Professional photographer uk 2011-09

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SEPTEMBER 2011 £4.20FOR PROFESSIONALS, BY PROFESSIONALSWWW.PROFESSIONALPHOTOGRAPHER.CO.UK

PROFESSIONAL SINCE 1982

PPOTYAWARDS

THE UNDERCUTTERS

OUR 2011 COMPETITION IS LAUNCHED!

One picture, £100,000

HOW MUCH?

iPhone 4 weddings... Does opportunity knock?

BEN DUFFY, the 12th man

How to combat Weekend Warriors

WHAT PROS WANT...£1,400 of Bowens

TravelPak tested

THE BIG INTERVIEW

SOFTWARE,GADGETS

& HEROES

COLUMNIST: Middlebrook tells it straight

PP - COVER -SEPT:Layout 1 10/08/2011 13:34 Page 1

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Everything in life changes, includingeditors on magazines. We are all livingand working in an industry that isfounded on change. And certainly forworking photographers we need to look atchange as an opportunity. I am under noillusion that many of you will not be overlyworried that one of the magazines you buy

has a new captain at the wheel, but I do as this is my life, mypassion and represents more than 75 hours per week of my time.

From my point of view, as the new Group Editor of Archant’sImaging titles and Editor of PP, the opportunity is very much toevolve the magazine, to get to know its readers and to build alegacy. From a reader’s perspective, the opportunity is to getinvolved in the magazine and help to shape its future.I genuinely mean that: whether it’s in contributing words andimages, sending in your ideas and thoughts or asking us to lookinto an element of the imaging business that you need answersabout. After all, we are journalists and should act like them!Yes, there are going to be changes in the magazine’s content andlook over the coming months, from new feature ideas to the layoutand design of PP, but I believe the changes will be for the betterfor readers.

THIS MONTHThere are some exciting things going on this month, apartfrom me joining the team, including the launch of ourProfessional Photographer of the Year 2011 competition,a new columnist in the form of Martin Middlebrook andsome rants from working pros about the age-old issue ofWeekend Warriors in the wedding business and dealingwith clients asking for free stuff. In addition, Brian Adams(no, not the rocker) has shot an assignment entirely onan iPhone 4 and in a new feature, What Pros Want,a portrait shooter looks at some rather expensiveBowens lights to see if he can ‘justify’ theexpense. If you are looking for some pureinspiration, check out Ben Duffy's amazingportraits of the world’s sports superstarsin our Big Interview. Another newcolumnist is Selina Maitreya,a US-basedmarketingexpert who hasbeen working withprofessionalphotographers forthe past 30 years.

septemberWe wanna seehow the Yanks do things and if we can learn anything from them.

I hope you enjoy the issue and please feel free to send yourconstructive feedback, feature ideas and pitches, picture stories,thoughts and musings to us here. Have a great month.Adam Scorey, Editor

[email protected]

FRONT COVERI love this shot by Ben Duffyof Rory McIlroy, the 2011 USOpen golf winner. It is perfectfor the cover because of itsfun, yet striking expression.

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NEW PHOTOGRAPHY8 Student PortfolioWe take a look at the winning graduates in the Fresh Faced &Wild Eyed 2011 competition

29Editor’s ChoiceNewPP Editor Adam Scorey chooses his favourite image from the online portfolio section

NEED TO KNOW22Professional Photographer of the Year 2011We launch this year’s PPOTY awards; which categories will you enter?

35 It’s Not All Glitz andGlamourMartin Middlebrook explains the reality of a hard-working pro who will do anything to pay the bills

42 TheUndercuttersWedding photographer Mick Cookson reignites an age-old debate about ‘Weekend Warriors’

48 Stand Your GroundPortrait photographer Craig Fleming explains why the profession needs to get tough

51 TheRight StuffIn the first of a new series, marketing guru Selina Maitreya reveals how to tackle branding and style

55HowMuch?Hollywood A-list photographer Andy Gotts reveals how one image earned £100,000 for charity

56 FrontlineLisa Pritchard, of Lisa Pritchard Agency, discusses the relationship between photographers and agents

58Policing thePressPeter Stevenson examines the world of photojournalists and their dealings with the police

INTERVIEWS & CHATS WITH...60 The 12thManCommercial sports photographer Ben Duffy talks about the journey to the top of his game

70 iDoWe talk to the professional photographers who shot a wedding on an iPhone 4

74 ThroughMyOwnEyesFine-art photographer John Kenny talks to PP about using a large-format camera on a project in Africa

106HeroesIn a variation on our Legend series, Mick Cookson reveals why Bill Brandt is his ultimate idol

NEWS & REVIEWS15 ClickThis month’s line-up of the best news, books and exhibitions

81What ProsWant...We get working ‘togs’ to test the gear they want to buy. This month it’s Bowens’ new Gemini 500R TravelPak

89GadgetsOur pick of this month’s most exciting gizmos and gadgets

90 Imagenomic Portraiture 2Portrait photographer Karl Shaw takes a closer look at a post-production plug-in for Photoshop

103 StopPress...The latest essential news, gossip and kit from the pro world

KEEP IN TOUCH31 FeedbackYour thoughts, your opinions, your page

32PodcastEvery issue we record a free podcast discussing a topic from the world of professional photography

46 SubscribeSave 35% with our latest subscription offer so you never miss an issue

COMPETITION

NEW SERIES

NEW COLUMNIST

NEW COLUMNIST

PP - CONTENTS - SEPT:Layout 1 09/08/2011 16:17 Page 4

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Metroprint: Everything you always liked about Metro, now even better value onlineMetroprint is a simple and fast way to get properly colour-managed photographic prints from desktop to door. With unique features such as supersize mural prints, genuine black

and white resin coated prints and technicians ready to help if and when you need them, Metroprint redefines self-service online printing.www.metro-print.co.uk

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JOHN KENNY

ADAM SCOREY

JESSICA LAMB

REBECCA STEAD KELLY WEECH

MICK COOKSON SELINA MAITREYA

CRAIG FLEMING

BEN DUFFY LISA PRITCHARD

contributors

MARTIN MIDDLEBROOK

ANDY GOTTSKARL SHAW BRIAN ADAMS

PETER STEVENSON

The newGroup Editor of ArchantImaging has eight years’experience editing and 10 years’as a professional photographer.

Jessica is the guardian of ourwebsite, Facebook and Twitterpages, and keeps the readersup-to-date online.

Karl, a portrait and fashionphotographer based in thenorth-east, is only happywhenshooting with his Nikon D3s.

Photographer John has travelledextensively across Africa since2006 and captured images of itsremotest communities.

Manchester-basedMick shootsweddings in the UK. Before thathe owned a production companymaking TV commercials.

Peter has worked in insuranceformore than 30 years and is nowdirector at InFocus, a specialist ininsuring photographers.

American Selina has acted asa consultant to commercialphotographers for 30 years, andis also a lecturer and author.

Brian is a wedding photographerwithmore than 10 years’experience. He lives in Floridabut works all over the world.

Specialising in editorial-styleportraiture and beauty, Craig hasbeen a professional photographerfor the past seven years.

Hollywood A-list portraitphotographer Andy is best knownfor his black-and-white imagesof actors and singers.

Based in theMidlands, Martin isa commercial photojournalistand has been a contributor to PPfor the past two years.

Benwas a sports photographerfor an agency before swappingpress deadlines to specialise incommercial sports images.

Lisa owns Lisa Pritchard Agencyand represents a wide rangeof photographers. Thismonthshe is our Frontline subject.

Simonwas a sub-editor onnewspapers formore than 30years. His knowledgemeansour words are in safe hands.

Art editor Rebecca has five years’of experience inmagazinedesign and has beenwith the PPteam since September 2010.

SIMON REYNOLDS

Like what you see here? Why not check out our sister title, Photography Monthly?The October issue will feature expert tips from the pros to help you shoot in low lightin any situation, as well as the secrets of subtle HDR.

Features assistant Kelly joinedthe team in 2009 and continuesto be passionate aboutall aspects of photography.

PP - Contributors _SEPT:Layout 1 09/08/2011 16:21 Page 7

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The Photographers’ Gallery’s FreshFaced & Wild Eyed competition, nowin its fourth year, showcases theportfolios of students who haverecently graduated from imagingdegree courses. Here we give just ataste with one image from each ofthe 20 winners. Complete portfolioscan be seen at www.photonet.org.uk

PORTFOLIORENHUI ZHAOCourse:MAPhotography,LondonCollegeofCommunication

Zhao’swork isbasedondoubtanduncertainty,throughthehistoryanddevelopmentofwhathecallsthezoologicalgaze, iehowpeopleviewanimals.Hetests theprinciplesbehind thedisseminationofknowledgeandacceptanceof truths.

Herehepresentsaseriesofphotographsshowingleaf insects (partof thephylliidae family)on theirfood/hostplants takenfromthe2009Leaf InsectCompetition inTokyo.Thebestof these leaf insectbreedsareshowneveryyearat thePhylliidaeConvention in thecity,where thespeciesareshownalongwith their foodplantsandowners.Pictured left,Winner, fromTheGreatPretenders.www.zhaorenhui.com wwwcriticalzoologists.org

PP - PORTFOLIO -SEPT 10/08/2011 15:20 Page 8

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ALISPELLESCHICourse:BAVisualCommunications(Photography),BirminghamCityUniversity

Fashion Iconswas inspiredby thenotion thatanyonecanbeafashion icon,andanyonecanbebeautiful.Twopensionerspose in

theirownhomeswearingKlingbyKling’sdesignerclothing.While theoutfitsappear incongruousonthesubjects in theireverydaysurroundings, theyalsobecomethe ‘fashion icons’ofthisphotographer’swork.AlisPelleschi’s interest in

peopleandcharactersinformsher fashionandportraitwork;herwiderbodyofwork includesmanyunusualself-portraitsetups.Pictured left,Usha, fromFashion Icons.www.alispelleschi.com

TEREZAZELENKOVACourse:BAPhotographicArts,UniversityofWestminster

SupremeViceevolved fromthephotographer’s interestin therevivalof theoccultin theWesternworldduring the19thcentury.Theworkconsidersoursusceptibility to irrationalbeliefs thatoftengrowfromthedesire tomakesenseof thenatural(dis)orderof things.However,while thisprojectreflectsonthe19thandearly20thcenturies, theimages invokedeathas theonlyobjective truthofourexistence.Nothing isreal,everything ispermitted,according toZelenkova.Picturedright,CanonDocre, fromSupremeVice.www.terezazelenkova.com


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LUCAGIACOSACourse:BADocumentaryPhotography,UniversityofWales,Newport

“Wolvesarepresences,worries in theshepherds’minds, theireyesare likeglowingembers in thedarkness,”saysLuca. In thepast20years theyhavereturnedto theWesternAlps; thiswasmadepossiblebecausewhilewolves,deer, chamoisandwildpigswerereconquering theAlps, thousandsofmountain-dwellingpeoplewereabandoning theregion for the factoriesandsuburbsof Italiancities.Wolveshavebecomethescapegoat

forproblemsthatafflict theseareas,andcoexistenceseemslikeautopianideal.Theaimof thisproject istoexploreanddocument thebattlebetweennatureandhumans.Picturedabove, thechestnut forests

thatsurroundthevillageofSnive, innorth-west Italy,havebeenusedbyvariouswildanimals tospreadfromvalley tovalley in the last fewdecades.FromPiandelLouv.

IDAARENTOFTCourse:BAFineArtPhotography,GlasgowSchoolofArt

The importantelements in theseriesPassingarearecurringsenseofanabsenceorameretraceofapresence.The imagesresonateastillness,wheresubtleactionshappenandemerge inglimpses.Findingorcreatingspacesof

indeterminacy throughthetimeofyear, thesombreshadesofnight,or theglaring lightof the flash,playimportantrolesandhelp tobuildasenseof timemovingboth forwardsandbackwards.Picturedbelow,Untitled (RedHouse53) fromPassing.www.idaarentoft.com

JUNG-WOOKMOKCourse:BAPhotography,LondonCollegeofCommunication

Theexperienceofbeingunable torevisitdemolishedandredevelopedareasof theSouthKoreancapital,Seoul,wherethephotographergrewup, inspired thisproject.Workingwith footagetakenfromvarioussources,

Moktries toreproducethediversemomentsof ‘explosivedemolition’asasignificantsymboliceventandtransformationof theurbanenvironment.Triggering lostmemories, the intention isnotonly tocapture thewholepassageofdemolition inonepicture,butalso torevisualise theabstract,ambiguouscharacterof thetransfigurationbyusinga longexposure.Picturedbelow,Figure01 fromTheUrbanTopographyResearchproject.

CHIARATOCCICourse:BADocumentaryPhotography,UniversityofWales,Newport

LifeAfterZogandOtherStories isaportraitofAlbania20yearsafter thecollapseofCommunism,as thecountrytries to throwoff itspastandmoveforward. Itportraysanationonthevergeofchange,wanting to join theEuropeanUnion,and longing forwhat isnewandmodern.Tocci visited thenorthernmountains, thecities, schools

andprisons,discoveringanenchantedplace inhabitedbypeoplewho“share the landwith theirancestors’ghosts.”Timeandhistoryoftenseemtohavestoppedabruptly,butblood feudsanddisillusionmentpersist.Picturedabove,Roses,Donika,13 fromLifeAfterZogandOtherStories.www.chiaratocci.com


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YOSHIKAMETANICourse:BAPhotographyandFilm,EdinburghNapierUniversity

Anorganisedcollectionofvisualinformation,PlasticSpoonhasevolved fromfouryearsofbuildingrelationshipswith theresidentsofMuirhouse,Edinburgh,oneof themostdeprivedpublichousingestatesin theUK.Theschemehassufferedhigh

unemploymentratesand issueswithdrugsandviolence. It is locatedontheoutskirtsofacity that–conversely–hasoneof thehighestnumbersofmillionairespercapita in thecountry.Thephotographscapture individuals,landscapes,objectsanddomesticsettings thatcommunicate the feelingof isolation,alienationandasenseofeccentricityspecific toMuirhouse.Picturedabove,Playground fromthePlasticSpoonseries.www.mryoshi.com

KYLEZETOCourse:BAFineArt,CentralSaintMartinsCollegeofArtandDesign

Human imaginationandnaturehave intersected throughoutculturalhistory.FromtheEnglishpoetandartistWilliamBlaketoCanadianpoetBlissCarmanandAmericanwriterandphilosopherHenryDavidThoreau,biologicalsystemshaveprovidedstimuli tohumanfantasy.ForZetoarepresentationofnaturehasavisionprojectedonto it.Anthropomorphismisattributinghumancharacteristics tosomething inhumanorperhaps inanimate.“Nature, tous, isboth thosethings.”Picturedabove,HiveheadfromFolkLogic.

GITTEHOETBJERGCourse:BAFineArtPhotography,GlasgowSchoolofArt

Hoetbjerg’sworkexplores intimacy throughthe fragilebordersbetweendistanceandcloseness.Uncompromising inherapproach,Hoetbjerg tries toengagedirectlywith the intimacyofhersubjects, creatingbothgraphicandmoresubtleimages,hintingat theaffectiveandreflectivenatureofhumanbeings.Picturedabove,Boys fromAShow.www.gittehoetbjerghansen.com

SYLWIAKOWALCZYKCourse:MFAPhotography,EdinburghCollegeofArt

Kowalczyk’sTemporalPortraitsdeveloped inreaction tosociety’sobsessionwithcelebrityand‘identifiable’portraits.Herwork,bycontrast, isnot interested indrawingattention to the individual's identity.The imagesaredeliberately

unaccompaniedbyanameor title,compelling theviewer tocompletethe imagethemselvesas theyareat timesconfrontedwith justa lockofhairat thebackofaneckora fragmentof faceemerging frombehindacurtainofhair.Picturedbelow,Untitled,no9 from

TemporalPortraits.www.sylwiakowalczyk.com


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ELISANOGUERALOPEZCourse:MAPhotography,LondonCollegeofCommunication

Usingelements froman imaginaryhousehold,NogueraLopezplaceshersubjects in thecentreof thephotograph,raisedwithsmall footstoolsas if theyarerestingonplinths.Thecurtainsandupholsterymaterials,usedasabackdrop,flatten the imageandaccentuate theamorphouspositionsadoptedbysitters.

Bypresentingbothanonymouspeopleandunidentifiedpets, the intention is toemphasise theordinarydetails, texturesandshapeswithin the images,andtoabstract therelationshipbetweenthehumanandthedomesticated.Picturedabove,Untitled1, fromPerhapsFinallyAlone.

CAMERONHAYNESCourse:MAPhotography,LondonCollegeofCommunication

Haynesexplores the interplaybetween identityandclassificationwith individualandcollectiveconsciousness,andexamineshowthese informourunderstandingofvisual representation.More interestedin theperceptionof things thanhowthey look in themselves,Haynesusesfoundportraitswhichhemanipulates.

Thesurfaceof thephotograph isrenderedopaque, leavingsmallareasoforiginalcolourexposed inordertohighlight theskinof thesubject,thuscreatingabsurdtaxonomicschemeswhichaimstohighlight theinaccuracyofdatacollectionwhenusedtodefine individuals.Pictured left,YellowishWhite, fromWhat itMeanstoBe.

ANDREWBRUCECourse:BAPhotography,University for theCreativeArts,Farnham

“Wedivide the landscapeandexcludenature fromourday-to-dayexistence;webarelynotice the ‘thud’againstourvehiclewhenweliterallycomeintocontactwithanimals,”saysBruce.

Hisworktakes thismomentofcontact, the ‘roadkill’, as itsstartingpoint.Tender isameditationuponmoralityandourincreasinglydetachedrelationship tonature.There isanambiguity in the title;on theonehand it isabout intimacy,on theother itmakesreferencetopain.Thework ismademethodically,usingan8x10viewcameraandlife-sizeanaloguehandprints.Picturedabove,#01, fromTender.www.brucebruce.co.uk

SONALKANTARIACourse:MAPhotojournalism,UniversityofWestminster

Against thebackdropofan Indiaemergingasamajorplayer inglobalmarkets,millionsofpeoplehavebeen involved inhumantrafficking.Girlsasyoungas10yearsold, frequently fromthepoorestbackgrounds,arebeingkidnappedandsold tobrothels,sometimesby theirownfamilies.

Thisprojectexplores thestoriesofanumberofgirlsandyoungwomenwhohavebeenrescuedfromthebrothelsofMumbaiandnearbyPunetobereintegrated intosocietyand, if appropriate,returnedhome.Theworktouchesonthesocial,economicandcultural issues thataffectcontemporary India.Picturedabove,Arati fromNaseeb:Trafficked.www.sonalkantaria.com

FANCHONHOOCourse:BAPhotography,LondonCollegeofCommunication

Thisworkrespondsto theWillowPatterndevelopedbyEnglishcraftsmen in the late18thcentury.FanChonHoo is interested inhowaforeigncultural formcanbeappropriatedandtranslatedintoanexoticcollectable.Hecreatespaper ‘earthenware’printedincyanotypeandembellishedwith imaginary landscapesshowingorientalarchitecturalstructures found in theUK.FanChonHoowants tochallengecyanotype’sassociationwith the ‘blueprint’byconsidering thequestionoforiginandfluidityofcultures.Pictured left,Article#3,Teacup, fromTheBlueandWhiteCollection.www.fanchonhoo.net


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AMIBARNESCourse:BAPhotography in theArts,SwanseaMetropolitanUniversity

Photographycanbeusedtodocument life;but it canalsoplayarole inshapingexperience. In thisworkBarnesseeks tochallengethetraditional roleof thecameraaspassiveobserverandhighlight itasanactiveagent inpersonalrelationshipswith thosearoundher.TheseriesFirstDates is the

collaborativeresultof relationshipsand interactionswith thepeoplewhoappearalongsideBarnes. It isanexploration incontrol, theexperienceof theself throughanotherandthepotentialof thecameratomergeartandreality.Picturedbelow,Stéphan,avideo

still fromFirstDates.www.amibarnes.com

CLAREHEWITTCourse:BACommercialPhotography,ArtsUniversityCollege,Bournemouth

InBritain the lawrelating toassistedsuicide is inastateofconfusionandhasrecentlybeenthe focusofextensivepublicdebate.Throughproducing theseportraits,and interviewinghersubjects,

Hewitthas tried tomakeamorehumanistic linkbetween individualsandthewiderarguments.Theworkexamineshowcompassionandunderstandingatapersonal level interactwithsociety’smoral, legal,medicalandsociologicalvalues.Picturedabove,RaymondTallis, retiredprofessorofgeriatricmedicine, fromTheValueofLifeandDeath.www.clarehewitt.co.uk

OCHIREYESCourse:BAPhotographicArts,UniversityofWestminster

Reyes’sownbodyandthoughtsare thebasis foracriticalexaminationofsociety’sexpectations todowith identity.Thethoughtsscratchedontoherskinarerelated tonot fitting inandthe feelingofanxietyarising fromthisdisplacement.It isnotonly thismalleabilityof theskin that interestsReyes,but

also the idea thatskinabsorbs information fromtheoutsideworld; itis the interfacebetweentheselfandothers,bothseparatingusandbecomingthephysical linkbetweenourbodies.Picturedabove,27thMay2010, fromRevelations.www.ochireyes.com

SAMANTHAHARVEY&ANNABROOKSCourse:BAGraphicDesignandPhotography,KingstonUniversity

Theethical issuesandparanoiasurrounding the lawonphotographingchildren in today'ssocietyarecontroversialandhavecausedconfusion.Thiscollaborativeprojectquestions thepointatwhichphotographingchildrenwillbecompletely forbidden.Picturedabove,ClassPortrait.www.samantha-harvey.co.ukwww.anna-brooks.com

FreshFaced&WildEyed2011 is thePhotographers’Gallery’sannualcompetitionforrecentgraduates.Entriesweresubmittedonlineand judges thenchosetheworkfor thewebsiteexhibition.Toseemore images inallofthewinningphotographers’portfolios,go tohttp://freshfacedwildeyed.photonet.org.uk/


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©GUYBOURDIN

CharlesJourdanadvertisement,

spring1979.

Bourdin inyourpocketThe work of the influential and often controversial French fashion photographer GuyBourdin is traced in a new pocket-sized hardback. It presents 55 photographs inchronological order, including some of his most famous work as well as previouslyunpublished images. Bourdin worked for French Vogue magazine for more than 30 years,from the mid-1950s to the mid-1980s, shooting campaigns for some of the biggest names infashion. The impact of his imagery, which rejected product shots in favour of a moreatmospheric, often surreal style, is still felt today in both commercial and fine artphotography. Guy Bourdin, by Alison Gingeras, published by Phaidon Press, £7.95,ISBN: 978-0-7148-6258-3. www.phaidon.com

clicknew

s/books/exhibitions

Lichfield in the limelightPatrick Lichfield was known for his iconicimages of public personalities and royalty,and as the Queen’s cousin he enjoyed accessto a glamorous world. A new book covers hiscareer from the 1960s to his death in 2005,and includes more than 300 colour images.A linked exhibition will be held at the ChrisBeetles Gallery, London, in December.www.chrisbeetlesfinephotographs.comPatrick Lichfield: Perceptions, by MartinHarrison, published by Quadrille on3 October, £30, ISBN: 978-184400948-0.www.quadrille.co.uk/books/art-and-travel

A tribute toTimMagnumPhotos is to represent thearchive of the late photojournalist TimHetherington, who was killed byamortar shell in Libya on 20 April thisyear. A vote to accept the Britishphotographer’s work, which includesstill andmoving images from hisfateful trip to Libya, was held atMagnum’s 64th annual meeting inParis. Hetherington was celebratedfor his groundbreaking approach tophotojournalism, which embracedmanymediums, as well as his fearlessstorytelling. His legacy includes the2010 Oscar-nominated film Restrepo,which he filmed while embedded withthe US Army in Afghanistan. To readour interviewwith Hetheringtonfrom the PP’s October 2010 issue, visitwww.professionalphotographer.co.uk.www.magnumphotos.comwww.timhetherington.com

Backto itsrootsHasselblad has been bought byVentizz Capital Fund IV, a privateequity firm based in Switzerland andGermany. Its acquisition brings theSwedish-founded manufacturerback to its European roots aftereight years of ownership by theHong Kong based Shriro Group.

PP - CLICK - SEPT 10/08/2011 10:35 Page 15

AlookonthebrightsideWe know you’ve seen his 1984 image, Afghan Girl, a thousandtimes, but that doesn’t make its impact any less powerful.Steve McCurry, Magnum master and king of colour, is the latestto have an exhibition of work at Chris Beetles Fine Photographsin London. Largely featuring McCurry’s images of India, theexhibition also journeys to places as varied as Bhutan in SouthAsia, Kuwait and Cuba, as well as showing Afghan Girl.A common thread is McCurry’s skill at capturing humanityand strength in the most unlikely of places, from a refugee campin Pakistan to a sandstorm in Rajasthan.Steve McCurry, Chris Beetles Fine Photographs, 3-5Swallow Street, London W1B 4DE, 6-24 September.www.chrisbeetlesfinephotographs.com

SouthAfricanwitnessA touring exhibition in Liverpool is showcasingmorethan 90 images shot in South Africa by Magnumphotographer Ian Berry. Covering the period from1960 to 2004, they document the collapse ofapartheid, the appointment of NelsonMandela asthe country’s first black president, and itsaftermath. The display includes images of theSharpeville massacre in 1960; Berry was the onlyphotographer to document the scene when armedpolice fired on crowds protesting against theapartheid regime, killing around 70 people.Living Apart: Photographs of Apartheid by IanBerry, International SlaveryMuseum, Albert Dock,Liverpool L3 4AX, until 6 November 2011,admission free. www.liverpoolmuseums.org.uk

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Nothingbut theStruthTheWhitechapel Gallery, London,is staging an exhibition of work byGerman art photographerThomas Struth; his first soloshow in the UK for almost 20years. Struth was taught byBernd and Hilla Becher inDüsseldorf, which shaped hisstyle. He began his careercapturing the streets of citiessuch as Düsseldorf, Brussels, London and Naples. In the past three decades he has turnedhis attention to photographing family portraits, technology sites − such as Kennedy SpaceCenter − and places of faith and belief. This is a rare opportunity to see Struth’s workexhibited in the UK. The collection includes large-scale photographs – some up to fourmetres wide – as well as his early black-and-white images of European cities.Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, 77-82Whitechapel HighStreet, London E1 7QX, tickets: £9.50/£7.50 concessions. www.whitechapelgallery.org

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HawaiiSeven-OIf you haven’t had a summerholiday this year, immerseyourself in Waikiki, a new bookby American documentaryphotographer Henry Wessel thatdocuments the sun-soakedHawaiian capital of Honolulu.Shot in the 1970s, the picturesshowcase Wessel’s gift forcapturing shape and formperfectly. Don’t expecttourist-style picture postcardshots; rather a series of subtlemoments, captured beautifully.Waikiki, by Henry Wessel,published by Steidl, £50,ISBN: 978-3-86930-300-0.www.steidlville.com

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Avineromance

Oliviero Toscani, the genius behind the controversial Benetton campaigns (featured in the January issue ofPP) has brought his creativity to the wine trade. The Italian photographer and Tuscan vineyard owner’s OTwine is made from a blend of Syrah, Cabernet Franc and Petit Verdot grape varieties. www.otwine.com

Animpromptupavementdance,Johannesburg ,1961.


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LouisSmith,HuntingdonGymnasticsClub,Cambridgeshire,

March2011,

CanonProSolutionsShow2011It’s back! This year’s Canon Pro Solutions Showwill take place on 25 and 26 October at theBusiness Design Centre in Islington, London. It’s the third year for this show, which is aimed atvideo, still image and broadcast pros, and features the latest Canon products. With theconvergence of still andmoving image having a big impact on the industry, this will continue tobe an important element of the 2011 event. Free seminars by Canon ambassadors andwell-known photographers and filmmakers will take place over the two days and trainedprofessionals will be on hand to inspire visitors. The Professional Photographer teamwill bethere too, so drop by and say hello. Entry to the show is free if you pre-register online atwww.canon.co.uk/prosolutions2011

Raising thebarThe overall winners of the first Bar-TurAward, a prize that recognises new talent inthe photographic world, have been announced.Open to students and graduates of Universityof the Arts London, it has been established inmemory of Ann Lesley Bar-Tur (1947-1984),a talented British artist and alumna of ChelseaCollege of Art and Design. The judging panel,which included portrait photographer PlatonAntoniou, selected Briony Campbell in theAlumni category for her project Eating Dad’sDinner, which she began after her father wasdiagnosed with terminal cancer. Sam Ledgerwas the winner of the student award for hisblack-and-white image 7982619518114.0(pictured). www.barturaward.com

GoingupagearRoad to 2012: Changing Pace is the second exhibition at the National Portrait Gallery,London, in a three-year cycle funded by BT, and documents Britain’s top athletes and theirsupporters, as well as key figures behind the London 2012 Olympic and ParalympicGames. The 37 images on display are by Emma Hardy and Finlay MacKay, the latestphotographers to be commissioned for the project. Subjects include London 2012 chairmanLord Coe, film maker Danny Boyle, who is artistic director of the opening ceremony, andworld triple jump champion Phillips Idowu.Road to 2012: Changing Pace, National Portrait Gallery, St Martin’s Place, LondonWC2 0HE, until 25 September 2011, admission free. www.npg.org.uk/roadto2012

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2011

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To celebrate the talent in the UK’sphotographic community, we are officiallylaunching our Professional Photographer ofthe Year awards for 2011. The response tolast year’s competition was amazing, andwe say a huge thank you to the sponsors,judges and readers for their hard work andcommitment. We’d love to build upon thissuccess and create a competition in whichthe whole industry wants to participate

THROUGH OURWEBSITEWWW.PROFESSIONALPHOTOGRAPHER.CO.UK

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Keeping things simple is often the best wayto handle complex scenarios, and this year’scompetition will be kept as straightforwardas possible. It will be hosted on theProfessional Photographer (PP) website,and each issue of PP, from next month toFebruary 2012, will feature some of thejudges’ favourites that have been uploadedso far. In April 2012 we will host an officialprizegiving ceremony and party for thewinners, judges and sponsors. More onthe party in future issues.The May 2012 issue of PP will include

a PPOTY Special Edition showcasing imagesfrom the winners and runners-up ina 24-page section, including interviews,comments from the judges and images fromthe winners’ party.

THE COMPETITIONThis year we are having 13 categories,with a winner and a runner-up in each.There will then be a final judging toselect the Professional Photographer ofthe Year. To enter just log on towww.professionalphotographer.co.ukand submit your entries in the givencategories. You don’t have to enter allof them; you may pick just the oneswhere you feel strongest. The deadlineis Friday, January 27, 2012.

THE JUDGESPAUL SANDERS has been the Picture Editorof The Times since 2004. As well as beinga keen photographer himself, he is equallyobsessive about cycling, and blogs about itat cyclingdisorder.blogspot.com

BEN DUFFY is an internationally renownedcommercial sports photographer whohas shot just about every A-list sports star.His impressive client list includes adidas,Nike, the Premier League and EA Sports.

ADAM SCOREY is the Group Editor forArchant Imaging and is responsible for theeditorial direction of its portfolio of

photography magazines, websites andsocial media outlets. He was a professionalnewspaper and TV photographer for morethan 10 years.

ANDY GOTTS has been a photographer toHollywood A-list actors, from Brad Pitt toDaniel Radcliffe, for the past21 years, and many have become friends.He is also president of the British Instituteof Professional Photographers (BIPP).

TOM CATCHESIDES is a leading UK weddingphotographer who also does portraits,corporate events and PR work. In 2009 hefounded Light Blue Software, one of thesponsors of the PPOTY awards this year.

OF THE YEAR AWARDS 2011

24

Opposite page: Winner of the ProfessionalPhotographer of the Year title and of the Fashionaward 2010, Arseniy Semyonov.Right: Winner of the Editorial award 2010,Rebecca Litchfield. Below: Winner of theAdvertising award 2010, Tim Wallace.


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OF THE YEAR AWARDS 2011

THE CATEGORIESWe have 13 categories for photographers toenter and the titles are generic to encourageas many as possible to take part. There willbe a winner and runner-up in each category,plus Best Portfolio winner and theProfessional Photographer of the Year title.You may enter as many categories as youlike but are limited to one image in each,with the exception of the Portfolio Award.

1. HIGH FASHION – from a head shot toa full length, we want to see imagesoozing style

2. STREET PHOTOGRAPHY – raw, candid,colour or mono, a visual comment

3. THEWILDWORLD – show MotherNature’s true character

4. COMMERCIAL CLIENTS – from abstractarchitecture to industrial Britain

5. IN THE STUDIO – show us your masteryof light

6. ON LOCATION – from gritty urban scenesto polished city portraits, we want to seeyou show skill at using the surroundingsto enhance your image

7. SPORTING ACTION – show us yourperfect timing, amazing lens control andhow you capture the passion

8. REPORTAGEWEDDINGS – are you thenext Jeff Ascough?

9. STILL LIFE – let the judges see yourcontrol of lens choice, depth of fieldand composition

10. STUDENT OF THE YEAR – an opencategory for anyone in full-time educationstudying a photographic discipline

11. EDITORIAL/NEWS – from hard to soft,show us your skills at interpreting a briefand responding to events as they unfold

12. BREAKING THE MOULD – another opencategory for everything weird, wacky andavant-garde – have some fun!

13. THE PORTFOLIO AWARD – this goes tothe photographer with what the judgesconsider the strongest overall portfolioof three images. The category andsubject matter are open, and weencourage you to submit new imagesfrom one or more shoots

WHAT DO YOU WIN?We would like to think that becomingProfessional Photographer of the Year 2011,or a category or Portfolio winner, are strongenough reasons for entering. Yes, there willbe an exclusive winners’ party with sponsorsand judges, plus magazine staff, but we alsofeel that you need to get something a bitextra. So, each winner will receive anexclusive logo to promote themselves to theindustry and to their clients, which can thenbe used to help market themselves throughwebsites, stationery and business cards,as a mark of distinction and a sign of quality.In addition, there will be a section createdon the PP website profiling the PPOTYwinners, using this logo as a reference point,so potential clients can visit and discovertheir awardwinning photographer.This would be used as a click-throughfrom the winners’ websites back to thePP website. PP

Opposite page: Winner of the Travel award2010, Paul Thurlow. Above: Winner of theWeddings/Social Reportage award 2010,Sacha Miller. Right: Winner of the ContemporaryArt award 2010, Sergey Lekomtsev.

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You may think I pickedthis shot because it’s ofan attractive woman in askin-tight wetsuit. Partly.But on closer inspectionyou can see the craftingof the light, the subtletyand balance Chris hasused that shows a realunderstanding of lighting- I particularly like the rimlights. There are multiplelights in use against thedark wetsuit with acontrasting face andswimming cap. It’s tricky,exposure-wise, but whatI like about it, more thananything, is its simplicityand its symmetry.The lighting reallyenhances the subject,rather than overpoweringit. Very nice.

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Dear Professional Photographer,I read with interest your article‘Call it WhateverYou Want butDon’t Call it Art’ in ProfessionalPhotographer (June 2011).This subject has absorbed me forsome time, and I discussed it inmy 2008 book PhotographicComposition. Basically I thinksome photography IS art, but a lotis not. Even some ‘art’ is not art!To make progress I think you needa definition against which tomeasure. In my case I use creativity(essential) plus craftsmanship (withsome flexibility) plus emotionalresponse (essential). I findthis quite reliable – for pictures,sculpture, music etc. I have no timefor photography which just apespainting, or some of the morevacuous ‘arty’ work. But I do liketo be moved by a photograph, be itreportage, abstract or avant-garde.I feel we are a bit stuck in thisformulaic ‘contemporary’ phase ofconceptual constructions and blankface. As I said in my earlier letter(PP, December 2010) what we needis not snob photography, but goodphotography. This applies to allgenres, including the commercial.GeoffRoe,via letter

Dear Geoff,I understand your point fully; whatdo we call our pictures now –images or photographs? Technicallythey are not photographs... Perhapswith a more formal definition, thistransitional phase we are all in andcoming to terms with may be easierto understand/handle. However, Ido think we all need to keep anopen mind and treat everything we

see as ‘art’, mainly as each imagethat we take and see needs someform of interpretation. The oldcliché can be brought into play herein that the beauty (or otherwise) isvery much in the eye of thebeholder. For me, I’d rather havesome form of response than apathy.Apathy is a nasty, horrid thing andcreates what I call ‘holes’.Some form of response allows usto learn and, ultimately, grow.Personally, I’d love photography

to become ‘cool’ again – if I canuse that word. But this would meanwe may need ‘leaders’ or icons tohelp show us the ‘way’ – a Banksyor Jamie Oliver type. The biggestproblem I can see, other than thesheer volume of people shootingnow – and what they’re shooting on– is that ‘cool’ is as cyclical as thefashion industry. Does photographylead art or visa versa? Or, as Isuspect, is it that events to whichwe as photographers respond reallydictate things?I guess we now also have to bring

in technology as part of the process;new developments (from camerasensors to Speedlights) andsoftware can massively affect ourinspiration and what we can now dowith our creative juices.A point I feel strongly about, and

one you have mentioned, is that ofthe importance of craftsmanship.I think this is an essentialingredient that should be fosteredand grown in all of us. I lovetechnology, gear and gadgets, butit should be up to the photographerhow best to employ all of them.AdamScorey,GroupEditor,Archant Imaging

tell us what you think via Twitter @prophotomag or Facebook Pro Photo Magor by email [email protected]

feedbackPRO PHOTO [email protected]

@prophotomag

�

Some nice interviews in latest@prophotomag Kalvar, Mollica,Hansen and Georgiou all#Goodstuff. @lensgrunt

Praise from @peterdench forPress & Editorial Photographygraduates’ London show in Aug’s@prophotomag p35 – “work isgood and democratic”.@UCFalmouth

@prophotomag I’m interested tosee what the next mag will be like,

since some of regular contributorswill no longer be in it.@jamiewillmott

@prophotomag question: ifeveryone’s practically leaving themag as said in this month’s issue,what’s to look forward to nextmonth? @jamamini

@jamamini Still plenty to lookforward to in the next issue. Thephilosophy of the magazine willremain the same: by pros, for pros.@prophotomag PP

Dear Professional Photographer,I just wanted to say another bigthank you to ProfessionalPhotographer magazine forselectingme as a winner of theShoot the Catwalk Competitionearlier this year. Are you guysplanning another FW comp?(I'd love the opportunity to shootNY FashionWeek!)MargaretYescombe

Dear Professional Photographer,Love themag, even better when Iget a picture printed in thePortfolio section. Thanks. Greatissue this month.PaulThurlow

Dear Professional Photographer,Excellent read, but I amstarting tothink I am theonly photographerdoing construction and civilengineering. I would like to seemore variedwork, other thanfashion,weddings; theremust be

loads of photographers specialisingin unusual types ofwork out there.TimShaw

Dear Professional Photographer,Great magazine, have beensubscribing for a few years,always something new.GeorgeDavies

Dear Professional Photographer,Excellent magazine. Great to seefellow photographers’ work,techniques and experiences.AlastairBell

Dear Professional Photographer,Who is the new Editor of theProfessional Photographer Mag?MariaDragan

Dear Maria,The new Editor of ProfessionalPhotographer is Adam Scorey.ProPhotoMag

{ }PP - FEEDBACK - SEPT 09/08/2011 16:15 Page 31

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THIS MONTH’S PODCASTSeptember 2011 IssueNEW PPOTY AWARDS LAUNCHEDNew PP Editor and Imaging Group EditorAdam Scorey is joined by Jeff Meyer, who hasjust taken over at the helm of our sister title,Photography Monthly, to discuss theProfessional Photographer of the Year 2011Awards and the latest developments in theworld of photography.

AND THOSE YOU MAY HAVE MISSED…August 2011 IssueHIT THE STREETSThe previous PP Editor, Grant Scott, and hisdeputy editor, Eleanor O’Kane, discussthe renaissance of street photography withphotojournalist Peter Dench. He explains hispassion for this type of work and talks aboutphotographers who have influenced andinspired him. They are joined by editorialphotographer and PP podcast fan Chris Floyd,who shares his thoughts on the subject.

July 2011 IssueHOWMUCH IS YOUR BOOKSHELF WORTH?The podcast contributors talk about collectingphotography books. They examine why somebooks have not only held their price butdramatically increased in value while others havebeen relegated to the dusty shelf of obscurity.Long-time photo book collector Grant Scottexplains his passion and the discussion turns tothe ways of spotting a good investment.

June 2011 IssueTHE BEST OF BRITISH PHOTOGRAPHYThe podcast discussion this month revolvesaround the Best of British list published in thePP June issue. The team look at some of thegreat names of British photography through thedecades, stand up for their own personalfavourites and ask why some periods have seena proliferation of great British photographers.If you feel a photographer who deserved to beincluded has been left out drop us an email atfeedback@ professionalphotographer.co.uk

May 2011 IssueCONVERGENCE AND THE FUTUREOF PHOTOGRAPHYThe impact of HD DSLR film making on theworld of professional photography is the podcasttopic this month. With many stills photographersnow being asked to shoot video, the debatefocuses on problem areas such as narrative,sound and editing, and how stills photographersare reacting to this new world.

April 2011 IssueGETTING YOUR WORK EXHIBITEDThe podcast contributors discuss the worldof exhibitions. As curator and exhibitorrespectively, Grant Scott and Peter Dench sharetheir experiences and look at the wider benefitsof making an exhibition of yourself.

You can subscribe for free and download thepodcasts from iTunes by typing professionalphotographer into the search tab or listen viawww.professionalphotographer.co.uk. PP

WAVELENGTHEvery month we record a free-to-download podcast in which we discuss, debate and talkaround a subject featured in the magazine. We post them on our website and you can subscribefor free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online

ON YOUR

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PP - Podcast - SEPT 10/08/2011 10:55 Page 32

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This year I havephotographed a door anda fireplace, a skin careconference and a mandressed as a banana –oh, and one dressed as astrawberry. I have also

exhibited at the British Museum and amlaying out a book on my Afghanistan project.I have redesigned my website and written

10 articles, and I also work as a consultantto an advertising agency. I took myself off toMumbai to gather images that might formpart of a new humanitarian project, butthat are presently just being used to fill thepages of articles I have to write.It’s not all glitz and glamour, not everyone

is Nick Knight or Rankin, so most of us grabwhat we can to fulfil our lives creatively and topay the mortgage. This is our reality. So my gripe,

my bitch, is this: it’s not how it used to be.Hell, what am I saying? I don’t really rememberhow it used to be, but they tell me it was splendidand fine – how lovely!

WHERE’S THE CASH?There are too many photographers and too fewbudgets; the maths are simple, and so you haveto think a little laterally about how you mightcontinue to make a living. Everyone says you

MMIIDDDDLLEEBBRROOOOKKIT’S NOT ALL GLITZ...

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Straight-talking pro MARTIN MIDDLEBROOK asks us to sympathise with the unglamorous reality of hard-working pros who will do any assignment to pay the bills, but then blows it

with talk of basking in the heat of the south of France enjoying a large beer for lunch

PP - MARTIN MIDDLEBROOK - Sept 10/08/2011 10:41 Page 35

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need a website, so you do that. But it’s notenough. Get a blog and a Facebook page too,but you probably need to sell the kids to producethat vanity coffee table book – a giveaway thatwill bring you no work, but massage yoursensitive soul. You had better get your headaround convergence as well, it’s coming for sure,they keep telling you; so HD is your latestupgrade, and Final Cut Pro.

However, you are spread too thinly, you can’tdo any of it well – some of it you can’t do at all– and all the time, what you get paid for this workis tumbling out of control because some upstartis offering to photograph weddings for £150.You can’t compete with that, what with themortgage and the camera upgrade you have justtaken, and your legal obligation to feed the kidsand not use them as collateral against yourmisguided investments. As circles go, it’sbecoming harder to square.

It gets harder, too, to remind ourselves whywe do this; that old creativity chestnut looksa little worn out when you are photographinga man dressed as a banana and, if I am honest,the fireplace shoot didn’t rock my boat.

FOLLIESThe wonder of the human condition is theunquenchable desire to put yourself through itall, again and again, even though common sensesays you are just stabbing yourself in the eye.So I am off to Provence to continue a personalproject on bullfighting that I began about sixyears ago. Another self-financed folly thatwill swell my portfolio and make me feel goodfor a while, but won’t bring me the adulation ofSebastião Salgado, just an infected mosquito bite.

BUGGERED IF I KNOWSo why do we do it? Why do we still have faith init all? Why do we risk so much, often for so little?Well, I’m buggered if I know, but I think it’ssomething to do with not really wanting a properjob. We insist that nothing will kill our ‘verybeing’ more swiftly and efficiently than aharassed daily commute and a tyrannical boss;we believe that somehow our skills should provideus with a life outside of that little loop, thatwe deserve it, that we are somehow superiorpeople – but, of course, we are not!

We couldn’t hack corporate life if we tried, sowe capitulate and swim like swans; all grace andsplendid beauty above the surface, but a frantic,negligent paddle below. And I should know, I havebeen eking out that little parody for longer thanI can remember, always on the edge of glory,or an abyss. The worst part is this: every timeI think I can’t do it any more, something amazingdrops from the sky like candy and somehow

Abovetoptobottom:Mandressedasabananawithhissidekick;Bullfighting inProvence fromMartin’spersonalproject.Previouspage:Photographingpaintdrying.

MMIIDDDDLLEEBBRROOOOKK

“The equation is as follows: Banana suit + foreign travel + skin care + social media (yawn) + no daily commute + earning just enough to live = A damn happy life!”

Martin Middlebrook

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hoodwinks me into another 12 months ofscratching and searching. “What an idiot,” I say to myself, but my alter ego responds instantly:“What else are you going to do, thicko?”

HAMSTERSSo resignation has become my future and withinthe constraints of that depressing parameter Iconcentrate on every positive I can find. I try veryhard to turn them into money from which I caninvest more of my future in hope and opportunity– oh, and uncertainty. So the circle of lifecontinues. I don’t suppose we are very differentfrom those corporate hamsters turning thatendless wheel of ‘permanent and pensionable’.

I have always broken down my work intovarious parts: the bits I love that make me feelgood and provide a little prestige, the work that I have to do to pay the bills, and the fun thatfills the holes but pays nothing at all. The sum of these parts usually suffices and some years I am blissfully happy; I’ve learnt to accept theswings and roundabouts because some days I amon a rocket ship to the stars.

I can photograph architecture, PR and events,studio and weddings, photojournalism and abstract concepts – the bases are allcovered, there is nothing at which I would turn

up my nose. I have taught myself to shoot it all because when you live in a tiny provincialmarket, which is where many of us work, youdon’t have the privilege of picking and choosingyour speciality, you are the jack of all trades, it’s how you survive. Somehow, I taught myself to write about it all as well and my musings keep me going too, which is why I find myself here, at 11.22am on Monday 4 July, committing 2,000words on the reality of being a professionalphotographer in these most testing of times. So my week holds the following:

Monday and Tuesday: Finish this article, supplyappropriate images.

Wednesday: Shoot concept images for anadvertising agency pitch. It’s unpaid work, but holds the promise of winning thephotographic account when the eagle has landed, which it surely will – I tell myself!

Thursday: My agency day and I consult on thisand that. A weekly pay packet, but no concessionto employment – I tell myself.

Friday: A heads-down day trying to attract newbusiness – sell, sell, sell!

FEAST OR FAMINESo in this given week I have several days’ paidwork, but the rest is activity that I hope leads tofame and fortune and a pocketful of bookings.The reality is that most weeks are like this; who am I kidding? All weeks are like this! It’s always feast or famine, never a steady flow of pleasing commissions or exciting projects thatlight my fire. When you get that call asking if you can photograph a door, a window, a fireplace and some coving, you feign gushingexcitement; it’s the job you have always dreamedof. “Oh God, thank you for the chance. Let me buy that plasterboard and magnolia – the set willbe ready in the blink of an eye.” The regret is almost immediate as you realise your living roomis going to look like B&Q for the next threeweeks and you spend every last second telling thekids not to touch anything.

The skin care conference wasn’t too peachyeither. Photographing a variety of professors ofdermatology describing in graphic detail various skin conditions that would make the ElephantMan look a picture of health is not a careerhighlight, but it was a classic example of howthings have changed. In addition to photographingthe conference, I was asked to bring studio lightsand backdrops to photograph 40 staff members

Three shoots for the price of one: Product photography from the skin care conference.

“Photographing a variety ofprofessors of dermatologydescribing in graphic detail variousskin conditions that would makethe Elephant Man look a picture ofhealth is not a career highlight...”Martin Middlebrook


UCLan launches UK’s first Travel Photography Masters degree

The University of Central Lancashire (UCLan) has launched the UK’s first ever Masters in travel photography.

The postgraduate programme is specifically for travel photographers, aimed at both professional and experienced amateurs, and includes the option of industry placements and experience with charities and other not-for-profit organisations.

The field-based course enables participants to spend 12 days on an international residential working with indigenous people. Proposed visits include workshops with Nairobian photographers and conservationists in National Parks in Kenya.

Course leader Steve Speed commented: “This course isn’t about learning to take great

holiday snaps or photographs for budget holiday brochures, it’s about being able to tell a story and capture the experiences of a particular place. It will enable practitioners to develop their skills in this niche area.”

The full and part-time course has been established on the back of UCLan’s already successful MA Photography degree that has allowed recent students to shoot in Istanbul, Kenya and Zambia through collaborative projects across the University.

Recent graduate, Carl O’Keeffe, has shot in Zambia as part of advocacy work for Non-Government Organisation, Sport in Action,

and fellow graduate Antoni Georgiev has produced a portfolio of work about the Maasai tribe in Kenya.

Carl O’Keeffe commented: “My photography has come on more during this course than at any other time. The opportunity to travel to Zambia and photograph in a situation that I could treat as a professional assignment has made so much difference to my aim, resolve and my photography.”

Anyone interested in the MA Travel Photography should email Steve Speed: [email protected] or call 01772 892400.

Photos by: Antoni Georgiev (MA Photography)

40


and carry out product photography at the sametime. It was effectively three shoots in one for thesame bargain price. It’s a form of theft when youthink about it; each additional element rearedits irritating head after the price had been agreed – theft by stealth. What are we to do? How to see it all?Well, I see it this way: all these things are the

parts that make up the sum, and the sum is that I go to Provence in a couple of weeks and indulgemy photojournalism whimsy in 35°C heat anddrink a grande pression for lunch, thanking mylucky stars that I don’t have to go to work for aliving. Heaven I tell you, heaven!

CONSTANT REINVENTIONI wrote 12 months ago that each year I make myliving in different, undreamt of ways. It willcontinue this way; each year it evolves and if I sit around thinking about it for too long, I willbecome coal. It’s an annoying but immutabletruth, so I presume that next year the bulk of my income will come from different sources once again. Sometimes this constant reinvention,

this endless self-development, drives me crazy; I do get a little weary of it all. But then I considerthe following: while many of my friends havebeen commuting up and down the M5 these past two years, I have been to Afghanistan threetimes, exhibited several times in London, beenpublished across many magazines, financed tripsto India, France and the US and probably onlyworked about half the year. It’s hard to gripe whenyou look at it like that.

REALITYThe reality of a professional photographer haschanged greatly over the past few years and for many of us has become a huge challenge.However, I am never going to walk away from this reality, but merely embrace and growwith it – what else can I do? I used to buy LPs that I would then record on to tape. Then CDscame along, at which point I negligently sold my record collection. I built my CD collection, whichis now stored in my loft and I have boughtnothing but downloads for the past six years.Soon all this will change again, I suppose, and

I will just have music streamed to me on demand. I did recently get drunk at a friend’s house and we played Joni Mitchell’s Blue album on LP andagreed that the sound was three-dimensional and amazing. But, of course, when I get on my flight to France my entire record collection willbe coming with me as zeros and ones – somethingyou can’t do with LPs. Each of us digital converts– and that’s all of us – are equally as responsiblefor our new reality as the bloke who will shootthat wedding for £150.

EQUATIONSIf the sum of the parts means that we have anexperiential existence, I will take that every time,thank you. None of us remembers the dull times, but we do remember the highlights, andbeing a photographer there are plenty of thosealong the way. The equation is as follows: Bananasuit + foreign travel + skin care + social media(yawn) + no daily commute + earning just enoughto live = A damn happy life!

www.martinmiddlebrook.com

PP

NEXT MONTH - MARTIN MIDDLEBROOK REPORTS BACK ON HIS TRIP TO PROVENCE, WHERE HE CONTINUED HIS BULLFIGHTING PROJECT

One of the highs of being aprofessional photographer:Martin’s image of a markettrader in Mumbai; collectedas part of a plannedhumanitarian project.


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42

INSIDER{ }

THE WEEKEND WARRIORRight, I’ll get it off my chest from the start.The problem with the wedding photographyindustry is that it’s unregulated, with no officialqualifying requirements and no decent governingbody overseeing everything – in my opinion.We have the SWPP (a society), the RPS (anothersociety), the MPA (an association) and theBIPP (an institute), which all offer ‘qualifying’levels for photographers. But let’s be honest,having letters after one’s name means more toa photographer’s ego than to a budget-consciousbride – and before anyone starts moaning, I wasoriginally an LBIPP, but deliberately allowedmy membership to the institute to lapse (for aspecific reason).So, with no official body regulating the

industry, enter the ‘Weekend Warrior’ – those whostill have the security (and salary) of a full- orpart-time job through the week. These ‘WeekendWarriors’ (WWs) are the archetypal buddingpro. Normally they are no more than keenamateurs with a good eye and a few lenses– though there are exceptions on both counts –who are ‘knocking out’ weddings on the cheapat weekends. Anybody with a decent cameracan produce professional-looking results, or sothe advertising hype would have us believe.Yeah, right. Just buying a Canon EOS 5D Mk IIkit doesn’t make you Jeff Ascough or JoeBuissink overnight. It doesn’t even make youMick Cookson!

BACKUPThe WW shoots with little or no backup kit andlimited or no insurance – you are fully insuredfor public liability and have professionalindemnity policies in place, right? Oh, and youare declaring everything to HMRC, aren’t you?I know a certain WW who claims he has 23weddings booked in this year at around 500 quida pop. That’s decent money on top of a salary.

UNDERMINERightly or wrongly these people exist; they alwayshave done, it’s just more obvious now that theindustry has ‘gone digital’. By undercutting aworking pro’s fees, because they can afford to, andundermining all their years of experience, skilland professionalism, theseWWs are both annoyingand damaging to many.Admittedly, they do servea market; there are brides with only £300 in theirbudget who just want some images on disc for theirphone and Facebook page, who are not botheredabout contemporary images and styles so wouldnever contact the full-time professional anyway.So are theWWs a good or a bad thing for theindustry? Personally (here we go) I think they’re abad thing.We need proper regulations and a code ofconduct to work to (cue email complaints).

MICK COOKSON is possibly about to upset a few people, or at least reignite an age-olddebate, but he asks some serious questions of wedding photographers and then offerssome possible answers

UNDERCUTTERSMy name is Mick Cookson. I’m a professionalwedding photographer based in north-westEngland. It has taken a good three yearsof solid, hard graft to get my businessestablished… and I still work full-time onkeeping it that way. After a 15-year careerin TV commercials, running my ownproduction company as director/producer,I decided to pack it in and go back to my firstlove: shooting weddings for a living.For me, it has been the perfect career move;well, most of the time.

The

Leftandright:Few‘WeekendWarriors’producetheconsistently top-qualityworkthatagoodprohas todo.Whatever themood,whatever theweather,agoodprowillproducethegoods,day in,dayout.

PP - COOKSON WEDDING RANT - Sept 09/08/2011 11:58 Page 42

81


IS OKAY ENOUGH?I had an electrician phone me recently, askingif I could train him to become a weddingphotographer because he wanted to “earn a fewquid”. I asked if he would mind me rewiringhouses, unqualified and undercutting his pricesat weekends, for a few extra quid. The phone wentquiet... then he said, “Hmm, I see what youmean” and promptly hung up. It’s exactly thisshoot ’n’ burn attitude that is slowly destroyingthe wedding photography industry.The advent of digital technology makes

everyone a photographer these days. I have hadpeople at weddings show me their images oniPhones and tell me they’re just as good – if notbetter – than mine! So, faced with this mentality,we pros have to look seriously at ourselves and upour game. Let me say again: I appreciate that thereare some really good part-timers out there who, forwhatever reason, cannot make the jump to being

a full-time pro. To them I say: if you are good, stopdevaluing the industry and charge accordingly soas not to piss off your full-time colleagues and putus out of business.To the others who don’t seem to care and are

happy in Program mode with their £300 shoot ’n’burn weddings, you’re welcome to them; you arenot professionals.

WHAT DO WE DO ABOUT IT?Does this parasitic behaviour worry you?Are these types undermining your professionalstandards, undercutting your prices and takingbusiness away from you? If the answer is yeslet me tell you how I deal with it.

MAN IN THE MIRRORYou need to look carefully at yourself and whatyou offer, and then compare it to what the WWsproduce. Is there a noticeable difference in quality

DEGREES OFSEPARATIONMost wedding prosshoot Canon or Nikon.I’m a dedicated Nikonfan, with a D3 andtwo D700 cameras.No D3100s or D50shere – I’d break themin a month. The proNikons naturally suitthe way I work, andmy workflow isspecifically gearedaround these camerasfor efficiency.My latest acquisition

is the new 35mmf/1.4G lens. It gives methe edge in (no-flash)low-light shooting andfor my naturaldocumentary style ofphotography. It joinsmy 24mm f/1.4G,50mm f/1.4G and85mm f/1.4G lensesto make an arsenalof low-light glass,something that theWeekend Warrior(generally) doesn’thave or use alongsidetheir kit zoom, orcheap, all-round zoomlens and flashcombination. My workis worth the feesI charge as a result– probably more.But the key thing is,I know how to get themost from my kit;I know what f/1.4looks like and whenand when not to use it.These are tools,nothing more, nothingless, but tools thatI love.

Above:Professionalglasssets theproweddingphotographerapartfromthe ‘WeekendWarrior’.Nocheap,all-roundkit zoomscanproduce imageslike this.

44


45

between your work and the WWs’? There shouldbe; if not, that is another discussion. Then, moveaway from the same market as them and up yourgame. Obviously, be better than they are anddon’t go for the same clients. Easier said thandone, perhaps, but there is little point in offeringMercedes-level quality in a market wantinggarage shed bargains.

A NEW MENUWe are all different as photographers, so maybeit’s time you looked at your photographic style,wedding albums and services offered. Are they upto date? Or are they a bit dog-eared and tired?Do you offer traditional and digital albums to giveclients a choice? What about iPads loadedwith wedding images or free engagement shoots?Do you read bridal and fashion magazines,looking at the current vogues in photographyand adapting them into your shoots?

I’m not a big fan of the low-fidelity ‘retro’ lookthat everyone’s shooting at the moment; buteveryone is shooting it. Why? Brides love it, that’swhy; it’s what they want because they’ve seen it inthe same magazines – they want to look like thatand they’re paying the bill, after all. I offer it as anoption and it works.

Do you keep your website and blog up to date?(You do have a blog, don’t you?) Do you have aFacebook page or put your latest shoots onTwitter? Try new lenses and post-productiontechniques (to speed up your workflow) and stayahead of the WWs. You need to get your productabove that of the WWs, and noticeably so.You don’t need their clientele anyway... do you?If you do, you’re not much better than a WeekendWarrior yourself. So what do you spend the restof your week actually doing?

http://mickcookson.com

PP

Above:Yougetwhatyoupay for.Agoodproweddingphotographer

earns their fee.Theyworkhardtocopewithanyadversity tokeepthedayrolling,so thebrideand

groomare leftwithbeautifulimages for theiralbum–their

latest familyheirloom.

DO MICK’S OPINIONSRESONATE WITH YOU?

WOULD YOU LIKE TO HAVEYOUR SAY? CONTACT US AT

[email protected]

OR GO TO OUR WEBSITEWWW.PROFESSIONAL

PHOTOGRAPHER.CO.UK

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48

ow, I’ve never been a fan ofeconomic troughs, but I’ve alwayssaid that, like a forest fire, theydo serve a purpose: killing off

dead wood and allowing new growth.Indeed, if you can survive a downturn,you’re in a good position to come outthe other side. That said, in recent monthsI’ve observed an alarming trend:increasingly, existing and new clients areasking me to shoot for them for free.Yes, free! This is often preceded by theclaim of: “We’re on a budget.” Now, unlessyou’ve recently won the lottery, we cansafely assume that we’re all on a budgetof some kind or another.

A LITTLE STRAINEDI have a client for whom I’ve been doing regularcommissions over the past two years. A goodclient they are too, giving me the opportunity toshoot household names and to get paid for itat the same time. However, over the past sixmonths things have become a little strained.Two instances have given me cause for concern.Firstly, I was asked to remove from my

website all the portraits I had shot for the client– an odd request given that these were publicityshots, images that were seen all over the weband in the local and national press. Quite whythe images on my website were deemed sooffensive, I’m not sure. It’s a difficult place tobe; on the one hand you don’t want to lose whatis essentially a good client, but on the other youhave to show off your best work. I decided tochallenge my client and refused point-blank toremove the images!Secondly, I was told it wasn’t the client

who had a problem with the images, but theartists’ management. Fine, so I emailed the

artists’ agents; with one exception they werehappy for me to use the images and everyonesaid they loved the photos. Result.A month later I was shooting for the client

again, with a further booking for the followingweek, which led me to believe I had been rightto stand my ground. I’ve never discovered thetruth about why they wanted me to remove thoseimages, but I suspect it was down to somemiddle management type who feared their worldmight collapse if, God forbid, anyone other thanthemselves had any good publicity out of them.

AND AGAIN…A few weeks on and an email landed in myin-box from the same client. In the subject boxwas the heading, “I know this is cheeky, but...”Basically, they wanted me to shoot a gala dinnerbut, because they were “on a budget”, askedif it would be possible for me to shoot it forfree. Yes... that is bloody cheeky. Now if you’renot sitting down right now I suggest you do sobecause not only did they want me to shootit for free, they wanted me to hand over the filesso they could sell them afterwards.

That isn’t just cheeky, it’s downrightoffensive. I immediately declined their generousoffer in a short email. I could have made myresponse even shorter – two words to be exact– but as straight-talking as I am, I resistedthe urge.This is a problem that seems to becoming

more frequent. A couple of other photographersI know have had the same type of request and itis difficult to know what to do, especially whenit’s an existing client with whom you havepreviously had a good working relationship.Something else that is becoming more apparent

is the ‘carrot dangling’ request: “If you do thisone job for free there’ll be loads of work coming

your way, guaranteed...” Hmm. Again, I think I’lldecline if it’s all the same with you.

STAND YOUR GROUNDThe only way we as photographers can stopthings like this happening is by all standing ourground. I’m not saying it’s easy to turn downcommissions, but at the end of the day we allwork for one reason alone, and that is to get paid.I love my job, I’m passionate about

photography, but I’m just not prepared to letclients walk all over me. Whenever requests likethis come in I always offer to go and see them todiscuss the options; the first of those optionsbeing paying me. It’s harder for people to askyou to work for no payment when you’re sittingin front of them.

VALUE YOUR WORKPutting a specific value on your own work can betricky, but I put in the time and effort on every jobI do, so I know I’m worth my rate. I don’t imaginethat if you walked into a Porsche dealer with £200they would let you drive out with a new 911.The reason for that is simple: it’s not enough tobuy one. The same thing applies to my work.My rate is set to allow a little discount here andthere, but I certainly will not be giving away mywork cheaply – and definitely not for free. PP

STAND YOUR GROUNDIt’s a fact that since the dawn of digital, the perceived value of our work has, in otherpeople’s eyes, reduced dramatically. Combine this with a recession and, according toCRAIG FLEMING, it’s time for photographers to get tough

CRAIG FLEMINGSpecialising ineditorial-style portraitureas well as hair and beauty,Craig has been a professionalphotographer for the past

seven years. You can seemore of hiswork at www.craig-fleming.com

N

DO CRAIG’S OPINIONS RESONATE WITH YOU? WOULD YOU LIKE TO HAVE YOUR SAY? MESSAGE US VIATWITTER OR FACEBOOK, OR EMAIL US AT [email protected]

PP - STAND YOUR GROUND FLEMING - Sept 10/08/2011 10:30 Page 48

This image by Craig Fleming wascommended in the fashionsection of the ProfessionalPhotographer of the Yearawards in 2010. To find outmore about the 2011awards see page 22.

PP - STAND YOUR GROUND FLEMING - Sept 10/08/2011 10:31 Page 49

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51

As a consultant to commercial photographers for the past 30 years,myjob has been to guide visual professionals by helping them to defineand refine their visual product and successfullymarket their body of work.The concepts, systems and practices that I suggest tomy clients areeffective universally.In a nutshell, what every commercial shooter needs to offer clients is

a deep, defined body of work, focused around a specific visual approach totheir chosen topic. In addition, photographers need to understand today’sselling paradigmand consistentlymeet the demands required in order todevelopmarket identity.Thirty years is a long time to focus one’s talent in a specificmarket; it’s

safe to say that I’ve literally ‘grown up’ in our business. It’s also fair to addthat during this time the industry has grown, shifted and transitionedconstantly. I’ve been awitness and a participant as these changes haveoccurred. As a result I havemuch to sharewith you, and I’m excited to havethe opportunity to do so.Here’smy first nugget for you: everything has changed and nothing has

changed. Confused? Letme shed some light…While the selling paradigmhas shifted and newmarketing tools pop up yearly, andwhile digital has

long replaced film and buyers aremore difficult to access directly, the pathto achieving success is the same as it alwayswas.

Develop a solid product that has commercial legsTarget yourmarket, develop five to seven sales channels, serviceexceptionally, and stay in the game consistently and long enough tosucceed. Sounds simple, but the reality of the ‘doing’ ismuchmorecomplex. There is, however, a schematic that each photographer canlearn andmake their own.When a creative pro accepts the responsibility for their success and

begins towork the plan, the path to success has begun.When I look closelyat the steps taken by photographerswho have achieved successes, I see adifferent variation of the same process. I call the formula TheMix.First of all, letme be clear, the successful photographers I am talking

about are not the Annie Leibovitzes of this world. However, they have hadsuccess, as each one at different times in their career has reached theircreative and financial goals. They have achieved their success by employingnot one or two steps of TheMix, but by putting all of the essential stepsneeded into place for the completemix. That’s the key.

THE BUSINESS

In the first of a newseries, SELINA

MAITREYAsharesher insights fromthreedecades of

advising commercialphotographers in theUSonhow tomarket

themselves. Thismonth shediscusses

how to constructthe complete

marketing package

THE RIGHT STUFF

©IS

TOC

K/A

ND

REW

JOH

NSO

N

PARTONE

PP - MARKETING - SEPT 10/08/2011 10:17 Page 51

You don’t need every sales option, but some components can’t be left outand youwill need to choose one option fromeach section of the process.

Here are the ingredients you should have:� A talent-based body of work ready to sell (thismeans a defined visual

approach around a specific subject with enough samples to build trust inpotential clients)

� A deep database of appropriate contacts (and a smaller,moreresearched group of contacts for in-person visits)

� Four to five differentmarketing/sales channels (including direct sales –seeMust-haves section right for options)

� Marketingmaterials that are visually branded tomove the visualmessage forward

� Perseverance� Faith� Patience(Allow a two to four-year timeline before seeing consistent results fora completely new business)

Notice that I wrote that thosewhowere successful worked ALL of thesteps above, not just one or two of them.While there are eight to 10 optionsfor sales andmarketing tools, youwill need to employ at least four to five.Marketing is a simple equation and is effective when diversified and

done consistently. Effectivemarketing for any photo business starts withbranding and style, combinedwith an up-to-date database.Notice thewords ‘diversified’ and ‘consistent’? For years I have been

meeting photographerswho get a piece of TheMix but don’t jump incompletely. Maybe they get the vision piece and then decided to send directmail out to promote themselves. That’s it, directmail. Maybe four to sixtimes a year, period.Then there are creativeswho believe in sending out visual email once

amonth. End of story. Of course, if they hear a panel of art buyers talkabout howmuch email they get, they decide no longer to send email; nowthey are on to social networking.Get the drift? Photographersmay now understand that they need to

market, butmost have not yet embraced the concept of incorporatingTheMix. The important thing to remember is that everything starts witha complete visual product. No vision?No need for anything else.All subsequent steps rely on a body of work. All your sales andmarketingtools areworthless if you don’t have the goods. Let’s seewhy.Let’s assume a buyer has a project (finally). They refer back to one of your

marketing tools and call to ask for your print book. If you don’t have one(because you’re convinced that nobody looks at print books), there goes theassignment. Maybe the next interested creative goes to your site looking fora ‘deep example’ of the type of vision needed for their assignment, and allthey see are one or two examplesmixed inwith lots of other types ofphotography or approaches. The body of work needed isn’t there; you’vewasted their time and yourmoney. Theywon’t be calling YOU again.Clearly, a vision-based body of work is number one. So, let’s assume you

have the vision piece sorted out.Who are you going to sell to? If you havethe vision and you are selling to thewrong contacts, you’ll have no success.You need a database of potential buyers (contacts whomay have your type

of assignment in the future) chosen carefully and thoughtfully – and onethat is large enough to support your outreach efforts (directmail, visualemail). You’ll also need a second,more select group (from the largerdatabase) for in-person portfolio visits.Work on this.Now let’s assume you have got the vision-based body of work, and

you have developed your database; now you need to commit to four to fivedifferent sales channels. That’s right, four to five!

Must-haves include:� Website� Blog� Visual email� Visual directmail� In-person portfolio showings� In-person networking opportunities� Social online networking� Portal placement� Print sourcebook� Press

Youwill need to develop your plan of approach; one that represents all ofthemust-have options and two to three other avenues for visibility.But before youmove forward youmust decide on howmuch of a financial

investment youwill bemaking this year. As you begin to create a budget,take stock of where you are now. Do you need to build a vision? Or is thevision there but you needmore examples? Do you have a database?Maybe you need to build a palette of tools. Don’t get overwhelmed anddon’t get discouraged. Simply seewhere you are and own it. Commit toinvesting the resources needed in order tomove you to the next step, notthe next two or three. Stay present andmove forwardwith an open heart.Progress takes time,money, talent and commitment.

Selina is also the creator and host of Clarion Call, the firstfree worldwide telesummit for professional photographers.Visit www.selinamaitreya.com

PP

THEBUSINESS

Selina Maitreya has written a book called How to Succeed inCommercial Photography: Insights from a Leading Consultant,which is described as taking a holistic look at how to have a lifein photography. Selina is joined by photographers, clientsand other consultants in sharing information and inspiration.The book is published by Allworth Press, priced at £18.99,ISBN: 978-1581154917.

NEXT MONTH: WAKE UP AND SMELL THE COFFEESELINA GIVES US AN INSIGHT INTO HOW CORPORATE GIANTS THINKABOUT PRODUCT POSITIONING, AS WELL AS THEIR SALES ANDADVERTISING. SHE ALSO EXPLAINS HOW AND WHY PROS SHOULD USESTRATEGIC THINKING WHEN CREATING THEIR BUSINESS PLANS.

52

“Marketing is a simple equation and is effective when diversified and done consistently.Effective marketing for any photo business starts with branding and style, combinedwith an up-to-date database.” Selina Maitreya

PP - MARKETING - SEPT 10/08/2011 10:18 Page 52

55

Some images just sell and sell.Why? Well, we aim to find outin our new feature that tries tounlock the secrets of greatimages in the hope we can alllearn how to improve ourchances of increasing salesThis month we speak to Andy Gotts, portraitphotographer of the Hollywood A-list.In 2003, he was taking portraits of the starsfor his book Degrees, a concept basedloosely around the theory of six degrees ofseparation. He would shoot one actor, thenask them to suggest a friend or someonethey admired as his next subject. One ofthe female actors was the beautiful KateWinslet. Andy takes up the story:“I shot this portrait of Kate for my charity

project Degrees on 16 June 2003, using myMamiya RB67 on Tri-X film (yes film!).The shoot was very laid-back; just myself,Kate and her daughter Mia were there,which is very often how I like to shoot andhow the people I work with prefer to beshot. There was no hair or make-up; theshot was exactly how Kate looked that day –naturally stunning. This shot has beenprinted in limited edition large-size prints,the largest size being 60in. All proceedsfrom the sale/auction of this image havebeen donated to charity; through the sale ofthis one image, the charities concerned havebenefited by more than £100,000. For me,it is quite a humbling thought that this oneimage could have such an impact.”We then asked Andy just why he thought

the image had been so successful.“Of course, Kate is a huge star and verybeautiful, which helps massively. But frommy point of view as a photographer, thisshot of Kate is so appealing because shelooks naturally beautiful. She has analluring expression, which makes her lookeven more enticing, as she is not trying tobe. It is not a retouched shot, as you would

see in a glossy magazine, it’s an honest shot– a capture of the moment – which iswhat true photography is, not hours of

post-production. Also, the shot lookstimeless with the soft lighting; it could havebeen taken yesterday or in the 1930s.” PP

THEBUSINESS

£100,000... FORONEIMAGE!

Andy Gotts will be the subjectof our Big Interview feature inthe October issue of PP, whenwe will be featuring previously

unpublished work, including someof his latest colour portraits.

To see more of his workgo to www.andygotts.com

AND

YG

OTT

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PP - HOW MUCH - SEPT 09/08/2011 12:06 Page 55

What is your definition of a photographers’agent?Photographers’ agents market and promotephotographers, generate commissions andnegotiate fees. But this is not all they do.Experienced agents can give advice and supporton all manner of business and legal issues, fromindustry trends to client contracts. They usuallyget heavily involved in the creative side ofthings, editing images for promotionalpurposes, suggesting ideas for new work andwhat to enter for awards. As photographers’agents we also often take the role of mentoror even counsellor. Life as a professionalphotographer can sometimes feel insular.Having an agent offers the opportunity to bepart of a team, giving you someone to bounceideas off, get encouragement from and sharethe ups and downs with.

Howhas the photography industry changed inrecent years?The main changes in recent years are theknock-on effect of the economic climate and thechanges in technology. Deadlines and budgetshave been tight, but that’s been going on for awhile now and there are still lots of nice jobsaround with fair budgets and timelines. I knowa few photographers who have been ‘quieter’

and have had to diversify within the industry.But then again, I know many successfulphotographers who have thrived in terms ofcommercial commissions throughout therecession. Perhaps it’s separated the wheat fromthe chaff. Customer satisfaction is paramount.

More businesses are commissioningphotographers directly, rather than going throughagencies. Some of the people that I deal with atagencies seem to be less experienced and notso knowledgeable about commissioningphotography, but maybe it’s just me getting moreexperienced. (Let’s hope so after 20 years!)

Photographers spend as much time writing theirblogs and commenting on social networkingforums as they do taking pictures. They get justas many jobs by tweeting as they do by showingpeople their books and these days they shootmoving images as well as stills.

Howdoes a photographer get on your books?It’s usually a matter of right time, right place.It’s also more about quality than quantity for meand I only generally take on new photographersif a ‘space’ becomes available, so to speak. If aphotographer feels that he or she has something tooffer LPA and our client base and that they willcomplement our other photographers, then initiallythey should send an email to tell me why theywould be a ‘good catch’. The first thing I’ll do ischeck out their website. If the work is strong, nottoo varied and there is a good track record ofcommercial commissions, then they are in witha good chance. They should follow up their

Lisa PritchardOwner: LPA (LisaPritchardAgency)

Career history:Account handler: Image BankPhotographers’ agent: Flashlight andThe Picture CompanyPhotographers’ agent: IndependentPhotographers GroupDirector: Insight Advertising and CorporateRepresentationOwner: Lisa Pritchard Agency

Need to put a face to a name, get the background story, the right advice and the inside track onhow to get commissioned? This month we talk to Lisa Pritchard, founder of Lisa PritchardAgency, about photographer and agent relationships, how the industry is evolving and what ittakes to cut it in the world of professional photography

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“Do your research. Draw upa wish list. Don’t just send ablanket email to every agentyou can find. Look for theright match. ” Lisa Pritchard

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“They [photographers] getjust as many jobs by tweetingas they do by showing peopletheir books...” Lisa Pritchard

email with a call to my office. If I haven’t takentheir call by the fifth time, stop calling!

What are the biggest mistakes photographersmake when approaching your agency?Showing little evidence or understanding of whatLPA is about or what we might be looking for.This should be easy to work out simply bylooking at our website and blog. For example,it’s unlikely that we would take on a very grittyphotojournalist or a fashion photographer whohas only shot editorial.

Photographers who get in touch giving theimpression that they are a bit quiet and need anagent to find them some work isn’t a goodplan, either. Although this is a big part of what wedo, of course, the harsh truth is that I’m lookingto see what’s in it for my business.

What tips would you give to a photographertrying to get an agent?Do your research. Draw up a wish list. Don’t justsend a blanket email to every agent you can find.Look for the right match.

Photographers’ agents come in many shapesand sizes, from well-established industryexperts with many contacts and several staff tonewcomers just finding their feet. I’m notnecessarily saying one is better than the other;it’s about finding the right one for you. An agentnew to the business might have more time topromote you than one who is busy estimating andproducing shoots; but then a better-known agentwill give you more credibility and is likely tofast-track commissions. It’s vital that you get onwell and feel you can communicate.

Ask yourself if you are, in fact, ready for anagent. It may be that you still need to build yourportfolio of work, gain a presence in the industryand get a few commissions under your belt.

The time is usually right if you find yourself toobusy shooting to promote yourself or handleenquiries, or perhaps you are getting biggercommissions and need an agent to deal with feesand shoot logistics.

What makes a photographer stand out fromthe crowd?A consistent body of work with a strong signaturestyle, inspiring personal projects, an impressivelist of awards or clients and a slick and clearwebsite with an interesting and up-to-date blogare a good starting point. However, possessing anexcellent reputation, lots of good publicity andprofessionalism are equally as important.

LPA/Futures represents photographers inthe early stages of their careers. How caninexperienced photographers show a breadthof work in their books?I don’t think inexperienced photographers shouldshow too much breadth in terms of range. I thinkit’s important to find a ‘voice’ and stick to it.The industry is so competitive; you stand a muchbetter chance of being remembered if your workhas a distinctive stamp. Commissioners arelooking for confidence and continuity inphotographers’ work; something that they canidentify them with.

In terms of pure quantity however, I agree aphotographer needs to be able to showcase acertain amount of high-quality images to be takenseriously. Look into the market and work out whatis being commissioned at the moment and fill inthe gaps accordingly. I suggest shooting as muchpersonal work as possible. Be resourceful – toget your foot in the door in the commercialworld those first campaigns are all-important.Consider collaborating with stylists or modelswho also need to expand their portfolios; get to

know some young agency creatives and shootsome of their ideas; or offer to shoot a mock adcampaign for a friend’s business.

What trends do you see in photography atthe moment?Street casting – real, natural and believable models,including families, older people enjoying retirementand baby boomers aged between 45 and 63 yearsold being altruistic. Many photographers are alsoshowing their portfolios on iPads, as well astweeting and blogging to promote themselves.

Do you see video being a bigger part of aphotographer’s requirements in the future,and if so, how?There are some niches of the photographyindustry where video is becoming a more regularrequest for the stills photographer. In certainpockets of the fashion and editorial world it’sbecome almost mandatory.

I believe it’s still early days for a large partof the commercial world, however, with mostphotographers feeling little or no effect from theconvergence. It’s not turned the industry on itshead as some would have you believe and won’tfor a long time yet (if ever).

Video is a learning curve for manyphotographers and clients, in terms of the creativeapproach, the logistics and the pricing. Video willalways be an optional extra to stills; whetherphotographers choose to embrace it and add totheir revenue stream is up to them.

If you have a question for Lisa that wehaven’t covered in Frontline, [email protected] to beconsidered for her monthly column on theLPA blog, www.blog.lisapritchard.com

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Lisa’s first published book, Setting up aSuccessful Photographic Business(published by A&C Black), is out inNovember and can be pre-ordered nowfrom Amazon.

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Capturing newsworthy events as theyunfold is what press photographers do asa matter of instinct. However, a recent casein Manchester shows this can land them introuble. To set the scene: a fight breaks outin a city street between two groups of menafter a court hearing into an alleged assaulton Channel Four’s Big Fat Gypsy Weddingsstar Paddy Doherty. There you have yourmoney shot – an action-packed image ripefor the taking. It’s in your nature.You seizethe moment. Or do you? Especially after officershave just warned you not to cause an obstructionor take pictures of suspects’ faces.

Manchester Evening News photographer SeanWilton was arrested, along with six peopleallegedly involved in the brawl. Reports suggestthat while trying to speak to a police officerand explain that he wasn’t obstructing their work“in any shape or form” he was threatenedwith the confiscation of his equipment beforebeing arrested.So, do we have officers being particularly harsh

or a photographer falling foul of the law?Taking pictures in a public place is not an offencein itself, but it can lead to other laws beingbroken. In this case the officers believed thatphotographing at the scene might haveantagonised the people fighting and caused afurther breach of the peace. In other cases, takingpictures of people or property that are likely to besensitive can lead to an infringement of privacy,data protection, copyright and trademark laws.There’s a potential risk at every point of a camera.The act of taking pictures is not the only danger

area. Problems can start when pictures arepublished, especially if they start to circulateand go viral on the internet. These difficultiesaffect all types of photographer.Sean Wilton’s case is a perfect example of how

photographers can get into sticky legal situationsthrough no fault of their own. As a photographer,you need to consider how you would arrangeand fund legal defence costs relating to bothcriminal and civil actions taken against you.Hopefully, common sense should prevail in the

end, as it did in this case, when the MENphotographer’s arrest was quashed due to“an apparent intervention from a senior officer”.However, are we opening a new can of worms?

Is it fair to have one set of rules for pressphotographers and another for the rest of us?Whatever your view on the incident, the fact

remains that the police felt it necessary to makean arrest and put Sean Wilton in a police car –a nightmare for any photographer believing he is‘just doing his job’. I can see why the police mayhave decided that taking pictures wasn’t a positive

move towards helping restore the peace. But weare left wondering if the police acted in aheavy-handed manner or if the photographer wasacting irresponsibly. Whatever the answer,this case illustrates the importance of havinglegal expenses insurance in place.Sean Wilton is described as an MEN

photographer, which suggests the Manchester

POLICINGTHE PRESSIn light of an incident in which a newspaperphotographer was arrested after takingimages of a brawl following a court case,PETER STEVENSON, an insurance specialist,examines photographers’ responsibilities andthe attitude of the police towards journalists

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Evening News employed him, so he wouldhave been acting under the protection of itsfinancial, legal and insurance resources.However, it is unwise for freelancers to expect thenational or regional media to be generousdefenders of principles at all times, especiallyif it means they risk becoming guilty byassociation. The authorities, for example the

police, can arrest photographers for allegedpublic order offences such as breaches of thepeace or of security regulations. Legal expensespolicies are designed to cover this type ofcourt defence cost, as employing a lawyer todefend a photographer’s position and get themout of prison and back working can be a veryexpensive exercise.

Peter Stevenson is director of InFocus,a specialist in insuring photographers.Infocusinsurance.co.uk

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EVER BEEN IN THIS SITUATION? TELL US YOURSTORY. EMAIL [email protected]

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BritishboxerDavidHayeinVancouver,Canada,in thebuild-uptohisworldtitle fightagainstWladimirKlitschko inGermany.

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THE12THMAN

In a rare quiet moment,commercial sports photographer

BEN DUFFY chats toProfessional Photographer

Editor ADAM SCOREY about hisrise to the top of his game

Ben Duffy, a quiet, charming chap from Leeds,startedhis life as a jobbing sports snapper, capturingthe weekly exploits of stars and athletes whileworking for a small but highly respected agency.However, Peter Crouch only went and scored hisfirst hat trick for Liverpool, didn’t he? Yes, thiswas aseminal moment for Crouchy, but it had a dramaticeffect on Ben and changed his life forever.

“Has the industry changed in 14 years? Yes,” says Ben.“There was a time that you’d be standing in the trainingground with a 70-200mm waiting for, well, whoever.Training would finish, the lads would come and havea quick chat, you would grab a few shots and they’d be ontheir way with a smile and a wave. Now, everything iscontrolled by a third party. The lads finish, walk past youand get into their Ferraris, Lambos and Rollers. Bye.But those were the days when, after a footie match, I’dknock at old Frank’s place at number 96 opposite theground, slip him 20 quid of the 30 I’d been given forB

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“As an admirerand fan, my aimis to do myselfand my subjectsjustice, so whenI’ve finished ashoot I can holdmy head highand believe thatI’ve capturedsomethingspecial.” Ben Duffy

England cricketer Kevin Pietersen.

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expenses and use his kitchen to develop the filmsand his phone to wire them back to the picture desk.Frank would even make me a brew and somesarnies. If I was at an unknown ground I’d justknock on a door around the place until someoneagreed to do it – hopefully for £15! Ha, ha... therewas no 100MbpsWi-Fi, multimedia press rooms orPocketWizards – off-camera, wireless shooting wasthe stuff of science fiction.”For 12 years Ben Duffy did the sporting

photographer’s circuit in and around Leeds.Althoughthis was for a small agency, it did all the big stuff;manual primes, pre-focusing and Leeds Unitedwere scrapping in the Premier League. Now it allseems old-fashioned and antiquated – Formicain a polished granite world. But you would alsoget closer; closer to the athletes and the passion.But there comes a time in every photographer’scareer when there is a sudden moment of realisationthat everything you know, everything you’ve workedfor, has changed. For Ben that moment came atAnfield one typical afternoon.“I was shooting for the Premier League;

Liverpool were playing Arsenal in March 2007.I’d been asked to get more editorial images so wasthere with a 17-40mm. It was when Crouchy scoredhis first hat trick for Liverpool. He was right infront of me. I had him with his arm in the airholding up three fingers, with the crowds in thebackground and it was all on a wide. I must admitto thinking this was my career-making shot, mydecisive moment. I envisaged it being everywhere– this was the shot picture editors had sold parts oftheir body for in the past. The reality was different.It made theMail on Sunday and Sunday Telegraph,which was great, but the other papers used imagesfrom God knows where that didn’t sum up thegravity of that moment. The penny dropped; itwasn’t about stunning images any more. It wascorporate, contracted and controlled. It was over.”So what do you do when you realise you are

travelling down the path of extinction, digital hasdevalued the market, every Tom, Dick and Harrywith a 300mm is clawing at the gate, the piece ofthe pie you relied upon is smaller than before andthere are more mouths around the table? Youchange, you adapt and you evolve – or you go under.So while still working for the agency, Ben started toexplore new things, as he explains: “I started tolook at lighting; my plan was to develop a newlighting technique that was different. Though theagency was small, we were still getting some goodassignments. This time allowed me to perfect my

style and experiment a little – it was all mainlyoff-camera flash. However, what I’d seen so farlacked subtlety and finesse. It took some time toget my technique to the point where I was happy,but this was to set me up for the future.“My catalyst was partly this realisation and partly

that I wanted to make my own mark on the world ofphotography... and, yes, there is a little ego in theretoo, I suppose; it would be amazing to have millionsof people see my work on billboards, ad campaignsand in magazines; the buzz is incredible. I’ve gottwo kids, a mortgage and a house that is not as bigas I’d like, similar to most people, so a bit moremoney wouldn’t go amiss. At the time, my onlyreally serious option was to go for work of a morecommercial rather than editorial nature. I’m notsilly, I’d been doing sports photography for 12 yearsand built up really good contacts, and I started tomake noises to them in the commercial direction.”Ben admits that the key to his success, apart from

a little luck, was managing his clients carefully,communicating constantly with them and beingable to deliver on the assignments. But his firstcommercial job, he readily admits, hit a bump inthe road before it had started: “I was completely out

of my depth; not in creative terms but in how I wasgoing to achieve what the new client wanted,” herecalls. “They kept talking about digi lights –I didn’t have a clue but just nodded and said yes.Fortunately, I had a little time to get myselforganised; it was time to call in a few ‘favours’.I knew I needed an assistant for this job, it was justtoo big for one person to do – plus I didn’t want tolook unprofessional. I called a mate and asked himif he knew of anyone who had the lightingexperience I was going to need. The chap I got wasa godsend. I was honest with him and said he’dneed to hold my hand a bit with the setup and make

me look like I knew what I was doing, which hewas fine with. Until he agreed, I was sweatingbullets a bit, but the shoot went amazingly...thankfully. I gave my assistant a healthy bonus!”This is the reality for many professionals breaking

into new territories. Rarely does the transition gosmoothly and there are times when, as you all know,it is necessary to take jobs where you are not quitesure of the outcome or just how you are going toachieve the whole brief. But it’s this spirit ofexploration that Ben had set his mind on whenstarting out on his own. He didn’t have a studio andwas unsure about what he was going to charge, oreven what rights he was happy to keep his own orhand over to the client in this new commercialworld. He explains: “For 12 years someone else hadsorted the practical and business side of things, soI wasn’t sure what I should do. I went to theAssociation of Photographers (AOP), which hadsome great guidelines, but I had nothing to refer to.I called a few mates who, in the end, said the bestadvice was to think of a figure in my head that I’dbe happy with – based on reputation, experienceand the client’s requirements – and just stick with it.So I did.”

Right:Britain’s leadingheptathlete,JessicaEnnis.Oppositepage:FootballerWayneRooney inoneofhisrareofficialmediaappearances in2010.


“For 12 years someone elsehad sorted the practicaland business side ofthings, so I wasn’t surewhat I should do.” Ben Duffy


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“It’s just asmuch of

a challengenot to rely onsoftware, but

to createin-camera

with my lights.This, for me,

is the biggestpart of thejourney.”

Ben Duffy

WWE wrestler Kelly Kelly.



“Gear is often moreimportant to theclient than it is tothe photographer,whether that’sa lighting setup, orthey want the latesthigh-end digibackbecause they’veheard it will shoot avast quantity ofpixels.” Ben DuffyWelsh former world championboxer Joe Calzaghe.

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Ben’s style was very much non-studio based.The lighting technique on which he had spenttime working, though to a high standard, was inreality a constant evolution; a fact that wasconfirmed by his experiences on ensuing shootswith various assistants. His technique was practisedand creative, but ultimately needed the moretechnical know-how of an assistant’s training onmany of his assignments, due to new technologiesand equipment. Ben confides: “Gear is often moreimportant to the client than it is to the photographer,whether that’s a lighting setup, or they want thelatest high-end digiback because they’ve heard itwill shoot a vast quantity of pixels.“Probably the biggest revolution, however, is

in the lighting, particularly in its portability.I now use the Elinchrom Ranger RX Quadra ASsystem with a Canon EOS 5D Mk II and variousL-series prime lenses. I hire a Phase One P 65+

digital back for the really high-end stuff whenI need it. My working style is fast and generallyon location, in anywhere from a local sports hallor a warehouse to a huge training ground. So itmeans I need to be able to identify a suitable spot,conceptualise the theme and then action it – allwithin the space of a few minutes (and I do meanminutes!) and also to a standard that would beacceptable to an agency in New York or Tokyo.Though, to be honest, I am at a bit of a crossroadsat the moment with gear.”Ben’s dilemma is whether to invest heavily in

a new system rather than to keep hiring it. The 5DMk II is great, but clients and agencies demandthe highest quality and are very sophisticated andclued up. It’s a crossroads many pros face – hire orbuy. “I rent most of my gear fromThe Flash Centrein Leeds,” he says, “as they have got everything Ineed and I’ve got a great relationship with the ladsthere. But I can see it getting to the point soonwhere something like the new Phase One IQ140may have to be a reality if my clients keep askingfor larger and larger images.”

Ben believes the secret to his success is the factthat he is a sports fan first and foremost, so thepeople he is now meeting and photographing arethose he has admired for years. “I can honestly sayit’s been a real privilege to meet all the people thatI have. As an admirer and fan, my aim is to domyself andmy subjects justice, so when I’ve finisheda shoot I can hold my head high and believe thatI’ve captured something special. I love people andI treat everyone the same, but I have to rememberthat sports stars aren’t models and there is oftenonly so far you can go due to an agent looking overyour shoulder.”So what’s next for Ben? “More of the same, really.

You always need to push yourself as a photographer,to experiment and try something new. Okay, youhave to do this on a job-by-job basis, and get yoursafety shots, but then you can explore new ideas,concepts or lighting techniques. It’s just as much ofa challenge not to rely on software, but to createin-camera with my lights. This, for me, is thebiggest part of the journey.”www.benduffyphotography.com

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Above:DiverTomDaley inaconvertedsquashcourt inPlymouthwherehetrains, in frontofapainting thatheandhiscolleaguescreatedthemselves.

FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK



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Brian Adams and Rainer Flor love iPhones. They love everything aboutApple. They eagerly await every shiny new product the brand creates.Brian and Rainer are also professional wedding photographers,shooting on Canon DSLRs. It was only amatter of time, therefore,before they turned their attention to the iPhone 4 and what it couldachieve with its 5MP camera.

The pair have established thriving – and separate – wedding businessesin the United States; Brian shooting stills and Rainer working as avideographer. Having been introduced six years ago, they started workingin partnership and often shoot weddings together, travelling extensivelyaround the United States and beyond. It was this partnership and shared loveof technology that led to them capturing what they believe is the firstwedding to be shot professionally on the iPhone 4. Speaking from hisFlorida office, with Rainer joining us on the line, Brian explains how theytook the leap.

“At the time Rainer and I were sharing office space and every day wewould talk about technology. We’re always first in line when an Appleproduct comes out, we always have the latest stuff. Then one daywell over a year ago, Rainer showed me a video that was posted online ofan iPhone fashion photo shoot. We looked at each other and almost atthe same time burst out, ‘We should shoot a wedding with iPhones!’”

Given the competitive nature of the market, where a weddingphotographer is only as good as his last album, surely capturing thehappiest day of a paying client’s life on a mobile phone could potentially becommitting career suicide? Brian replies: “We began brainstorming and thequestion came up: who would be crazy enough to allow us to shoot theirwedding with an iPhone? Rainer said, ‘Well, my wedding’s coming up,so I’ll be the guinea pig.’”

Given Rainer’s unbridled enthusiasm for the mobile device, I could seehow he would easily agree to such an experiment, but what about thebride-to-be? Rainer gives a huge laugh. “She trusts my judgment and hasgot to know Brian too, so she loves his work. Even so, I couldn’t rely solelyon the iPhone to capture stills and video, and I wanted to have a plan Bjust in case. We were guinea pigs and wanted to test it out, but we stillwanted good photos and video in case the experiment didn’t turn out theway we wanted. I had to give my fiancée some peace of mind that the photosand video were going to turn out well.”

As a test run, Brian took along his iPhone when he shot Rainer andbride-to-be Candice’s engagement pictures on his Canon EOS 5D Mk II,just one month before the wedding. The aim was not only to practiseshooting with the iPhone, but also to experiment with editing and tofine-tune that all-important aspect of wedding photography, shooting imagesof high enough quality for the album. The results were positive. “I ended upprinting a 12in x 12in album of their engagement session where I mixed in

both iPhone and SLR images,” Brian says. “We actually showed it atRainer’s wedding and people loved the photos; no one could tell thedifference between the photos in the books.” Having to consider thefinal format the client might want for the images caused some concern,but Brian knows that clients tend not to favour large prints these days.“The world is changing,” he says. “In the last few years I’ve noticed thatno one is really purchasing anything larger than an album-sized print.Some of my clients are interested in digital photos only for Facebook,for example. As someone who has been in the industry for a while, I try B

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When we first heard that a weddinghad been shot professionally onan iPhone we thought it must bea publicity stunt. PP catches up withthe photographers involved to get thestory behind the shoot

“I ended up printing a 12in x 12in albumof their engagement session where I mixedin both iPhone and SLR images...We actually showed it at Rainer’s weddingand people loved the photos; no onecould tell the difference...” Brian Adams

iDo

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Thispageandfollowingpages:Imagestakenonthe iPhone4atRainerFlor’sweddingand

BrianAdamswith thecamera.

WORKING PRO{ }

to make sure my client orders an album, so I am really concerned only aboutimages up to around 12in x 12in. That was my biggest worry and we usedthe engagement session as the test, so when we got the album printed all myfears were alleviated.”

So far, so good. However, the engagement did highlight where thechallenges lay. “I did expect them,” admits Brian. “One of the major oneswas shutter lag; there’s a bit of a lag with the iPhone so you have toover-anticipate the moment, which means that when I shoot with it I’mplanning to take the shots half a second before the moment happens.


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Lighting is a challenge; you can’t use a traditional flash or Speedlight, soyou must use constant light. In outdoor light, or bright indoor light, thecamera functions exceptionally well, but once you are outside at night, orinside and it gets darker, it’s necessary to use continuous light. Obviouslyyou can’t shoot RAW… these are all minor technical hurdles that you canget over with practice.“Having said all that, as a photographer who shoots with two cameras

and runs around all day with 70-200mm lenses, it was a release – it almostfelt like I was naked! It was the first wedding I’d shot in nine years wheremy back wasn’t aching afterwards. The biggest advantage is the access;you’re able to approach people more easily. They open up to you andwhen they realise what type of camera you’re shooting with, they havea reaction we never usually see. They are surprised, interested and theybecome an active participant.”On the big day, the team used three iPhone 4s in total, placed in OWLE

Bubo mounts that featured a wide lens attachment. Brian also modifiedthe rig to add an external battery pack to combat the short battery life andadded a neck strap. For the videography they used a tripod and monopod.For Brian and Rainer, another of the huge plus points of shooting on

the iPhone – event photographers take note – is the ability to upload theimages instantly to the internet at the wedding. This is an aspect where theyfeel the device has huge advantages over its DSLR counterparts, even if

the quality of the images isn’t comparable. Rainer describes this element as“super powerful”. He explains: “Brian and I have been doing this for sometime and guests are always asking, ‘When are the photos going to be up?’I shot a wedding last week in California – an Indian wedding – and I tooksome pictures on my iPhone. I was able to post them right then and thereand show them to the couple and their family. The expressions on their faceswere priceless.”The built-in editing software in the phone means decent quality images

can be uploaded almost immediately. “You can charge a premium for doinga same-day edit and post for a client and it’s really appreciated,” says Brian.“It didn’t used to be that way when I started nine years ago; people werevery patient then, but now I get calls the next day from clients wonderingwhy their photos aren’t online.” From a marketing perspective, the twomen agree that being able to post images on the same day is certainly goodfor business.I tell them that often when I talk to editorial photographers, they lament

how, on a digital shoot, the client will ask to see the image before anypost-production has been done, before the photographer is ready to show it.“It’s funny,” Brian continues, “but people will remember you. Particularly atweddings, if you can show photos or video to 200 wedding guests, those 200people will remember you as a good photographer, whereas if you waited 30days and posted those images only when they were 100 per cent perfect, thenthey might think, ‘He was good but he took a long time to post those photos.’I do think you need that balance.”This instantaneous upload changes the photographer-client acquaintance,

which is why Rainer and Brian get so excited about the iPhone experience,even as two passionate DSLR users. “I think this is the next evolution,”says Rainer. “Everyone is so concerned. There’s a misconception that thequality suffers and while a fraction of that might be true, there’s another halfto the story, about the experience that the user gets out of it. I’m sure that

in time companies such as Canon and Nikon will find a way to connect theircameras to the internet so photographers can post photos and videos rightafter they shoot them. The experience is completely different; it’s notjust about the photo, it’s about what everyone gets out of it because we canpost it right after we shoot.”As successful professional photographers, are they afraid of sabotaging

their own businesses by using mass market kit? “Not at all,” Brian repliesconfidently. “The cameras that we use [Brian shoots with a Canon EOS5D Mk II while Rainer uses an EOS 7D] are available to everyone atconsumer stores. A lot of my clients own the same equipment as me or useeven better cameras, but it all comes down to the skills of the photographeror videographer. It’s 90 per cent the eye of the shooter.”“I’m not worried at all, quite the opposite,” says Rainer. “I want more

WORKING PRO{ }

“A lot of people are wowed by it... we honestly feel the iPhone thing is really cool. We don’tknow in what direction we’ll take it, but we’d love to do more of it.” Rainer Flor


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people to be able to use the technology for their own personal use. We arenot out to try to convince people that they should shoot everything withiPhones. We’re not knocking SLR cameras, we love shooting with them.For the most part we’re mainly just proving that this kind of shooting withthis piece of relatively inexpensive technology is totally possible and ifbrides and grooms are interested it’s a perfect fit.”

I wonder if they have incurred the wrath of their fellow weddingphotographers? “We have had some negative reactions from people whopossibly don’t understand the whole story,” Brian concedes. “They aredown on us, saying the bride and groom aren’t going to be happy withthe quality of the photos, or questioning why we would want to do such athing when there is better quality technology out there.”

From the video point of view, Rainer says the comments have been more

positive. “A lot of people are wowed by it,” he says. “People have their ownopinions but we honestly feel the iPhone thing is really cool. We don’t knowin what direction we’ll take it, but we’d love to do more of it.”

And clearly some people are happy to have their weddings shot withmobile phones. Brian and Rainer have already had an enquiry from Irelandabout shooting another iPhone wedding (“The groom’s a big Apple fan!”)and intend to price any iPhone weddings similarly to DSLR shoots.

So what’s the future for these iPhone sharpshooters? At the moment Brianand Rainer are waiting to see what happens next. “We are happy to shootpeople’s weddings with iPhones,” Brian says, “but we may develop intoa community of people who shoot things with iPhones. We want to keep itopen at this point. We do need to embrace it rather than be afraid of it or fearthat it’s having a negative impact on our business.”

Both are eagerly awaiting the next generation of iPhone, which they thinkmight have a longer battery life and a better camera, with less shutter lagand improved low-light performance. The pair have also discovered a newSLR lens attachment for fixing a Canon 70-200mm lens to the iPhone,which could take their iPhone photography to a new level.

“Our intention was never for this to be a publicity stunt,” Brian concludes.“We just thought, ‘Hey, this is cool, let’s be the first to do it.’ Once wesaw the results and everything was edited, we took a look at it and thought,‘Wow, this is good, let’s put it out there!’”

To visit Brian and Rainer’s website go to http://iphoneshooters.com

WOULD YOU HAVE YOUR WEDDING PHOTOS TAKEN ON AN IPHONE?HAVE YOUR SAY AT [email protected] CAN SEE THE VIDEO ON THE PROFESSIONAL PHOTOGRAPHERWEBSITE WWW.PROFESSIONALPHOTOGRAPHER.CO.UK

PP

THE KITBrian and Rainerused the OWLEBubo mount foriPhone 4.Made from asingle piece ofaluminium, it weighs1.1lb and has a 37mmlens threading with 0.45xwide-angle/macro combination lens andan adjustable microphone for shooting video.It is available in the UK from Rotolight for £149.99.www.rotolight.com


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Warrior fromtheRendille tribecalledPandilanKorole– takenat thesingingwellsofSonga,northernKenya.April2011. Imet thisyoungmanwithoneotherwarriorataplaceknownfor thesoundsmadebywarriorsastheysingandpassbucketsofwater to thesurface fromdeepwells.Dueto thedrought therehadbeenanescalationofconflictswithothertribeswhichhad left thisplacealmostdeserted,but thisyoungmanandhis friendknewtherisksandseemedundaunted.

PP - JOHN KENNY - SEPT 09/08/2011 12:20 Page 74

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JOHN KENNY is apart-time fine-artphotographer

based in London.In 2006 he beganhis travels through

Sub-SaharanAfrica’s remotestareas, taking

portraits to highlightthe effects ofclimate changeon indigenouscommunities.

KELLY WEECH findsout why, on hislatest trip, heswapped his

Canon EOS 5D Mk IIfor an 8 x 10Chamonix

large-formatfilm camera

THROUGHMYOWNEYES

JOH

NK

ENN

Y

WORKING PRO{ }


WORKING PRO{ }

Whenhe first went to Africa in 2006, John Kenny was notenvisaging a long-term photographic project, nor didhe realise the impact the continent would have onhim personally and creatively. In the remoter areas,

the reaches of urbanisation and 21st-century living are sometimesbarely detectable, with uncertain resources and enormous hardshipa part of everyday life. These traditional societies rely on the certainties oftribal rites and a profound understanding of rainfall and pasture patternsto provide a way of life. Within this structure people live a modest existence,without the material wealth of the western world. He recalls: “I always knewI wanted to see the continent of Africa through my own eyes, mainly becausethe Africa that I felt ‘familiar’ with was in reality nothing more than anacquaintance with what I had heard through the news: a steady stream ofstories focusing primarily on despair. It’s true that I photograph for myself,first and foremost, but a close second comes my desire to show othersthe magnetism that draws one into the eyes of these fascinating people.”Hitchhiking and trekking to find his subjects, John has set out to capture

portraits that act as a stark reminder of the impact climate change is havingon these communities. He says: “I specifically chose to photograph theindividuals that you see on my galleries because I had a real sense of wonderwhen I met them. Each one had something that attracted me, sometimes apiercing intensity, or an uncommon beauty, which I felt compelled to try tocapture.” The images he produced do just that, marking both the influence ofthe modern world and the pride inherent in traditional cultures.

Towards the end of 2010, John decided to take his photographic vision andway of working to another level, because he felt his working habits hadbecome repetitive. His solution was a Chamonix 8 x 10 large-formatcamera, which would take him back to basics and allow him to hone hiscraft. He was not seeking to replace his Canon EOS 5D Mk II, but toaugment his work with the smaller, digital camera. “I believe large-formatcameras lend themselves to a more considered and contemplative approachto photographing,” explains John “It’s quite hard to contemplate,for us photographers, that there might be some sense of satisfaction inactually not taking a picture. In a strange way it can be quite rewarding notto take the picture when being ready to do so; I think it is the inner senseof quality control kicking in and telling you that the image would not havebeen good enough, for whatever reason, so why commit the money,time and hope into something you feel is flawed?”This change in thinking and being more discerning when prejudging the

success of each shutter click is something that is not often considered inthe digital world. There are practically no penalties in pressing the shutterat will and although this freedom is sometimes of great benefit– for example when you are learning – John found it hindering his ownphotographic development.The use of an 8 x 10 camera slows down every step of the photographic

process and requires a more methodical working approach. But there isalso the expense of film and processing to consider. Shooting with an 8 x 10in addition to a digital camera obviously increased the cost of this project,which was completely self-funded. However, there are ways to make sizeablesavings if you do your homework. John got all his film at 70 per cent offthe retail price because it was slightly out of date, although technicallyperfect, and paid half the costs of 8 x 10 colour film development in Londonby sending them in large orders to Peak Processing in Sheffield

(www.peak-imaging.com). In total he shot about 90 sheets of film and usedno more than two sheets per person. The final stage of the process involveddigitising the film; he selected only a small number of shots and useda drum scanning service in London. He reassures me: “It is still possibletoday to shoot 8 x 10 on a budget, but you have to shop around andbe prepared to use the post a lot to buy and process your materials.”John found his old-school approach served as an ice breaker and talking

point among traditional societies in northern Kenya. He says: “Some peoplewere just amazed by the contraption, while others were simply amused

Many people I photographed weremesmerised that this camera – which isreally just a wooden space box – haddemanded complete concentration overa prolonged period from both of us.”John Kenny

Left:Warrior fromtheSamburutribecalledPitaloLenjuio– takenatArcher’sPost,northernKenya,April2011. Iphotographedthiswarrioras the lightwas fading inintensityandconditionswere far fromperfect for theway Iphotograph;nonethelessthisyoungmanwasamazing toworkwithandhisdemeanourwasoneof themostnatural Ihaveevercomeacross.


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Warrior fromtheSamburutribecalledLearnesiLearamo–takenatN’DonyoWasin,northernKenya,April2011.Imet thisyoungwarriorataremoteanimalmarket thathappensonceaweek. Ihadtophotographat theedgeof themarket, soby the timeI tookthisshot Ihadabigcrowdofpeoplearoundmeand itwasbecominga littlechaotic;so Iworkedfastandcarefullyto try tocapturewhat IthoughtwasanexceptionallybeautifulandstrikingyoungSamburumoran(warrior).


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BIOGRAPHYJohn Kenny lives inLondon and has beena part-time photographersince 2007. His images arethe result of many yearsvisiting remote cultures across theAfrican continent. When not travellingor exhibiting, he returns to his job asa freelance technology consultant basedin the UK.

by it; but there was almost never any ambivalence. I just wish that I hadtaken a picture of one of my subjects peering through the ‘empty’ cameraas I took the lens off the front when packing up the gear. Many peopleI photographed were mesmerised that this camera – which is really justa wooden space box – had demanded complete concentration over aprolonged period from both of us. I never tired of letting people peer into thefresh air of the camera body to see their reaction.”

On the other hand, the 8 x 10 camera also presents practical and technicalproblems. In return for outstanding quality and resolution, you give upa lot of working agility when photographing subjects. Large-format camerasdemand plenty of patience, especially when using only natural availablelight. On the most recent trip, the subjects were shot against a whitebackground, simply to reflect and add more light because of the limitation ofworking with the 8 x 10 camera. “In northern Kenya I had real challengeswith finding enough light. Previously I’d shot my subjects in the shade;however, my budgetary constraints meant I needed to adapt my workingmethods around the materials I could get hold of, in this case ISO 100Fujifilm Provia transparency film. I was always faced with a judgmentcall on whether to sacrifice shutter speed for depth-of-field, or vice versa,even though I pushed the film and rated at ISO 200. It was a real challengewhen people were standing for the shots, often in windy conditions.I think the fastest shutter speed I managed was 1/30sec – and clearly youneed to be very careful in watching out for subject movement in closeportraits at all stages of the photographic setup and image capture.The depth-of-field limitations with 8 x 10 are in a different world to thatof digital formats, with the front-to-back focus sharpness being so muchless than with 35mm full-frame capture.”

Sometimes John felt he did not have enough time to set up the 8 x 10camera and he would rely upon his Canon EOS 5D Mk II. “You can’t captureeverything with 8 x 10, especially when you may have access to a personfor a very short time, and also because not every subject can give you theconcentration to make the picture a success. So I shot both formats andI will definitely use this approach again.” He used his judgment to

WHAT’S IN YOUR KIT BAG?+ Chamonix 8 x 10 large-format fieldcamera (maple wood and carbon fibre)

+ Fujifilm Provia 100F slide film+ Gitzo 5541LS carbon fibre tripod withArca-Swiss Z1 ballhead

+ Canon EOS 5DMk II+ Canon EF 85mm f/1.8 lens

Above:Warriors fromtheSamburutribecalled ImelesuanArapo (left)andLekeruMirigishan(right)– takenatthesingingwellsofSonga,northernKenya,April2011.Imet themastheyrestedat thewells;onewarriorspenthalfanhourorsoapplyingredochreto theother’shair tobeautifyhim.

“In northern Kenya I had realchallenges with findingenough light. Previously I’dshot my subjects in theshade; however, mybudgetary constraints meantI needed to adapt myworking methods around thematerials I could get holdof...” John Kenny


79

decide which format would give him the better chance of success witha particular subject.In his new exhibition Facing Uncertainty – Photographic Portraits from

Kenya, John’s images will be on display up to two metres wide by 1.6 metreshigh. However, at this large scale, John insists that he is not pushingthe limits of this format, even with an 8x enlargement, simply because ofits phenomenal resolution. Each image will be captioned to help providecontext for the viewer. John feels the writing will counter-balance a tendencyto romanticise the lifestyles of the people in the photographs. “It is obviousthat there are compelling hardships that shape the daily existence of peoplewho live among traditional societies. My exhibition aims to provide theviewer with a realistic view of how the communities in semi-arid areassuch as northern Kenya are encountering enormous difficulties with thedroughts of the last decade. At the moment I’m working with a communityleader from a Samburu tribal village to construct the show’s narrative andprovide an insight into the role that recurring drought and climate changeplays for those who live there. I’ve seen first-hand the difficulties ofa sustained lack of water and pasture for communities which live in dryareas with their animals.”John will give some of the exhibition’s profits to community groups in

these areas and will also ask visitors to the show to consider a donation.A selection of his work will be donated to the Africa Foundation in the UKand feature in its Art for Africa auction in aid of the countries where he hasworked previously.

www.john-kenny.com

PP

Facing Uncertainty, Photographic Portraitsfrom Kenya, by John Kenny, will run

from 22 September to 3 October 2011 at3 Bedfordbury Gallery, Covent Garden,

London, WC2N 4BP. If you go along, let usknow your thoughts by emailing

[email protected]

Above:Younggirl fromtheTurkanatribecalledAlamachAllol– takenatLoiyangalanion theedgeof

LakeTurkana,northernKenya,April2011.Iphotographedthisgirl in intenselyhotandwindyconditionswithmy8x10Chamonix. Itwashugely

difficult tostop thewindfromblowingtheextendedbellowswithmy450mmportrait lens,and Ialsoneeded

towait forcloudsso Icouldmanagecontrastonthetransparency film. I tookthisshotduringaverybrief

pause in thewinds–by thenboth thesubjectand Iweremorethanready for it!

WORKING PRO{ }


www.bowens.co.uk‘Bowens’® and ‘the power behind the picture’® are registered trademarks of Bowens International Limited. PocketWizard® is a registered trademark of LPA Design.

© 2011 Bowens International Limited.

@litebookmag

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ALIGHT’SA LIGHT,RIGHT?

Pro portrait shooter KARL SHAW wantedto update his location lighting setup and

fancied Bowens’ new Gemini 500RTravelPak Kit, but was unsure if hewanted to spend the money. So we

stepped in, gave him a set and askedhim how he got on...

WHAT PROSWANT...

PP - WHAT PROS WANT BOWENS- SEPT 09/08/2011 12:31 Page 81

There’s always a checklist, alwaysa few questions that need to be askedwhen buying any expensive piece ofphotographic equipment. Whether

you’re a first-time buyer, or replacing orsupplementing existing gear, it’s importantthat all the right boxes are ticked. Let’s behonest, there’s not a lot in the photographicworld that’s cheap – even the items that are‘cheap’ are not exactly inexpensive.While price is obviously important, the old

adage “you get what you pay for” certainlyholds upwhen it comes to anything designedfor professional duties. With daily doses ofuse and abuse, a working studio needsequipment that has the level of toughnessand build quality you get only when spendingthat bit more. The gear also has to deliver onwhat it promises – it’s no good being built

like a Rolls-Royce if the performance is likean asthmatic pit pony.Now, cameras come and go;more pixels are

being crammed into the same surface area,replacing your still superb, 18-month-oldworkhorse that is now ‘old’. Lenses getimprovedwith better coatings, less distortionand new vibration reduction systems, butstudio lights tend to stay the same, don’treally need improving and therefore avoid the‘out-of-date’ indignity that afflicts yourcamera. Evenwhen an existingmodel getsa facelift we tend to add to it or replacedamaged items rather than ‘update’ – a light’sa light, right?

NEEDS MUST…Recently I fell into the ‘add to’ category of lightimprovement. Now, when it comes to lighting

the nameBowens is synonymouswith qualityand choice – everyone I’ve encountered alongthe photographic journey is familiar with itsproducts and reputation for providingeverything aworking professional needs to kitout a busy studio. I’m not saying othermanufacturers don’t provide similar productsor level of service, nor that Bowens’ productsare necessarily better than anyone else’s.It’s just that I tend to follow the “if it ain’tbroke, don’t fix it” path when it comes toswitching brands. Have I successfully dugmyself out of that hole?

QUALITYAfter a very brief deliberation I am now theproud owner of a Gemini 500R TravelPakKit. At close to £1,500 for two lights,a battery pack and accessories, it may

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“I’m not saying other manufacturers don’t provide similar products or level of service, northat Bowens’ products are necessarily better than anyone else’s. It’s just that I tend to followthe ‘if it ain’t broke, don’t fix it’ path when it comes to switching brands.” Karl Shaw


83

WHAT PROS WANT...


85

seem like quite an outlay; after all, in theserecession-hit times there are cheaper optionsand far easier ways of using light outdoors:hello strobists. But let me explain: lights orlighting are ameans to an end, it’s that lighthitting the subject that gives us the picture,and the ability to model, sculpture and shapefeatures to our liking. With Bowens I geta certain quality of light that’s hard to put myfinger on and while I do own and use othermakers’ gear, it’s the light that the Bowensemit that I keep coming back to. I also liketheir build, and while weight isn’t always agood thing –more of that later – these 500Rheads feel reassuringly weighty and capableof taking the odd knock or two that isinevitable in a busy studio or on location –more of that later, too. I also like their abilityto pop all day in quick succession withoutoverheating while maintaining the sameoutput flash after flash. I’m saying ‘like’ but Iactually expect this from a set of Bowens.

WHAT DO YOU GET?So what do you get for yourmoney? Two 500Rheads with a colour temperature of 5,600K,auto dump, a large LED display with good-sizecontrols and a recycle time of 1.3 seconds.Then there are all the cables you need forinternal and external use, bulbs and a synccord, one 60 x 80cm softbox, one rather neat90cm silver/white/shoot-through umbrella,a wide-angle reflector to use with theumbrella, two stands – not damped, which ismy only gripe – and a very good trolley casethat can be used with or without the wheels.Basically, it’s a portable studio (a phrase Idislike), often used to describe a small,two-light kit, compact enough to betransported easily between locations whichusually provide the electricity. This is aproper portable studio and themain reasonI chose the TravelPak was having the abilityto use 500W studio lights outdoors.

LET’S GO OUTSIDEWorking indoors the Geminis do exactly what Iwould expect: they take all my existing lightmodifiers – grids, snoots, beauty dishes andsoftboxes – and sit happily alongsidemy otherlights. Outdoors, things stay the same, albeitwith a few obvious exceptions. Remember Imentioned weight wasn’t always a good thing?With the kit as a whole weighing nearly 25kg,it’s not a good idea to have to drag it too far.Yes, it has wheels, but some lifting will be

WHAT PROS WANT...


86

required over rough terrain; not the end of theworld, but worth noting. One option is to takeexactly what you need, as losing one light andstand reduces the weight if you’re going to beusing only a one-light setup.

I mentioned that the Geminis are capable oftaking the odd knock or two, but they wouldprobably lose the argument with concrete ifthey fell from a height. First time out I had oneof those ‘watch in slow motion as the wind fillsthe umbrella and comes crashing to theground’ moments, even with only a very slightbreeze and the battery pack weighing down thestand. Luckily I was in the middle of a field withfairly long, bushy grass, but the umbrella wasstill destroyed – a beauty dish provides less ofa sail. Sandbags or doorstops are an idealsolution but just add to the weight that needslugging around. Finally, recycle times will belonger and battery life reduced the morepower you use. Having said that, I’ve been onlocation shooting all day and never had anycomplaints, even being surprised by how muchbattery life was left.

This is starting to sound like an advertorialfor Bowens, but I have to be honest. I haveused and tested all sort of lights over theyears; I’ve got Paterson, Lastolite Lumen8sand Interfit lights, so am well-versed in what’son offer. The Bowens Gemini 500R TravelPakKit is ideal for the working pro who wantsprofessional lights in the studio one minute butto be able to pack them away, en route to alocation, the next. There are plenty of lessexpensive options, but the Bowens are qualityin both build and light delivery. I love usingthese lights outdoors and being able either tomix the flash with ambient, use as fill orcompletely overpower the ambient, stoppingdown the shutter for dramatic effect. Gettingcreative with light outdoors adds anotherdimension to studio or wedding photographyand the Bowens tick every box when it comesto satisfying both me and my clients. PP

BOWENS GEMINI 500R TRAVELPAK TWIN HEAD KITPRICE: £1,429POWER: 500WGUIDE NUMBER: 85POWER RANGE: 5 stops (15W to 500W)COLOUR TEMP: 5,600KRECHARGE TIME: Small BW7690 battery six hours/large BW7691 battery eight hoursIN THE BOX: Two 500W heads, including two tubesand 250Wmodelling lamps, two stands, 60 x 80cmsoftbox, 90cm umbrella, wide-angle reflector, twomains leads, sync cord, battery and controller.BUY:www.bowensdirect.com

SPECALTERNATIVE OPTION

ELINCHROMRANGE QUADRA RX 2 HEAD ‘A’ KITPRICE: £1,615This is Elinchrom’s fully portable, battery-operated,wireless set of location lights. Due to their small size– they fit inside a briefcase-sized hard case – anddecent power output (400W), these lights area popular choice with location shooters. The headscomewith a reflector, all your cables and theEL-Skyport wireless system built-in, as well asa daylight-balanced LEDmodelling lamp. However,you’ll need to buy an adapter to fit your Elinchromsoftboxes and umbrellas.BUY:www.theflashcentre.com


WHAT PROS WANT...

“First time out I had one ofthose ‘watch in slow motion

as the wind fills the umbrellaand comes crashing to the

ground’ moments.” Karl Shaw


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If you’re like us, there are moregadgets involved in your photographythan just your camera. While theymay not take or edit your picture,we’ve had a look for some of themore unusual items on the marketthat might enhance this process

GADGETMONTHLY

VIMEO PRO ACCOUNTNot somuch a gadget as an improved platform on which you can use your gadgets, the new VimeoPRO account from the video-hosting firm lets users upgrade to a professional suite of tools,high-definition video (up to 1,080p), customisable portfolio websites, playback and sharing options,enhanced privacy settings, with no bandwidth caps or time limits. The PRO account costs $199 (about£122) annually and gives you 50GB of video hosting and 250,000 plays. http://vimeo.com/pro

SKULLCANDY FIX IN-EAR EARBUDSIf you like to listen to music when you’re on the go orsimply crank your tunes to pass the time while editing,this new FIX from Skullcandy promises an earphonethat won’t fall out of your ear. Employing what they call‘FIX technology’, the earbuds come in two silicon gelsizes and offer an in-ear hook design to stay put in yourcanal. Other features include a 1.3m-long cable anda rear acoustic port for deep bass. www.skullcandy.com

iPHONE PHOTO CUBE PRINTERIt’s the most popular camera on Flickr, so it seemsonly reasonable to have a compatible printer.Dock your iPhone into this device and processyour pictures without the need fora computer. This compact cube printer willproduce 4in x 6in prints in less than a minute andcharge your iPhone at the same time. It can be usedvia an AC adapter or USB connector and is priced at$160 (£98). www.sharperimage.com

NEWERTECH NUVUE ANTI-GLARE SCREEN PROTECTOR FOR iPADAsmore people use their iPads for playingback images, themore that glare from thesun will become amajor annoyance.Perhaps this isn’t such a problem now,given the summer we’ve had, but the sunwill shine again, won’t it? This bubble-free,easy-peel-and-stick veneer prevents therainbow effect from glare and smudges,and reduces eye strain. It is compatible withiPad, but not iPad 2, and has an RRP of $25(about £15).www.newertech.com

WALLEE MODULAR iPAD SYSTEMThis was one of our favourites. Together, the Tether ToolsConnect and the Wallee Modular Accessory Case let youintegrate your iPad or iPad 2 into your photography andfilm workflow. Versatile and interchangeable, the Walleecase serves as a receptor for locking each of the mountsand accessories in the system. Attach it to your tripod,light stand or anything else you use to incorporate youriPad as a teleprompter, viewing station or simply toreview images. The Connect kit ispriced at $120 (about £73) fromwww.tethertools.com where youcan also watch the video.

MOBISCOPE PHONE ZOOM LENSAs the camera functions onmobile phones have improved, many of uswould probably stop carrying a compact camera, were it not for thepoor optical zoom range on camera phones. TheMobiscope sets out tobridge this divide. Small enough to fitin your pocket at 34mm x 70mm, itcan be locked on to yourmobilephone via a small attachment andadds 8x optical zoom to your cameraphone’s performance. At the time ofwriting it was priced at £15.95 fromwww.geniegadgets.com

GADGETS

PP - GADGETS - SEPT 10/08/2011 10:47 Page 89

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We all know how thewhole skin smoothing/retouching aspect of photography has hadsome bad press of late, withmodels lookingas if they have lost pounds in weight andgained porcelain-smooth skin. We also knowthat it is a necessary part of the picture-takingprocess formany portrait or weddingphotographers. It is also time-consuming andsomething of a grey areawhen it comes tocharging our time. After all, it took probably1/125sec to capture the image and a good deallonger to work it up.Now, when it comes to retouching I’m a bit of

a sadist, not caring how long I sit in front of mycomputer smoothing this and whitening that, aslong as I achieve the desired result and the clientis suitably overwhelmed. After all, the client isking. In the past I’ve always shied away fromquick fixes; you know the kind of thing – oneclick does all and saves you hours in Photoshop.I’ve always regarded these claims as, well,cheating and akin to witchcraft. Now this is

ImagenomicStudio and location portraitphotographer KARL SHAWhas been looking for apost-processing softwarethat is purely for his type ofwork. Here he takes acloser look at US-basedsoftware companyImagenomic’s Portraiture 2plug-in for Photoshop

“...The number of images I’d processed over thetwo weeks was unbelievable, compared withmy usual retouching route, so buying a copyfor myself was a no-brainer.” Karl Shaw

ONE-CLICKWONDERInset: It’sasplainas thenoseonyour face (if you’llpardonthepun) thatCharliehardlyneedsretouching towithinan inchofher life.However,somelevelofpost-production isexpected, tobring thepictureupto theexactingstandardsof today’spublications.Themain image, right,utilisesoneof themanypresetsthatcomeswithPortraiture2– in thiscase,Glamour.

PP - IMAGE NOMIC SOFTWARE - SEPT 09/08/2011 14:03 Page 90

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Portraiture2WHAT PROS WANT...


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Portraiture 2 isavailable forPhotoshop from CS3onwards, Lightroomfrom version 2 onboth Windows andMacintosh platforms,and Apple’s Aperturefrom 2.1. It is pricedat just under $200(about £123). Go to:www.imagenomic.com

where you’re expecting me to confess to thediscovery of something that has turned myworkflow routine upside down and changed mywhole opinion of ‘quick fixes’. Well, I’msurprised to say that you’d be absolutely right.When I make discoveries such as ImagenomicPortraiture 2, I should really keep quiet about it,not letting on that I now also ‘cheat’, take shortcuts and let a mere plug-in do all the hard workfor me. But on the flip side I want to shout fromthe rooftops how a mere plug-in has transformedthe way I work, changed my retouching habitsand, most importantly, saved me so much timepost-processing – time that, if I’m honest, I neverreally charged out at a rate that I was happy with.

Now, I’m being a bit flippant when I say aplug-in takes care of all my post-processing dutiesand after one click I’m done; there’s a bit moreto it than that. The great thing about this program– I’m calling it a program as it feels so muchmore substantial than a plug-in – is that you are intotal control of so many options and you cansave all your ‘tinkerings’ as presets to apply toeach image in turn if you don’t want to use any ofthe in-built presets.

However, the Glamour preset, applied to aduplicated background layer with a reducedopacity, is usually all that it takes to add the wowfactor. But the real beauty is that it’s a breezeto use; sliders provide the control over theblurring, fuzziness, colour, contrast and sharpnessoptions, to name but a few, so you’ll get thehang of it in no time. And that’s the point – time.

Above:This imageusesmyowntweakedpreset thatI call ‘justsmooth’.Youcouldarguethat it’sa tadover-egged,but thebeautyofworking in layer-basedsoftware is thatyoucanchangetheopacityof the layeryouareworkingonsoyoucangofromverysubtleto in-your-face inan instant.

Portraiture 2 is quick to get to grips with, quickto customise and quick in use. There’s no faffingabout plotting where each facial feature islocated, no reshaping the subject’s face beyondall recognition and no guesswork. This isa professional piece of kit that produces stunningresults, will save you bags of time and,ultimately, money. As Imagenomic says:“It’s more than just a facelift.”

A photographer friend defied me not to press‘purchase’ after my 15-day trial had elapsed.However, the number of images I’d processed overthe two weeks was unbelievable, compared withmy usual retouching route, so buying a copy formyself was a no-brainer. PP

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Probably the most directcompetitor to ImagenomicPortraiture 2 is AnthropicsTechnology’s PortraitProfessional, now up toversion 10. It’s also

a very easy software to use straight out ofthe box and can create some fairlypowerful results in a few simple clicks.

The examples shown on the website arehighly dramatic reconstructions, but it canbe much more subtle. Most who use it, notunlike the Imagenomic’s offering, love itsability to automatically produce verypleasing results, but also that there areplenty of options to fine-tune each imageto personal tastes. It’s also very goodvalue, starting at just $40 (about £25) for

the Standard edition. There are twoadditional versions to choose from aswell: Studio (RAW and 48-bit files) andStudio 64 (for very large images).To see video demos and download the

Mac or Windows versions go towww.portraitprofessional.com

Below:Herearesomescreengrabs I didof a shot ofPP’s Editor, Adam Scorey, that showsubtle changes.


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stoppress...We’re always keeping our eyes open and our ears to the ground to make sure we bringyou the latest news, industry rumours and kit from around the world...

VISA POUR L’IMAGE 2011Two Getty Images photojournalists havebeen nominated for the Visa d’Or awards atVisa pour l’Image, the annual internationalphotojournalism festival in Perpignan,south-west France. Jérôme Sessini andÁlvaro Ybarra Zavala will compete in thenews and features categories respectively,and the winners will be announced on 1 and2 September. Zavala was nominated for hiswork on the conflict in Colombia and askedto exhibit his work, having already receivedthe City of Perpignan Young Reporteraward. Sessini was nominated for his workin Libya. Getty Images will be announcingthe winners of its 2011 Grants for EditorialPhotography at the festival. Since 2005,it has awarded more than $600,000 toprofessional photojournalists.www.gettyimages.com/grants

� Leica increases theS-System’s flexibilityLeica has introduced three newS-Adapters to allow Leica S2 users toattach medium-format lenses fromother manufacturers to Leica S bodies.The Leica S-Adapter V can be used forHasselblad V system lenses, the P67for the Pentax 67 system lenses andthe M645 for those of the Mamiya 645system. The adapters are madeof anodised aluminium andchrome-plated brass for durability.The S-Adapters do not come cheap at£525 each, but this extension ofthe compatible lens range doesinclude tilt and shift.www.leica-camera.com

©ÁL

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ARR

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AGES

July2009:Policespeaktovillagersduringaraidatabar inasluminTumaco,Colombia.

POWER HOUSEApple has updated the MacBook Air withnext-generation processors, high-speedThunderbolt I/O technology, a full-sizebacklit keyboard and Mac OS X Lion.It features Intel HD Graphics 3000,provides up to 4GB of faster 1,333MHzmemory, is made of durable aluminiumand is available in two sizes – 11in and13in. There is also a multi-touch trackpadand a high-resolution LED backlit displaythat Apple claims has the resolution of

a much larger, bulkier screen.The compact new MacBookAir is up to twice as fast asthe previous generationand has flash storage,so it can be turned oninstantly and access datamore quickly. Pricesstart at £849 fromwww.apple.com/uk

FOOLPROOFThe new rangeof shockproof,waterproofandmagnetproofSDHC/SD andmicro SDHC/SDmemory cards fromSamsung is now available. The cardsprovide read speeds of 24Mbps and areavailable in two categories: Essential andPlus. The premium Plus range features thehighest available class 10 speed rating,a class-leading write speed of up to 21Mbpsand storage capacity of 8GB or 16GB.The Essential category provides arespectable write speed of up to 13Mbps incapacities ranging from 2GB to 16GB.All cards in the new line-up feature abrushed aluminium finish.Prices go from £7.99 to £38.99.www.samsung.com

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stoppress...

IAN PARRYSCHOLARSHIP 2011Rasel Chowdhury, from Bangladesh, has won theIan Parry Scholarship 2011, worth £3,000, for hisseries of images called Desperate Urbanization,highlighting the pollution of the Buriganga river inthe country’s capital, Dhaka. The desaturatedlandscapes are the first of their kind to win thisphotojournalism and documentary photographyprize since it was launched in 1993 in memory ofphotojournalist Ian Parry, who was killed in 1989while on assignment in Romania for the SundayTimes. One of the judges, Kate Edwards, pictureeditor of Guardian Weekend magazine, said:“Rasel’s conceptual approach and the desaturationof his images work well to produce a very differentview of Dhaka. There is a consistent distancein the images and yet every now and again yousee figures interacting with the landscape.”A related exhibition is running at the GettyImages Gallery, 46 Eastcastle Street, LondonW1W 8DX, until 31 August. Formoreinformation visit www.ianparry.org

LATELY WE’VE BEENHEARING...� Photographer David LaChapelle haswon a pre-trial ruling against popprincess Rihanna after claiming thatscenes from her music video, S&M, werecopied from several of LaChapelle’simages. The ruling, by a judge in NewYork, means the photographer’s claimcan now go to trial.� A memorial service will be held forphotojournalist Anton Hammerl at StBride’s Church, in Fleet Street, London,at 3pm on 8 September. Hammerl, aSouth African based in the UK, was killedby pro-Gaddafi forces in Libya in April.� Getty Images has entered a new phasein its deal with Flickr by presentinga selection of images on its website thathave been chosen by its editors.The Flickr Select collection launchedwith nearly 6,000 images.� Photographer Cindy Sherman isfronting a MAC Cosmetics make-upcollection for autumn. Sherman is knownfor her self-portraits and disturbingimages which often challenge the beautyindustry. Her transformation in thethree images for MAC certainly live upto that reputation.� We love the images entitled SuperNatural photographed by Mert & Marcusfor issue 6 of Love magazine, in whichthe models wear headpieces alluding toa variety of religious icons.� Lauren Pissochet is the people’schoice winner of the inaugural MovingImage Award in the Sony WorldPhotography Awards 2011 for her videoPhoenix: The Girl with the Red Hair.

GRANDPRIXPentax has launched a limited-editionkit of the medium-format 645D tocelebrate it being named Camera ofthe Year at the Camera GP Japan 2011awards. The built-to-order body has ared lacquer finish and comes in a boxmade of paulownia hardwood. It costs$16,000 (about £9,780). Orders mustbe placed by 20 September 2011through one of Pentax’s preferredsuppliers. www.pentax.co.uk/645D

V&AThe Victoria & Albert Museum in London is opening its first permanent photography galleryin the autumn to show highlights from its renowned collection of images. It will featureVictorian portraits by Julia Margaret Cameron and works by other key figures inphotographic history such as Henri Cartier-Bresson, Man Ray, Alfred Stieglitz, Diane Arbusand Irving Penn. The gallery will be open daily from 10am to 5.45pm (10pm on Fridays) from25 October. Admission is free. www.vam.ac.uk

� BlackRapid RevampThe RS-5 camera strap fromBlackRapid will now be madefrom the tougher ballistic nyloninstead of ripstop nylon, bringingit into line with other R-Straps.The RS-5 now has expandedstorage, more organisationalfeatures and a magneticclasp for silentopening. It is pricedat £75.www.blackrapid.com

©V&

ACurtisMoffat,Dragonfly, c1930.

PP -STOP PRESS - SEPT 10/08/2011 11:00 Page 104

© Archant Specialist. Archant Specialist is part of Archant Ltd.� While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsiblefor errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publicationin Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in partthe work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher.

Competition terms and conditions:� The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. � Employees of Archant Specialist, and those professionally connected with the competition/ giveaway,for example, employees of the sponsor company, are not eligible to enter. � Unless otherwise stated, competitions/giveaways are only open to UK residents. � Prizes are as described and no alternatives can be offered. � The Editor’sdecision is final and no correspondence will be entered into. �Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. If you are sending yourentry by text and do not wish to be contacted, please add the word ‘NO’ to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form.

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THE BIGINTERVIEW

Andy Gotts,colour & mono

Buyingsecondhand:is this anoption?

Monkeytakespictures…but whoowns them?

PPOTY 2011 – OUR FAVOURITES SO FAR

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As photographers, we all have our individual style; it’s whatmakesus interesting and different.Whether it’s architecture, fashion,weddings, editorial or commercial, we have our niche areas, ofteninfluenced by other photographers, be theymodern or

classic icons. Each of us has our photographic heroes; for example, ask anyphotojournalist to name their influences andHenri Cartier-Bresson’s namewill appear time and again, alongwithmore contemporary names, such asMartin Parr, SteveMcCurry, JamesNachtwey orDonMcCullin, to namea few. Evenwewedding photographers have our influences (yes, honestly).Forme it’s Ernst Haas, NormanParkinson andBill Brandt.Haaswas a pioneer in colour photography, extolling the virtues of early

ISO 12Kodachromewith his trusty Leicas. His editorial images, seen in theclassic books TheCreation and In America, are phenomenal. Parkinsonwas a different animal –with his quirky, off-the-wall humour, backed byimmense talent and technical prowess, hewas a leading light of high-qualityfashion photography formore than three decades. But for today, it just hasto beBill Brandt, who ismy near-totalmono inspiration. Hewas a genius instorytelling; his simple, often abstract or graphicmonochromatic imageswere produced through a natural talent in social documentary photography.Hiswork inspiresmemore than that of, say, Cartier-Bresson…who’s notbad, I suppose.Manywould disagree, of course.I have several books onBrandt –my favourite being London in the

Thirties, a collection ofmono images, showingwhat the capital was reallylike then: theworking-class squalor, the backstreet ‘boozers’, contrastingwith themiddle classes and their four-storey houses, Royal Ascot andelectric lighting (!), and the upper classes in their top hats, with theirhousekeeping staff, horse-drawn carriages and nights out at expensiverestaurants. The qualitymay be lacking here and there due to technicallimitations, but the ideas, the images and the finishedwork are stunning.Somy question is: howmany of usworking pros adopt (or adapt) our

influences and apply them to ourwork – consciously or otherwise?Do you asworking photographers try to emulate your heroes, and does it

work in themodern digital world?Do you consistently producework akin toyour heroes’, or is it something you ‘keep up your sleeve’ until called upon?Imust admit I love shootingmono atweddings, though I’mnot brave

enough to produce a lot of Brandt-esque imagery formy clients – especiallyin July andAugust! But, given a darkwinterwedding, wheremy trustyNikons are sweating a bit at ISO 3200 and 1/40sec at f/2, sometimes theBrandt inme is just a little toomuch to contain.Wait, before the cries go out,I’mnoBrandt, by any stretch of the imagination, andwill never considermyself to be, but I oftenwonder howhewould have approached someof thedocumentary situations and associated lighting conditions I face (especiallyinwinter) to create an image that the clientwill love. So…howmany of youget paid for shootingmodernwork in the style of your hero?Hell, it’sgreat being paid doing somethingwe love (most of the time), but to getpaid for emulating our photographic heroes too?Heaven!The photograph above is one ofmine. During a recce for awedding,

I foundmyself back home inMorecambe, Lancashire, at thewonderfullyrestoredMidlandHotel. This shot just cried out tome and is one ofmyfavourite personal images. It sits proudly onmyMac as a screen backgroundand I’ve been asked several times if it comes bundledwith newMacs, orwhere I got it from. I’ll take that as a backhanded compliment then...I shot the image on a bright, sunny day, on aNikonD700with a 24-70mm

AF-S at 36mm. This ismy favourite style of image: high contrast, withstrong directional lighting and a dynamic range off the scale.My trademarkis to shoot for the highlights and let the shadows ‘go’, for a graphic feel –something I’mnot really allowed to do atweddings! In post-productionI graded theRAW file in Lightroom3 to create a good ‘working’mono versionwhichwas then imported intoNik Silver Efex Pro 2mono film softwarevia Photoshop. A FujifilmNeopan ISO 1600 gradewas applied, with a littledigital ‘push-processing’ and 35mm filmgrain added. Tome, it’smymodern-day homage toBill Brandt. And I love it.

www.mickcookson.com www.billbrandt.com

PP

GOT JUST SUCH A STORY TO TELL AND AN IMAGE TO GO WITH IT? IF SO, EMAIL [email protected]

In a variation on our Legend series,wedding photographer MICK COOKSON reveals three of hisimaging idols and how one in particular influences his work every day

READERS’HEROES:BRANDT

PP - HEROS M COOKSON - SEPT 10/08/2011 10:33 Page 106

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OUR 2011COMPETITIONIS LAUNCHED!

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BEN DUFFY,the 12th man

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PROFESSIONAL SINCE 1982

PPOTYAWARDS

THEUNDERCUTTERS

OUR 2011COMPETITIONIS LAUNCHED!

One picture,£100,000

HOWMUCH?

iPhone 4 weddings...Does opportunity knock?

BEN DUFFY,the 12th man

How to combatWeekend Warriors

WHAT PROSWANT...£1,400 of BowensTravelPak tested

THE BIGINTERVIEW

SOFTWARE,GADGETS& HEROES

COLUMNIST:Middlebrooktells it straight

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