017. The four-day event offers the professional photographer a great opportunity to discover new ideas, learn critical business skills, hear from industry influencers, view and purchase the latest products to be launched into the market and network with agencies, studios, suppliers and peers. “The team is delighted to be part of the MPA Awards and wishes all of the award nominees the best of luck. There is a huge amount of talent out there!”, said the show’s organisers.

GOLD Award:UK Photographer of the Year

Our top UK photographer will win a highly coveted place on Yervant & Anie Zanazanian’s 2016 Venice workshop – along with a £400 voucher from Aspire Photography Training, £200 voucher from The Print Foundry, an all inclusive weekend away in Dublin sponsored by 3XM, a £500 voucher (account credit) that can be used on anything from a wedding album to a re-work of studio identity and stationery from One Vision Imaging with an invitation to visit Cov-entry for a lab tour with a light lunch, plus an OVI ‘goody bag’. One Vision will also run a profile on their blog, with a portfolio of images – and a feature our winner in one of our future issues of Exposure magazine. This year’s UK Pho-tographer of the Year is a prize package every UK member should be aiming to win. Enter at least five of your best im-ages across at least two categories to be in with a chance. Silver and Bronze Awards

UK Fine Art – Prize 20 x 30 Acrylic (value £150) plus £50 Voucher from The Print Foundry

UK Silver Commercial & Creative – 30 x 40 Acrylic (value £250) plus £150 Voucher from The Print Foundry

UK Landscape & Travel – One Vi-sion Imaging will give a 24×16" Box Framed Print. The winner will also get a 20-spread, A5 Fine Art Layflat Photo Book. Total prize value: around £200.

Licentiate Photographer of the Year – One Vision Imaging will give the win-ner a 36×24" Coloured or Bevelled edge print with their choice of edge colour. The winner will also get a 20-spread, A5 Fine Art Layflat Photo Book. Total prize value: around £200.

3XM Solution are sponsors of Family Portrait and Wedding Day & Celebration.In addition – UK Portrait Photographer of the Year and UK Master Photogra-pher of the Year will both win an all inclusive weekend away in Dublin, dates to be agreed, from 3XM.

Loxley Colour are sponsoring Wedding Art Fashion, and Portrait Classical.

Fujifilm is main sponsor of the UK Portrait Photographer of the Year Silver Award.

Towergate Insurance are Qualifications Sponsor for the awards to the Best Licen-tiate, Associate & Fellowship.

UK Lifestyle & Location Photographer of the Year – £400 Training Vouchers from Aspire Photographic Training.

UK Portrait Photographer of the Year – will receive an Epson SureColor P800 printer from sponsors EPSON UK.

Cherubs Photographer of the Year & Newborn Photographer of the Year – both will win £250 cash prizes to the winning photographer and the same £250 cash prizes to the client of the win-ning image, from Babycloud

Newborn Photographer of the Year – from sponsors The Art of the Newborn, four hours Business Training at Melanie East’s Bristol Studio, value £625. From Click Props the Newborn Photographer of the Year will win a £200 Gift Voucher.

GOLD Award Overseas Master Photog-rapher of the Year

Our top Overseas photographer will win a Full Platform Pass to the Wedding and Portrait Photographers International Conference, Las Vegas 2017. The WPPI Wedding & Portrait Photography Conference+Expo is the premier industry event for photographers and filmmakers specialising in the crea-tive and business aspects of wedding and portrait photography and filmmaking. Each year, nearly 13,000 professional and aspiring photographers and filmmakers attend WPPI to learn new techniques from industry leaders, build new rela-tionships to grow their business, experi-ence new products and solutions from major manufacturers to improve their productivity, and enjoy the many attrac-tions in Las Vegas.

WPPI is a week-long event combining educational seminars with a major indus-try trade show and networking events, all designed around learning the latest techniques, building new relationships and growing a business in a friendly, fun environment – all at one time, in one place. Learn superior technical skills and new shooting styles Build new relationships to grow your business Experience new products and solutions from major manufacturers Discover competitive and affordable ways to grow your business Meet some of the worlD’s finest photo-graphic instructors Make an investment in yourself and your future The WPPI February 7th-9th 2017 WPPI Wedding & Portrait Photography Conference + Expo, will take place at the MGM Grand in Las Vegas This prize does not include travel and accommodation.

ÁOther sponsors of prizes and awards include Graphistudio, The Flash Centre, Icon Publications Ltd. See the MPA website, full URL on page 20.

AWARDS, PRIZES, SPONSORS AND BENEFITS FOR THE WINNERS


Su Kaye – ChairAFTER ORIGINALLY training and working as a primary school teach-er Su Kaye began her career in photography in 1995, learning the craft and the fine skills required for timeless classical portraits from her father (the London society portrait master Paul Kaye – Ed.). Su achieved her BIPP Fellowship in 1997, and after this also became a member of the Kodak Gold Circle. Su opened her own studio in Hertfordshire in 2001, primarily as a portrait photographer although re-cently she has also been doing a lot more illustrative and commercial work. Su Kaye is a Past Chairman of the Admissions and Qualifications for the BIPP, Past Chairman of the London Portrait Group and has judged on many panels for awards, qualifications and competitions around the world including the Professional Photographers of America (PPA). Over the last few years she has become increasingly interested in the art of iPhone Photography and has recently started teaching class-es and courses on this.

Clare LouiseCEO of the Master Photographers Association and main organiser of the annual awards, Clare Louise FMPA has been much missed as a top award winning entrant since she took on her current responsi-bilities – but equally welcomed as one the keystone members of the judging team. Clare’s international contacts and the introduction of on-line judging for the digital file entry stage have enabled her to invite new eyes to the judging panel, and promise to transform the awards. She has also been busy negotiating a real treasure-house of valuable prizes for the winners, something the MPA awards did not have in the past but the industry proves keen to support. From early days in general social photography, Clare Louise developed unique fan-tasy styles for children and families, moving on to the world of perfor-mance, theatre, creative costume and the interpretation of emo-tions and relationships through the masque of photography. She works with leading costumiers, set designers, hair and make-up artists – but above all, with light.

Christopher BradburyCHRISTOPHER BRADBURY is a Fellow of the MPA and was winner of the Best Fellowship Panel award in 2011. He is internationally known for his surrealist photo art portrai-ture, and a master of Photoshop montage and retouching. With over twenty MPA na-tional awards including Classical Wedding photographer of the year, twice winner of UK Portrait Photographer of the Year and many digital trophies, Christopher is one of the digital artists in the country as well as an expert all-rounder. His most valued commissions are more akin to painted portraiture in terms of the time spent producing the final work, and the worth attached to it. Over the last few years he has been one of the most sought-after lecturers in the country and delivered the first Cambridge University Arts Conference talk on “Photography as Art”. At his studio in Bidford on Avon he runs both a photography busi-ness and a school, teaching both photography and Photoshop to ad-vanced level.

TWO STAGES OF JUDGINGAfter the digital on-line judging, your print entries will meet this panel face to face

THE AWARDS are now open for entries and we look forward to an exciting few days in Darlington looking for those im-ages that will inspire and impress the judges as well as the wider audience we aim to reach. The judging process is intense and we aim to give every print a fair chance and consideration. There is a compre-hensive range of disciplines and the judges are chosen to make sure every style and category is understood and given expert attention and examination. The panel of judges are looking for images showing imagi-nation, creativity and a unique interpretation of the subject. Take inspiration from others but don’t copy. Develop ideas and push yourself to create something that you are proud of. Look at your images with a critical eye and be honest and see if there’s anything that you could change or improve, or that someone else could criticise. The images are assessed on a wide range of criteria including composition, creativity, crop, colour balance, print quality, impact, technical excel-lence, point of interest, subject matter, technique and story

telling. If necessary ask advice and discuss your images with a mentor. Remember that the judges can only judge what they see. They don’t know if you had to get up at 3am and hike for three hours or if you sat in front of your computer for days so make sure your prints have impact and creativity and give the viewer something to appreciate and consider. Of course the ultimate accolade is on everyone’s mind but there are many prizes and awards available and by en-tering you are extending your own personal development, improving your skills and gaining recognition throughout the industry. Take this opportunity to showcase your work and take advantage of the publicity and PR to grow your business – and hopefully pick up some awards along the way.Wishing you the very best of luck and looking forward to seeing many incredible creative images and the largest number of prints entered to date.– Su Kaye FMPA, Chair of Judges, Master Photography Awards 2017

Desi FontaineDESI FONTAINE, responsible for co-ordinating MPA’s qualifications mentoring as Head of Mentorship, is an established photographer with a lifetime passion for her craft. Well known in the fashion world, she runs a successful studio and gallery in Teddington, handling high end portrait commissions, whilst continuing to enjoy teach-ing and mentoring photographers at all levels. Desi also sells fine art prints of people and places from her extensive travels through her gallery. With a BA (Hons) in Photography from the University of Westminster, she achieved six Kodak European Gold Awards before becoming a judge of major national and inter-national photographic competi-tions and awards. Desi is a former national President of MPA, an Honorary Fellow of the Master Photographers Association, Chairman of the Guild of British Portrait Photographers, Fellow of the Society of Wedding and Portrait Photographers, and Fellow of the British Institute of Professional Photography.


Martin Grahame-DunnWITH OVER 35 years in the pho-tographic Industry, initially in the fields of Advertising, Commercial and Fashion Photography and lat-terly as a Portrait and Wedding photographer, MPA Fellow Martin educates, inspires and motivates photographers – instilling the high-est standards of professional prac-tice across a wealth of disciplines. As well as providing consultan-cy services to photographic busi-nesses all over the world, Martin has been a judge and chairman for international photography com-petitions and professional bodies worldwide (notably in Dubai). He now concentrates on delivering education via intensive workshops and has a wide range of clients joining him in their journeys to realise their potential as creative artist photographers and business people.

Paul CooperPRINT QUALITY is an essential aspect of work for Paul, who runs Bailey Cooper Photography with his wife Kate. Both are Fellows of the MPA and multiple award win-ners. Paul has a background in colour management and printing, and was one of the first to use the EPSON Digigraphie Certification to authenticate the archival value of their studio’s output. Responsible for many years for the audio-visual presentation of all the Master Photography Awards images, Paul has seen every single original file entered – literally tens of thousands. It’s unlikely that any judge has had to study, and work with, annual awards entries more than Paul. So don’t try to enter a picture which looks like one you did a few years ago – he’ll remem-ber it.

Simon JohnA MAN of firm opinions with a rig-orous approach to originality and quality, Simon John is known as one of the UK’s most insightful judges and joins the MPA’s awards team once again. He is well-known for unique wedding and portrait styl-ing, and in 2015 he was the BIPP’s national wedding photographer of the year. He is a triple Fellow, Kodak Gold Award holder, and one the Masters selected to provide be-spoke portraiture on luxury Crystal Cruises. Simon is now once again based in Corhampton, Hants.

Steve HowdleA REGULAR contributor to this magazine, popular trainer and speaker at events like the annual awards, Steve is a specialist hair, beauty and fashion photographer but also handles very demanding commercial work including the reproduction of works of art. He is an expert in photographic lighting, workflow and printing. Steve has lectured at most of the UK’s pho-tographic degree course colleges, and completed projects including a complete book commissioned by auctioneers Christies to document Lord Halifax’s archive of sporting paintings and prints. Steve is a Fellow of MPA, dem-onstrator for Elinchrom prod-ucts, a member of SWPP and the Federation of European Photographers – and has been seen ‘live on stage’ every year at The Photography Show.

THE ON-LINE JUDGESThe initial round of judging, with entries submitted via a new Judgify website system open up to midnight of Friday July 31st, will be carried out on-line by an international team.

WITH Paul Wilkinson FMPA (MPA Chairman) and Melanie East AMPA (Advisor on Newborn Training and Qualifications) standing in the wings should the final print judging need their assistant, the panel of on-line judges will be drawn from a list of well-known experts. At the time of going to press confirmation was awaited from some judges and the roster may therefore be subject to change. Jason GrouppJason is an internationally known wedding photographer based in New York.Jacqueline TobinEditor-in-chief of Rangefinder Magazine and the WPPI’s rangefinderonline.comHenk van Kooten FMPAPast President of MPA, FBIPP, Triple QEP, Master Qualified Eu-ropean Photographer, Honorary Fellow of IPPA, Qualifications Chair of the German bpp.Dennis OrchardF(Hon)SWPP, ABIPP, ALPE, AMPA, ARPS, Cr.SWPP, Master of SWPP and Triple Master of WPPI. Steve Walton FMPAFBIPP, FMPA and Fellow of the Royal Society of Arts. Current President of MPA.Faye Yerbury FMPAPast President of the MPA, Kodak Gold Award holder, multiple award winner and Master of the SWPP and the Guild of Pho-tographers; Invited Fellow of the Royal Photographic Society.Roy Wooding FMPARoy is a Fellow of BIPP and MPA and an award-winning com-mercial and industrial photographer.Paul Wilkinson FMPAIn 2014 Paul, current Chairman of MPA, achieved Bridal Image of the Year and UK Lifestyle & Location Portrait Photographer of the Year in the awards.Peter Ellis FMPATriple Fellow in Wedding Photography (one in Portraiture); Hon. ALPE from the WPPI; Master’s with the PPA; Grand Award with the WPPI. Past President of the Master Photogra-phers Association. And below, also taking part in the print judging:Christopher Bradbury FMPAPaul Cooper FMPAMartin Grahame Dunn FMPAMelanie East AMPADesi Fontaine FMPASimon John FMPAJeremy Price – GraphistudioRoy Meiklejon – Towergate InsuranceJon Cohen – Fujifilm UK

Á


READ THE

FINE PRINTOur guide to presenting your competition and awards images for the best

chance of success – every picture deserves the best in print quality

If you are entering the awards this year, don’t make the big mistake of

judging your own entry on the way it looks on screen. There is a huge difference between even an sRGB image on a regular monitor and any form of reflective printed copy, and even greater one if you have invested in full Adobe RGB calibrated view-ing. You must have all your profiles correctly installed including those for your printing methods – at this magazine, for example, we have ‘PSO Coated 3’ as our printer profile, and it’s one you probably have not seen as it is a recent European profile designed for the way we print today which is very different from the litho of ten years ago. Photoshop and InDesign (which you might use for composite layouts) both have a ‘Proof Setup’ under the View menu, which can confirm the printer or lab you are proofing for. Then below this there’s a ‘Proof Colours’ choice. With this menu item ticked, your computer screen will imitate the final print, and that may mean many of the wonderful colours you see on screen suddenly lose their impact. A good example of this was the portfolio and cover we printed from Eric Capa-ras, who uses some wonder-ful shades of blues and reds in his work. These can be printed by Canon HD, Hex-achrome litho or six-colour and more inkjet processes but they can not be reproduced by CMYK litho. So we fine tune the image file to make the ‘Proof Colours’ result

a normal inkjet or photo-graphic print can’t reach, so you need to use the same HD method to duplicate your album colour.

Print processesThe Graphistudio HD print is one example of a specific, and relatively new, process. You should perhaps take images which use very saturated col-ours and have a print made by this method, one made by conventional silver-imaging photographic output, and one made by a standard inkjet process in-house or by a fine art printer. During the judging of licentiates in June, which we attended, the judges were struck by the difference between some of the final panel prints and the digital page-printed versions in the workbooks. One candidate had prints from Lab A and a workbook made by Lab B,

The Regional dilemmaSome MPA regional competitions need a similar type of print to the annual judging. While this can be an opportunity to test optimum printing and also ‘pre-flight’ your pictures for the big event, it’s not the best thing to enter the same image in multiple competitions even at regional and national level. For one thing the same judges may be involved and it’s well known that pictures seen previously are remembered. In theory the points-based judging systems prevent any bias towards remembered images, but that’s only theory. Entering exactly the same images regionally and nationally can prevent your region from having the right level of publicity – we are not printing the Welsh awards in this issue for this reason, the consensus in Wales was that they did not want the work seen as the winners would be entered for the annual awards. Well, they are certainly not going to be printed after the national awards, so the effect of this is to deny the chance of publication to any images which have done well in the Welsh awards but miss the mark in the nationals (or, indeed, come from photographers who have sufficient images to enter different choices regionally and nationally).

look as close as possible to the calibrated RGB view, and then the magazine shows Eric’s colours as vivid and not dull. See the pair above. Leaving final printmak-ing until after your digital entry, for any competition, is not a good idea. Really, you should have had 10 x 8" test prints made right now, even

before submitting your digital file, in order to double-check that your image will print as intended. You may already have the pictures as client prints, or in an album. In that case, check that the same process can be used for your judging print; Graphistudio HD printing can reproduced a whole range of colours which

A Master Photography cover shot by Eric Caparas FMPA – left, from the original RGB file, right, from a tuned CMYK conversion made after using ‘Proof Colours’ to assess the effect of CMYK printing on the picture.


Fujicolor Crystal Archive Digital Pearl, a paper so sharpand vibrant it has been praised by photographers for whiter than white highlights, vibrant colour and superb shadow detail. Developed for use with all mini labs and medium tolarge-scale printer systems, Crystal Archive Digital Pearl isa silver halide paper containing pearl mica pigments andmetal oxides which combine to give purer whites and sharper,better-defi ned highlights. Optimised for digital systems, the paper has a thicker base and higher stiffness for a high-quality look and feel.

With superb archival permanence, images printed on Crystal Archive Digital Pearl will look as fresh in the future as the day they were taken. Portrait and wedding photographers will fi nd the paper ideally suited for albums and display prints and will marvel at the high level of detail and colour achieved. This is a paper which defi es the ageing process. Your customers will love you for it.

lm Professional Paper Range:• Fujifilm Crystal Archive Type II• Fujifilm Crystal Archive SUPREME• Fujifilm Crystal Archive DPII

• Fujifilm Crystal Archive FUJITRANS• Fujifilm Crystal Archive FUJIFLEX

• Fujifilm Crystal Archive ALBUM PAPER

For more information or to request a sample print please call 01234 572107email [email protected] or visit www.fujifilm.co.uk/photoimaging

Photograph by Tamara Peel - www.tamarapeel.co.uk

timeless beauty

supporting creative excellence

Fujifilm Crystal Archive Professional

VELVETFujifilm Crystal Archive Professional

VELVETsupporting creative excellence

Fujifilm Crystal Archive Professional Velvet is an archival C-Type paper with a smooth matt velour finish, giving the look of a fine art reproduction with the longevity and robust handling of a real silver photographic material. Developed for use with all mini labs and medium to large-scale printer systems, Crystal Archive Digital Velvet is a silver halide paper with a naturally warm base and a surface which resists fingermarks. Although resembling matt laminate, Velvet has a rich photographic d-Max and matches the dynamic range of conventional finishes when used with the recommended printer profiles. Its base weight and creasing qualities make it ideal for layflat book production and album covers as well as for boxed, mounted and framed work. It isideal for exhibition prints in all lighting conditions.

With superb archival permanence, images printed on Crystal Archive Digital Velvet will look as fresh in the future as the day they were taken. Portrait and wedding photographers will find the paper ideally suited for albums and display prints and will love its controlled dynamic range and the subtle palette achieved. This is a paper which merges the feel of the best velvet matt papers of the past, the unique colour gamut of C-Type, and the depth of fine art giclée in a modern material capable of high volume rapid output.

Other papers in the Fujifilm Professional Paper Range

• Fujifilm Crystal Archive DPII• Fujifilm Crystal Archive PEARL• Fujifilm Crystal Archive TEXTURED• Fujifilm Crystal Archive ALBUM• Fujifilm Crystal Archive WRITEABLE• Fujifilm Crystal Archive DP TRANS• Fujifilm Crystal Archive FUJIFLEX• Fujifilm Crystal Archive CLEAR

For more information on the full range or to request asample print please call Peter Wigington on 01234 572138, or email: [email protected] or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/

‘The quality was just superb. The subtle tones reproduced really well on this very convincing new product.’ – John Baxter, winner, AoP Shot Up North 27 exhibition

‘‘This new Fujifilm paper could be the missing link for some photographers.’ – Professor Steve Macleod, creative director, Metro Imaging Limited

Photograph © John Baxter printed on Fujifilm Crystal Archive Velvet


while another had both the digitally printed workbook and prints from the same lab. Despite this, in both cases the colour and gradation looked different between the work-books and the judged prints – it was not always the prints which came out on top. The sets of colours which can be reproduced by each different inkjet print, by digital processes and by silver-based photographic processes are all very different so you can not reliably proof (for example) using an 8-colour inkjet on a smooth matt art paper then have your prints made on the new Fujifilm Velvet photographic paper. It’s got a lovely quality to the gradations and shadows and lends itself well to images with moderated maximum blacks (cinématic image ‘looks’ where there’s no true black and the d-Max may be a subtle bluish or warm tint). But to submit perfect prints on Velvet, you’ve probably got to order tests and adjust your post-processing to suit. The new inkjet papers ar-riving from the major suppli-ers Permajet and Fotospeed – along with similar types from paper mill brands and printer manufacturers – reflect big improvements in manufactur-ing and coating over the last five years. If you have older papers on the shelf, don’t use them for important work. Like ink cartridges, papers have a shelf life for optimum printing no matter whether the final print may last 75 years. Specialist labs and hand printers have a turno-ver which ensures they have the latest paper types and batches.

“AT PROAM IMAGING we use unique custom profiles so photographers who follow our guide lines can be certain of getting back prints that are an excellent match to the screen image of their well-calibrated monitor, thereby giving total control back to the photographer” – John Greenwood, ProAm Imaging. Sample price: A3 16.5 x 11.75" photographic print, £1.15 inc VAT. Visit www.proamimaging.com to download ProAm’s profile.

Using colour profilesWhile advanced colour man-agement should ensure you get what you want, in prac-tice it does not. It’s impor-tant to work with a lab and process you are familiar with. This should include using the lab’s supplied colour profile, which will usually be an RGB profile. Do not set this as your monitor profile or your working space! Normally, it’s best set up Adobe Crea-tive Suite (via Bridge which will synchronise your colour settings across all the apps) with AdobeRGB as the RGB working space and one of the standard Euro gloss CMYK spaces for litho print – Coated FOGRA 39, or Euroscale Coated v2. You should never need to convert to the CMYK profile or use it unless you want to see how your picture will reproduce in a magazine. Do not use SWOP ink profiles, which tend to be selected by default in Photoshop, as these are American press inks and use a different cyan to the European magazine standard. With your image displayed on a calibrated system, start-ing from AdobeRGB or Pro-PhotoRGB if you understand how to use that, apply the menu item ‘Convert to Pro-file’ to transform the colours to match your lab. Then save the image as a new JPEG with this colour profile embedded in case you need to open it again. You can discard the colour profile when saving, but your system will then ask you to assign a profile if you open the image, and you’ll have to remember which profile that file is converted to. Your lab will probably

SIMLAB offer fine art Giclée prints with a superior range of finishes, using the finest quality acid free papers and the latest archival inkjet technology to guarantee the best results. Pick from an intimate 7 x 5" Fine art print right up to an impressive 60 x 40" size – order your Fine Art prints online in minutes. They also offer a mounting and laminating service (MPA awards entries can be laminated, but not mounted). Pricing: a 20 x 16" fine art print from only £11.20! For information visit: simlab.co.uk

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If you have been using Graphistudio or other printing based on the Canon DreamLabo (HD printing) you need to know its gamut exceeds even AdobeRGB in some hues – and most photographic prints have an even smaller gamut, sRGB.


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treat all images without pro-files embedded as sRGB, the default for screen and web JPEGs and also the profile used by many photo printers. So, be sure to let them know if you are sending ‘strippeD’ files but have already con-verted them to their custom profile. Finally, if in doubt, use either AdobeRGB or sRGB and embed the profile. Since on-line entries are judged us-ing sRGB – the only standard guaranteed to work on all devices and with all software even if the operating system is not colour-aware – the savvy photographer will con-vert on-line submissions for the digital judging round in sRGB form.

On-line and printThe picture you put forward for on-line judging should also be the file you use for printing (and will be needed by MPA and by this maga-zine for projection, website display and possible printed

ROB GRIFFITH has been appointed as a full time Colour Management Expert at PermaJet, providing advanced technical support to labs, studios, and photographers who require consistent and professional results on PermaJet inkjet media. Rob has been a colour management consultant, trainer, and writer for over fifteen years, working with national museums, newspapers, publishing groups, fashion labels and advertising agencies. “Our customers are becoming well informed about the basic standards required for photo quality printing,” says Steven Price, Business Manager at

PermaJet. “We want to be able to provide the next level of support to set us apart from other inkjet brands and make sure our customers are constantly getting the very best results possible on PermaJet’s range of professional quality inkjet paper.” If you want to take advantage of Permajet’s free profiling or to ask for help preparing your exhibition and awards entries, get in touch at: [email protected] or 01789 739 200


reproduction). Since there are major differences between RGB viewing on-line, and print colours, you may feel that two different versions of the image are needed. How-ever, that’s not allowed. You may use two different profiles and this can be the solution to aligning what the judges see on screen with the print you submit. With some of the photo labs offering printing services here, you will see that colour correction is of-fered. You need to be satisfied that the correction process is there to ensure the print matches the screen view, rather to improve on the density and colour of your original work. If in doubt, order an uncorrected print and a cor-rected one before you submit your digital file and submit an sRGB conversion of the corrected one if that’s what looks best. Photographers are permitted to use outside image correction services. Just make sure the entry judged on-line is the same as the one


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ONE VISION IMAGING have spent the last 40 years refining our photo print processes, from unique (and free!) colour grading, density and contrast controls, to only printing on the very best Fuji gallery grade Crystal Archive photo and Hahnemüle and Paterson Fine Art Giclée papers. For your awards entry, we’d suggest Fuji lustre paper as it has superb colour saturation, great sharpness and resists fingerprints. A 10 x 8" print starts at just £2. For other competitions, a window mount would really lift your image; a 10 x 8" window mount (with 8 x 6" print) is just £5.93 or £6.89 for the 12 x 10" (10 x 8" print). www.onevisionimaging.com

you enter as a print. Some-times, we will adjust files for printing in the magazine be-cause the specific conditions of magazine printing can result in very dense blocked shadows. Your prints will be viewed under a fairly bright light. We use a ColourCon-fidence Graphilite viewing light which lives on the editing desk right next to the monitor. It provides about the same brightness as exhibition print judging conditions and the shadows of a good print can reveal plenty of detail, which we try to preserve in the magazine. Finally, remember that your prints can not be rigidly mounted but they can be laminated and this allows both a fairly stiff and heavy print, and one which resists handling. In the past, your own prints have been pinned up in awards day displays but in recent years labs such as Loxley Colour and The Print Foundry have made large panels or banners featured the winning digital files.

It is a testament to the generally improved col-our management of all the systems photographers work with that these exhibition panels, with dozens of images together, generally show ac-curate and consistent colour. The same applies within this magazine. We expect, for the No-vember/December edition of Master Photography, to produce a special MASTERS OF PHOTOGRAPHY annual once again. This will go to all members, and to the photo-graphic industry, with addi-tional copies available to buy and free access to a digital version. This annual has been sold through WHSmith and main newsagents for the past two years, with 1000 copies available for retail purchase. It is a benefit of the awards which is fully covered by the proceeds of sale, and costs MPA nothing. Icon Publica-tions Ltd hopes to be able to continue this with the 2016/17 Annual.

Á

ICON PUBLICATIONS LTDSPECIAL ISSUES

Subject to approval of the content, Icon Publications Ltd can publish for any photographer or organisation a photobook identical to this magazine in size and quality (68 pages including the covers), with retail news distribution as a bookazine. A typical specification for 1,500 cop-ies would include 500 delivered and 1,000 allocated to retail; to discuss cost and benefits, call David Kilpatrick on 01573 226032.

The Print Foundry has produced display composites for the last two awards days without any visible colour management problems.


GS_master_photography_sept15.indd 1 03/05/16 00:28


GS_master_photography_sept15.indd 1 03/05/16 00:28


DENNIS RAMOSA NEW ASSOCIATE – AMERICA THROUGH A GLASS,

VERY DARKLY


The striking black and white world of Dennis Ramos, native of the Philippines now working the USA, has undertones of Modern Times and more than a hint of the threatening realities of Lovecraft or Stephen King. He turns the brilliant light of Florida’s St Petersburg or Atlanta, Georgia, into a night lit by some alien moon – usually with the aid of neutral density filters, a polariser and the combination of regular short exposure with very long ones. Add to this some graduated effects in Photoshop, bringing street lamps to life or a glow into the black sky, and the result is a unique series of fine art prints which have won acclaim and sales.


www.dennis-ramos.com



The 11-16mm Tokina AT-X Pro DX II wideangle which Dennis most often has used on his Nikon D300S is ideal for use with a filter holder and range of filters. It requires careful correction to get the perfectly straight lines Dennis prefers to see – architecture in the classical tradition. The sharpness and quality of the images come from great attention to the viewfinder. You might not think that a flock of tern could stay still for two minutes, or a model standing on a sandbar for even longer, but many of the ND filter exposures which have flowing clouds and water are in the range of 80 seconds to 150 seconds. Without the filters, he also shoots by moonlight and street light – and in the heat of the day, at 1/500s. Our cover photograph, taken uncharac-teristically with a 100mm ƒ2.8 lens, is at 1/1000s. Yet once processed a complete set of images takes on a single look. Dennis will often adjust and save multiple versions of each image to ensure that when printed, the series matches optimally.


The technique emulates the red filter on panchromatic film which worked so well on very different subjects for Ansel Adams. Over the last three years Dennis has gathered an impressive list of individual awards, publications and titles – his Associateship of the MPA is the first recognition of his work as a body. His ‘Skyway’ below was rated one of the top 150 panoramic images in 2015 (and had already won him the 2014 Epson International Open Photographer of the Year held in Australia).


Successful in the Paris-based PX3 Prix de la Photographie contest and also in Epson’s international awards, Dennis has moved from being an enthusiast to creating a print sale business with the potential to become a full-time photographic artist. Although his most distinctive work is urban and architectural, his studies of the Florida shoreline and wetlands are intriguing – as with the very long exposure of the cypress tree above, and the flock of tern below where some birds have blurred themselves out by moving but others have held their pose for 120 seconds. See: www.dennis-ramos.com for more images and information. All images here © Dennis Ramos from his AMPA portfolio.


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GRAEME WEBBSix months before

achieving his Licentiateship, Graeme

Webb’s studio could be seen on the national news – it was right next to a dramatic overhanging slab of road and riverbank washed away by flooding in the town of

studying for a BA in Business & Information Management to cap an HND in Business Administration, in the 1990s. He already had an enthusiasm for photography when a chance to travel came up in 2007 and he bought a digital SLR. This revived the interest. Owning a coffee shop in Dunbar for four years, he found that concentrating on studio work fitted in with demanding hours. After selling the café in 2013, he moved to Hawick to set up his wedding and portrait studio which opened in 2015 only to be hit by the floods at the end of the year. For this licentiateship, Graeme chose Portraiture – and excluded one possible male portrait from a set which concentrated on beauty and boudoir, making it an all-girl show. With dancers and aspiring models commissioning their own ‘book’ he’s been pleased to see clients progress to joining agencies. The panel has five images from one dancer portfolio, and five from one

Hawick. The water came up through the floorboards and wrecked the ground floor. Flood damage takes months to put right and Graeme found no alternative but to move to town centre premises away from the river and on to the High

Street. With John and Sandra Parris amongst his several professional colleagues and competitors in Hawick, it’s auspicious that John started out from a less visible studio only yards away. Graeme has a record of success in business, after

AFTER THE FLOODS – A NEW STUDIO, AND NOW MPA LICENTIATE STATUS

Dance series:Laura asked me to take a range of photos showing the variety of different styles which she does, she had also asked for a couple of artistic images. These were to be part of her dance portfolio of images.



boudoir commission. All have been taken on Canon, with the full frame 6D as his current choice, and all the images taken in the studio using flash. “In portrait photography, two competent photographers could photograph the same person; however the end image could show the subject in a completely different way”, says Graeme. “The individual photographer’s styles of seeing the person may be very different. The creative and artistic aspect of this sort of thing is really interesting to me. I think the challenge in portraiture is to be able to capture the beauty or glow or sparkle in someone. “After obtaining my LMPA, I look towards achieving the higher MPA qualifications. I believe that in photography you never stop learning, and I aim to continue building on my knowledge through online and in person

training sessions. I also enjoy experimenting with personal projects, which allow me to try new and creative techniques, every time I work on a personal project I find I gain a wealth of knowledge and understanding, which translates into my everyday photography.”

Á

Boudoir series:Gemma asked me for a kind of boudoir style shoot, slightly sexy but didn’t want to actually bare too much skin. She also has several tattoos, all of which mean something to her so she wanted so she wanted some images where the tattoos were really visible and others where they were hidden.


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Graeme Webb LMPA panel


FlorentineREAL LEATHER Album Range

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Florence has been famous for its high quality leather goods for hundreds of years, so naming our leather album range after this romantic city seemed only natural. Like all of our albums, each Florentine album is hand-made from start to finish using only the highest quality materials, but is then covered in gorgeous, soft touch satin-like leather, of which there are twelve colours to choose from.

EVERY ALBUM INCLUDES A CHOICE OF FOUR BEAUTIFUL PRESENTATION BOXES AND A LUXURY SOFT TOUCH BAG

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• 7 Types of Album in our Portfolio• Sizes from 8x6” to 16x12”• No. of spreads from 5 to 30• Paper types available

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Graeme Webb LMPA panel Graeme has two websites – for his social photography, see:www.graemewebb.photography and for his commercial site,www.gwphotography.co.uk


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STEVEN NEESON LMPAStaging the Wedding Story

Steven Neeson is that typical modern entrant into professional pho-

tography – with four years of college study of the subject behind him culminating in a BA Hons, he became self-employed in 2012, leaving his former career with the successful Northern Ireland coachbuilders Wrightbus. But he landed firmly on his feet, becoming part of The Wedding Centre, a shared one-stop space in Ran-dalstown where brides can come to organise every aspect of their day. “The Wedding Centre is a multi functioning business with over a dozen different companies all under one roof”, he says. “All of these companies complement the others and work to pro-vide a successful service. My main focus is on weddings and engagement shoots.

“As my style and technique has evolved and improved over the years I have seen a change in clientele. I have been selling more of my top end packages to higher paying brides – I hope to continue with this and be photographing really beauti-ful and high end weddings. “Being affiliated with The Wedding Centre has given me

a very unique opportunity to develop a highly effective marketing strategy. Through this affiliation I have received a steady solid flow of work. Most has come from recom-mendations.” However, as Steve’s sup-porting evidence showed, he makes exceptional use of social media including Pinterest and Instagram, and

has a very engaging website. “I do spend time making sure I have a very interactive online presence. I feel this is an extremely important tool to reach my target audi-ence. I have a new custom built website that I feel really


Ten pictures from one wedding – Steven’s signature daylight sync use of Phottix flash can be seen above and below, and in the two riverside settings on page 53. Phottix flash is now distributed by MAC Group Europe: http://eu.macgroupus.com


represents my company and displays my photography well. It was important to me to have a professional website that will truly reflect who I am and also my style of pho-tography.” Steve is also very much part of his community cultur-ally. “Life, Family, Art, Faith and Love are just a few things in life I am truly passionate about. My Christian faith and loving family drive me to be the best I can be. I have never been good with words being dyslexic, but with photogra-phy the image speaks for me. It opened up a whole new form of communication for me. I am passionate about it and capturing real life mo-ments. Every shoot challenges me to be better than ever before.” One feature of his LMPA wedding submission was the distinctive post-processing along with story-telling direction of the subjects (almost into posed tableaux)

and theatrical lighting. This is achieved using Phottix Indra 500 and Mitros+ battery location flash and Odin wireless flash trigger. “I feel very privileged to be a brand ambassador for Phottix”, he says. “I have incorporated

off-camera flash into my photography style since the beginning and is something I have put a lot of emphasis on. “My aim for the future is to keep on developing and growing my business – I find myself in an amazing

position in my career right now and I have an incredible family to support me. This is only the beginning for Steven Neeson Photography and I will work every day to keep succeeding.”

Á



Steven Neeson LMPA panel See: www.stevenneeson.co.uk – twitter.com/sneesonphotowww.pinterest.com/stevenneeson/ and Facebook… of course!


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BUMPS to BUTTERFLIESPortraiture Licentiate Alex Fletcher

Drawn to photography by the landscapes of New Zealand dur-

ing a post-graduation trip, Alex Fletcher discovered the rewards of newborn and baby portraiture after becoming a mother herself in 2012. With a Master’s degree in Computer Science behind her, she wanted a business she could run as her own family grew and realised that new-born and baby photography is a great fit with school hours and home life. One day she would like to have a larger house with a purpose-built studio and from the very start her price list has reflected this. It was a four-year jour-ney before officially opening the business in February this year in the Birmingham sub-urb of Perry Barr, and it was at the conveniently nearby Newborn Photography Show Alex met MPA and Ray Lowe. Initially, she combined on-line learning (Creative Live)

with a range of seminars and tuition including business and newborn training from Melanie East AMPA in Bristol. During the three years of self-taught progress from the idea to the reality of a newborn practice, Alex grabbed every chance to take photographs and practice the skills. The response to this unpaid work made her realise that the results were worth so much more than the iPhone pictures many mums will be left with as the only record of those first days, weeks and months – “while they cer-tainly have their place, they shouldn’t be the heirlooms that we pass down to our children to be admired and treasured in years to come”, she says. “I plan to market myself as high-end and en-courage my clients to invest.” Initially, Alex plans to offer complimentary sittings – a better term to cover the often-criticised policy of free


sittings. To this she’ll add print credits, but the price will ensure this is a valued service. She will rely on the quality of the work to ensure the mothers (or fathers) want to buy the high-end prints on offer. The quality of the ex-perience also counts heavily, with a stress-free session for mother and baby. “Clients re-member how you make them feel”, she says. “I want them to look back on their portrait session and smile.” The business name came about during training with Melanie East, intended to cov-er the essential skills of pos-ing newborns and feathering large soft lighting (she uses Elinchrom’s Rotalux 100cm Octa on a D-LiteOne flash head to combine this with apertures typically around ƒ4 on her Canon 24-70mm ƒ2.8 lens). The business’s distinc-tive logo emerged from the same chrysalis of corporate identity.

In her Licentiate work-book, Alex looks forward to aiming for Associateship “if successful” and the record of her workshops and courses shows how dedicated she has been in the run up to her first level of qualification. This started with a Level 2 Photography NVQ and encompassed no fewer than eight Creative Live courses with tutors including Kelly Brown, Julia Kelleher, Ana Brandt, Sue Bryce, Sandy Puc, and Ben Willmore. She’s also learned from material by Erin Elizabeth and Robin Long, and many books on photog-raphy, editing, business and marketing. With her portfolio created using a single camera, lens and studio light in a rela-tively small space the quality and consistency of the prints stood out with only minor criticism from the judges. – DK

ÁAlex’s portfolio was not a Cherubs or newborn specific application, but a Licentiateship in Portraiture.


See: www.bumpstobutterflies.co.uk


Many newborn portfolios contain only photographs of sleeping babies, but Alex has managed to catch some waking moments with attractive light in the eyes and no signs of distress – attentive expressions for such small subjects.


MPA SCOTLAND AWARDS

THE MPA Scottish Region Awards were held on June 12th at the Royal Hotel, Dunkeld. John Parris stepped down from regional chairmanship at the AGM, and in the evening, learned that he had once again won the title of Scottish Master Photographer of the Year.

Babies and newborns – reflecting the importance of this market today – start our presentation of the winners. Above, Cherubs winner by Nicholas Frost; top right, Baby Portrait by Sandra Parris; right, Complete Portrait by Sandra Parris; below, Cherubs Folio by John Parris.

Below left: Reportage Wedding winner by Grahame Smith.Below right: Animals & Pets by Lenny Smith.


Top left: Children’s Portrait by Martin Leckie. Above: Complete Portrait by John Parris. Below: Complete Wedding by John Parris.

Above: Classical Portrait by John Parris.Below: Classical Wedding by Martin Leckie.

Below: Monochrome, by Margaret Soraya.


Top left: Contemporary Wedding, by Grant McKelvie. Top right: Contemporary Portrait, by Lisa Stevenson.Centre left: Family Portrait, by Scott Hogg. Centre right: Commercial and Industrial, by Niels Calvert.Bottom left: Open Award, by Grahame Smith. Bottom right: Fashion and Glamour, by Tom Gibson.

MPA SCOTLAND AWARDS


CENTRAL REGION

ANOTHER AMAZING year of images for the Central Region Print Competition! Thank you to everyone who entered and to Steve Walton for doing an amazing job of judging and critiquing – to be constructive about three hundred+ images is no mean feat but all the feedback I’ve had has said it was an amazing and informative evening. Thank you to everyone who organized and co-ordinated the evening – Rob Purbrick, Yvonne Cannon and Sarah Wilkinson. It takes a lot of work behind the scenes to make this happen and the work the team put in is incredible and much appreciated. Also, a huge thanks to Hoss for taking pictures during the evening. If anyone would like to get involved and give us a hand running seminars and events it would be great to have new members in the team! It’s not tricky (honestly!) and we’d love to have more people involved. Photography, after all, is a very sociable business! Congratulations to everyone who received recognition for their images. Some categories were definitely stronger than others but there were incredible photographs across the board. For those of you whose images scored highly, well done – next stop the nationals? For those whose images didn’t get what you’d hoped or believed then remember that every judge sees things differently so take Steve’s feedback and add it to your own experience and see what you think. You might not 100% agree but there is always something to be said for trying new ideas to see if they work for you! We’re also very lucky to have SIM Imaging sponsoring our event, not only financially but, more importantly, for their enthusiasm for the photography which was so evident on the night – Lee was impressed with the quality of the images. You should head over to their website (www.sim2000imaging.com )to see what they’re up to and they’re based in Hatfield so nice and local for many of us. For those of you who attended on the night, look out for an email from me with an exclusive offer from Lee and the team – it’s a really generous one! PLEASE NOTE – each region has their own policy on this but

I have always held the view NOT to share the winning images until after the National Competition as many photographers (myself included) prefer to keep anything they’re going to enter under wraps so the judges get to see it for the first time when it’s entered. Not everyone agrees (the Scottish Region show their winners to everyone) but, given I’ve always viewed the regional competition as a proving ground for the Nationals, then it makes sense to give our photographers the best possible circumstances to do well! Congratulations to Gail D’Almaine for the winning the overall MPA Central Region Photographer of the Year 2016 as well as the Colin Clark Award (the judge’s favourite on the night.) Gail is great example of someone who has been producing stunning images for years and it’s lovely to see her reap the rewards of her dedication.

Category Winners

Wedding ClassicalGold – Esme RobinsonSilver – Rob PurbrickBronze – David BostockWedding Day & CelebrationGold – Marcus CharterSilver – Esme RobinsonBronze – Marcus CharterWedding Art FashionGold – David BostockSilver – Hoss PhotographyBronze – Hoss PhotographyWedding DetailGold – Marcus CharterSilver – Andy GriffinWedding Ten from OneGold – Marcus CharterSilver – Rob PurbrickBronze – Rob PurbrickPortrait Lifestyle & Location

Gold – Andy GriffinSilver – Andy GriffinBronze – Andy GriffinPortrait ClassicalGold – David CalvertSilver – Andy GriffinBronze – Andy GriffinPortrait FamilyGold – Hoss PhotographySilver – Hoss PhotographyBronze – Rob PurbrickPortrait Under 5sGold – David CalvertSilver – Alexandra LordBronze – Andy GriffinPortrait – Pets & LivestockGold – David CalvertSilver – Gail D’AlmaineBronze – Gail D’AlmaineFashion & BeautyGold – Hoss PhotographySilver – Gail D’AlmaineBronze – Hoss PhotographyFine Art/PictorialGold – Gail D’AlmaineSilver – David CalvertBronze – Phil InglesIndustrial, Architect & CommercialNo winners

Press & PRGold – Gail D’AlmaineSilver – Phil InglesBronze – Phil InglesLandscape & TravelGold – Phil InglesSilver – Gail D’AlmaineBronze – Phil InglesNature & WildlifeGold – Gail D’AlmaineSilver – Gail D’AlmaineBronze – Gail D’AlmaineOpen – Black & WhiteGold – Ian BoichatSilver – Ian BoichatBronze – Ian BoichatOpen – Digital CreativeNo winnersOpen – Newborn BabyGold – Alexandra LordSilver – Jay WatsonBronze – Jay Watson LONDON & ESSEX

THIS YEAR’s regional awards were judged by Peter Ellis who brought his wealth of knowledge to the members in June. A good turnout was treated to an excellent evening of seeing quality work being produced. Overall winner for her stunning dog portrait went to Lilly Brown from Ray Lowe Studios. Lilly also picked up best Maternity, NewBorn, and Family Group. Another big winner was Panikos Hajistilly winning under 5s, Lifestyle & Location, Nature & Wildlife, Landscape & Travel, and Press & PR. Other notable winners were, Scott Johnson winning two Wedding sectors and Fine Art/Pictorial, with Jo Tennant winning Documentary Wedding, Ivan Finch winning Industrial, Phil Ingles winning Advertising

REGIONS

Gail D’Almaine receives her Central regional Photographer of the Year award from Steve Walton, left, and Lee Simpson of sponsors SIM Imaging.

Lilly Brown, winner of the London & Essex Regional awards best print, with her dog portrait and judge Peter Ellis.


and finishing with a complete newcomer Russel Carr (who works for Ray Lowe Studios) winning Best Studio Portrait, with his first ever entry. The biggest surprise of the night was best Fashion & Beauty, Ray Lowe winning with just one image entered “to prove to his staff he can still do it”, as he quipped afterwards.

LONDON PORTRAIT GROUP

August 2nd 2016 – Print critique with Damien Lovegrove.September 6th 2016 – Tom Barnes, Commercial Portraiture. See: www.tombarnes.coOctober 4th 2016 – Todd Lewis, Live from the USA… Marketing Wizard (to be confirmed).November 1st 2016 – Print critique, judge to be announced.December 6th 2016 – Social meeting & overall presentation. Contact: Michael Bird AMPA Chairman London Portrait Group01992 652901

NORTHERN REGION

July 11th 2106 (Monday) – 7.00 pm for 7.30 pm, The Mercure Hotel, Wetherby. Stephanie Thornton and Steve Howdle – Styling your Photography. £5 MPA and BIPP members, £10 non members. www.thorntonandhowdle.com Stephanie Thornton and Steve Howdle FMPA created a highly styled portrait with model Sian on stage at The Photography Show with a unique look – very much a trademark combination of colour, contrast and accessorising. Here is your chance to see Steve create more fabulous portraiture and hear Stephanie talk about the styling side of their work. A superb chance to see a superb team at work, with precision lighting techniques. One not to miss, and our thanks to both Stephanie and Steve for supporting the region with their presentation. Steve and Stephanie's Photography Show presentation featured on page 16 and 17 of Master Photography magazine May/June 2016, we are lucky to be in a position to invite them to demonstrate live for us in Wetherby. Advance bookings not required, payments on the door, arrive early for a drink before we start.

August 3rd 2016 (Wednesday) – Annual Print Competition. The Mercure Hotel, Wetherby. Drinks and social from 6.30 pm. Results to be announced 7.00 pm for 7.30 pm. Print entries will be received at the hotel between 11 am and 1 pm. Judge – Steve Walton FMPA,

Chairman of MPA. Full rules available atfacebook.com/MPANorthernRegion

SCOTTISH REGION

THE NEW CHAIRMAN for the Scottish Region is Martin Leckie, 33B High Street, Inverurie, AB51 3QA. Tel: 01467 672000. This year’s Awards judge and speaker was David P MacDonald FMPA. David talked about his Portrait Photography and how he has marketed his business to become one of the most successful Portrait Studios in the UK (we will be publishing an update on his progress, seven years after our last article, in this magazine in the next issue). Also speaking for the region about Facebook and other social media marketing was 3XM’s Jenny Johnston. The Scottish Region thanks the following sponsors of their annual awards for the generous prizes given, as follows:Sam’s LabCherubs & Cherubs Folio2x £100 vouchers Cherubs & Cherubs folio categories.Icon Publications Ltd Open and Monochrome – each 1 year’s subscription to ƒ2 Cameracraft magazineColorworld20x30" framed print for Portrait Photographer of the YearRenaissance Album for Wedding Photographer of the Year£25 voucher for winner of every categoryLoxley Colour£300 vouchersOne VisionAll 17 Categories20x16" framed 16x12" printThe Print Foundry17 Category winners – £50 voucher each3 Overall Winners – £150 voucher each (Portrait Photographer of the Year, Wedding Photographer of the Year, Overall Photographer of the Year)Scottish Wedding DirectoryComplete Wedding Category – Real Life Wedding Feature 1 night Dinner B&B at One Devonshire Gardens Glasgow2 nights Dinner B&B at 4* Kingsmill Hotel InvernessBest Scottish WeddingsWedding Photographer of the Year – full page advertClassical Wedding Photographer – Real Life Wedding FeatureOverall Photographer of the Year – 1 night Dinner B&B at GleneaglesSmugmug2x top business package worth $360 eachGF Smith

£150 Framing Voucher£150 Album VoucherBaby Prop Shop£150 voucher for Children's CategoryGraphistudioYoung Book to the value of £150

WELSH REGION

THE MPA WELSH Region’s 2016 annual competition was held on Monday June 27th and was judged by MPA President Steve Walton FMPA, who commented

Dinner presentations, top, and trade show at the Scottish awards.


FINDING YOUR REGION ON FACEBOOK

REGIONAL news, discussion and updates can be found on Facebook. To find the main MPA page, type ‘Master Photographers Association’. For re-gions, type ‘The MPA’; for special groups including China, Malaysia, Cherubs, Qualifications, type ‘MPA’ – in each case you’ll get a list of options. Here are the full URLs of active regional UK Facebook pages: https://www.facebook.com/MPA.Central.Region https://www.facebook.com/The-MPA-London-Essex-Region https://www.facebook.com/MPANorthernRegion https://www.facebook.com/The-MPA-Welsh-Region https://www.facebook.com/The-MPA-West-Midlands-Region https://www.facebook.com/The-MPA-Scottish-Region https://www.facebook.com/The-MPA-South-East-Region https://www.facebook.com/The-MPA-South-West-Region

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Online Qualifications Judging

The Master Photographers Association01325 356555Qualificationswww.masterphotographersassociation.co.uk/qualification-dates-2016/July 29thSeptember 30thNovember 25th

For the third time in three years, Ray Lowe has won the converted ‘Image Makers Golf Trophy’ sponsored by Loxley Colour Labs. This year Ray won against 30 photographers from around the UK, which was held at Maylands Golf Club, Romford. Anyone who would like to take part in next year’s tournament in May 2017 just contact [email protected] Photo shows Ray being presented by Graham Brough from Loxley Colour Labs.

that judging had been an extremely tough job due to the very high quality of entries! This year also proved to be one of the best ever for the Welsh region in terms of the number of entries.Open CategoriesBlack and White: Winner – Jason Banbury. Merits: Jason Banbury 2.Creative Post Process: Winner – Lynne Berridge. Merits: Lynne Berridge 1, Jason Banbury 1.Retoucher: Jason Banbury 1 merit. Commercial CategoriesIndustrial, Architectural & Commercial: Winner – Ross Grieve. Merits: Ross Grieve 1, Nathan Williams 3.Fine Art: Winner – Jason Banbury. Merits Jason Banbury 4.Fashion & Beauty: Winner – Jason Banbury. Merits: Jason Banbury 4.Landscape & Travel: Winner – Nick House. Merits: Lynne Berridge 2, Gareth Jones 1.Press & Pr: Merit – Ross Grieve 1.Sports: Winner – Ross Grieve. Merits: Gareth Jones 2, Ross Grieve 2.Overall Commercial Photographer of the Year: Jason Banbury.Wedding CategoriesBridal Image: Winner – Zee Boryczewski. Merit: Zee Boryczewski 1.Wedding Day & Celebration: Winner – Oliver Jones. Merits: Oliver Jones 2, Zee Boryczewski 1.Wedding Group: Merits – Oliver Jones 2, Gareth Jones 1.Overall Wedding Photographer of the Year: Zee Boryczewski.Portrait CategoriesArt & Fashion: Winner – Jason Banbury. Merits: Jason Banbury 3.Under 18 Months: Winner – Jason Banbury. Merits: Collin

Davies 1, Lynne Berridge 1, Jason Banbury 1.Classic Portrait: Winner – Jason Banbury. Merits: Lynne Berridge 2, Collin Davies 1, Jason Banbury 1.Family Portrait: Winner – Paul Hindmarsh. Merits: Lynne Berridge 1, Collin Davies 1, Paul Hindmarsh 1, Jason Banbury 1.Lifestyle & Location: Winner – Jason Banbury. Merits: Jason Banbury 2, Lynne Berridge 1.Newborn: Winner – Lynne Berridge. Merits: Lynne Berridge 3.Pets & Animals: Winner – Jason Banbury. Merits: Jason Banbury, Tracey Clements 1, Sian Perry 2.Under 5 Portrait: Winner – Jason Banbury. Merits: Tracey Clements 1, Jason Banbury 3.Overall Portrait Photographer of the Year – Paul Hindmarsh. 2016 Overall Master Photographer of the Year for the Welsh Region awarded to Jason Banbury.

September 12th 2016 – Model Photo Shoot at Glynhir House (to be confirmed) at Llandybie, near Ammanford in Carmarthenshire. This venue offers great opportunities for both indoor and outdoor photography. We will organise the location and the model, and we will ensure that there is a wide range of equipment and techniques available to try out which perhaps you would not normally have access to. The rest will be up to you! This is not a formal seminar, but an ‘experience and development’ day where we teach to and learn from each other. There will be a charge for this to cover the venue and model hire costs.

Á

Do you have news for us? Just email your latest news and pictures – region, member or colleague in the photo trade – to [email protected]


REWARDING CREATIVE PHOTOGRAPHYƒ2Cmercrƒtƒ2MPA REGIONSCENTRALPaul Wilkinson FMPA6 High StreetHaddenhamBucks HP17 8ER01844 [email protected] EAST MIDLANDSSteve Walton FMPA13 Juniper CloseLeicester Forest EastLeicester LE3 3JX0116 2994901stevewaltonphotography.info LONDON & ESSEXRaymond R Lowe Hon FMPA123 Crossbrook StreetCheshuntHertfordshire EN8 8LY01992 [email protected] NORTHERN REGIONSteven Ramsden LMPA10 Gillingwood RoadClifton MoorYork, North Yorkshire YO30 4ST01904 [email protected] NORTH WESTDavid Thexton LMPAT&J Photographic111 Ramsden StreetBarrow in FurnessCumbria LA14 2BW01229 835 [email protected]

SCOTLANDMartin Leckie LMPA33B High StreetInverurieAB51 3QA01467 [email protected] SOUTH EAST Paul Inskip63 QueenswayBognor RegisWest Sussex PO21 1QL01243 [email protected] SOUTH WESTContact MPA HQ WALESCollin Davies LMPAHigh Society PhotographyCaecarrig House15 Caecarrig RoadPontarddulaisWest Glamorgan SA4 8PB01792 [email protected] WESSEX Anthony Von Roretz LMPA22/24 Trinity StreetSalisburyWiltshire SP1 2BDTelephone: 01722 [email protected] WEST MIDLANDSSteve Walton FMPA13 Juniper CloseLeicester Forest EastLeicester LE3 3JX0116 2994901 stevewaltonphotography.info

You can read ƒ2 Freelance Photographer incorporating Cameracraft on your mobile device or Mac/PC

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Master Photography is available as a PDF edition.

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Master Photography July/August 2016