PROFESSIONAL

SINCE 1982

WWW.PROFESSIONALPHOTOGRAPHER.CO.UK FOR PROFESSIONALS, BY PROFESSIONALS

APRIL 2013 £4.20

BIG INTERVIEW:
BRIAN GRIFFIN –
THE PERFECTIONIST

COFFEE WITH...
DAVID BAILEY
BUSINESS: GOOGLE
SEO MASTERCLASS,
PANDAS & PENGUINS

PPOTY 2012
SHORTLIST

WORKING PRO | STORAGE | MIDDLEBROOK | PUSHING BOUNDARIES

 welcome APRIL

Well, we have actually done it again –

boomage! Recently we had the
imitable Rankin and David ‘légenda
du football’ Beckham in Feb’s issue.
This month we have gone one better
(sorry Becks) and managed two proper légendes de
la photographie, we present to you Mr David Bailey
and Mr Brian Griffin. We squeezed in a coffee with Mr
Bailey at the launch of his new book, but we also have
the full monty with Mr Griffin – a seven-page feast for
the eyes and ears, as it were – and this month’s cover.
Middlebrook seems to have calmed down – or
balanced his medication! We have insights from
Catherine Conner from Aspire PPT about getting out
of your comfort zone. Jenika shares her precious
knowledge in her penultimate column. Matt Henry
gets the low down on whether the still image is dead.
Kevin Mullins now seems to be going slightly bonkers
and is banging on about pandas and penguins – oh,
hang on so is Paul Tansey from Intergage, so it must
be a Google SEO thing. Yep, they are using long words
such as algorithm and optimisation.
Inspiration comes in the form of a Swedish-born
travel photographer working in the UK, Joakim Borén,
and his delicious architectural images, as well as a
working couple, Dom and Zoe Wright, who are such a
great team. These guys won the SWPP/Aspire/PP
Business of the Year award. We talk to them about
work/life balance, weddings and running a bed and
FRONT COVER: BRIAN GRIFFIN

breakfast on the side!

Our giant feature is a round-up of the shortlist of
the PPOTY 2012 competition. The judges and I have
come up with our selection of images from which to
choose the 14 winners who will be announced on the
awards night on 28 March in Cheltenham. Not an easy
THIS IMAGE: REBECCA MILLER

task, especially the black and white section, but it’s an

honour to have such quality within the pages of PP.

Adam Scorey, Editor, adam.scorey@archant.co.uk

3
CONTENTS
NEW PHOTOGRAPHY
29 PPOTY 2012 Shortlist
The anticipation is over, we announce the shortlist for the 2012 PPOTY awards

NEED TO KNOW
8 Kate Hopewell-Smith: U or a G?
Our newest columnist unlocks the cryptic code and questions the opinion of competition judges

10 Fifty Shades of Craig

Don’t grab those self-help books just yet, Craig Fleming offers words of wisdom from his world

14 Middlebrook: Inspired, I Don’t Think So!

Rubbing our faces in his glamorous life post Afghanistan, Middlebrook reminisces his times away

19 Food Focus: Fuel Up

Feeling tired and sluggish when on a shoot? Sarah O’Neill serves a get-up-and-go lunchbox

21 Pushing Boundaries
Guru Catherine Connor from Aspire Training urges you to think outside the box for success

24 Psychology For Photographers

Want to build trust in business? Jenika McDavitt suggests the ‘me too’ method

53 Insider: Stills in the Future

The future is now, like it or not. Matt Henry’s roundtable discuss the goings on at ground level

59 Styling your Shoot: Handbags at Dawn

Rebecca Miller takes us behind the scenes of shooting the seasons for handbag designer Nica

64 DSLR Movie Making: We Need to Talk About Kelvin

Now that you’ve got the basics down, Tom Martin talks familiarity with white balance techniques
67 The Business: Kevin Mullins
Don’t keep all your eggs in one basket, or as Kevin says don’t put all your marketing on Google
70 Paul Tansey Masterclass: Make Google your Friend in 2013
As the online giant has taken a trip to the zoo, Paul Tansey gives you tips on befriending the beast

73 Business of the Year: The Wright Stuff

Winners of the Business of the Year Award, Dom and Zoe Wright talk about their success

79 The Business: Working from Home

It’s a place many of us call our office: Carol Wright tells how to make the most of home-work

INTERVIEWS & CHATS WITH...

81 Working Pro: Joakim Borén
A pro whose success lies in architecture and travelling, Borén has a knack for juggling
87 Big Interview: Brian Griffin
From dancing with Margaret Thatcher to casting his family, Brian Griffin is a true modern master
98 Heroes: David Bailey
Your eyes do not deceive, yes the David Bailey chats to PP about what inspires the living legend

NEWS & REVIEWS

96 G-Technology Masterclass
Your images are secure in the box, now it’s the huge post-production files that need taking care of

KEEP IN TOUCH
26 Subscribe
Subscribe to Professional Photographer now and get 6 issues for £12!
JAMES ROUSE

Spring issue of Turning Pro on sale 31st May

4
 DOM AND ZOE WRIGHT

5
contributors
P19 Sarah O’Neill P21 Catherine Connor P59 Rebecca Miller
Formerly of Sky1, Sarah gives us a monthly Marketing guru Catherine specialises in London based Rebecca is a fashion, advertising
boost of nutrition to keep us strong, alert and motivation and helps photographers achieve and portrait photographer who has shot the
ready for challenging shoots. success at Aspire Photography Training. likes of Mumford and Sons and Debbie Harry.

PSYCHOLOGY THE BUSINESS

FOR

PHOTOGRAPHERS
PART 5 



Building trust in business: Kathrine Anker catches up with DAVID BAILEY and finds
 %,,/
!4(2).%
&'6#+.5
#$176
;1745'.(
#5
#
0#674#.
':6'05+10
1(
9*#6
;17
$.1)
14
This is not about manufacturing fake
#(
&#



!
  
!

#%'$11-



14
':#/2.'
+056'#&
1(
,756
72&#6+0)
;174
56#675
61
5#;
=/
*#8+0)
(70
connections, but acknowledging that the
>6258+8
;9+89

/:
/9
45:
9.58:
5,
/4,583':/54
:5

=581
5;:
=./).
9/:+9
'4*
=./).
6'-+9
=+
2/1+
:
55-2+
.'9
:.+
359:
/4:+22/-+4:
=581,58)+
/4
1'?
:.+4

95
=.':
'8+
:.+
1+?
,'):589
:5


#**-
4'"
&-5
0#
7-3
2-"7 out why he has turned his back on fashion, what inspires
 !-%
!3
%6%29
$!9
'&+6+0)
+/#)'5
(41/
61&#;5
5'55+10?
;17
/+)*6
64;
=/
,#//+0)
61
‘me too’ factor is a real part of the human )'4
=581
5;:
:.':
/,
=+
,/4*
'
6'-+
(?
:?6/4-
54+

:./4-
/4:5
'
9+'8).
+4-/4+
=+
2/1+
/:
(;:
/,
=+

./9:58?
".+8+
'8+
358+
.9
6+8
.;4*8+*

+3625?++9
':
55-2+
:.'4
'4?
5:.+8
)536'4?
54

8+3+3(+8
/,
?5;
='4:
:5
2+'*
:.+
-55*
2/,+


+405?
'
25<+
',,'/8
=/:.
55-2+
'4*
2/<+

him and why he has qualms with Vogue
&'.'
14
#0&14#
#0&
'&+6+0)
61&#;5
+/#)'5?
+/2.;
6740+0)
8#)7'
+&'#5

experience, and allowing that to take place 
,"
&-51
2&2

THE ‘ME TOO’ PRINCIPLE

:?6+
'
*/,,+8+4:
9+'8).
:+83
'4*
,/4*
:.+
9'3+
'8:.
".+8+
/9
45
*5;(:
/4
3?
3/4*
:.':
.'66/2?
+<+8
',:+8
"*#8+0)
(70
+061
%10%4'6'
&'6#+.5
"&'.'
#0&
"#0&14#
)+8'5
2'12.'
6*'
 
$!9
/,$%2 &#,
7-3
2&',)
-$
4'"
'*#7
7-3
2&',)

1
#2*#1
'+%#1
0'%&2

0
.-020'21

6'-+

=+
*54:
55-2+9
)522+):/<+
/4:+22+):;'2
.589+65=+8

%*#0%'
61
5#;
=
.+56'0
61
6*#6
611
#8'
;17
*'#4&
!!

;'6?
even when you’re not there in person. JM 4
:.+
3'/4

55-2+9
9+'8).
8+9;2:9
/3685<+*


0
1'+.*7
#,
&0'+.2-,

+
%3#11',%
4#
!-4#0#"



(



=5;2*
5;:-;4
'4?
58-'4/9':/54
/4
./9:58?
&1&
"1&
-7
3/0

3*02
'/1
"

-,
5&'2#
!)%0-3,"1
17
%#0
#.51
)'6
/14'
52'%+(+%
&'2'0&+0)
10
9*1
;174
+&'#.
%.+'06
+5

#**
+#
 -32
7-30
#6&' '2'-,

%--"
.#0!#,2%#
-$
0#"#01
5'2&
2&-1#
2&0##
-.2'-,1
,"
5'2&
%--"
0#1-,
9
5&-

,58
359:
5,
;9
59:
9/:+9
:.':
=+8+
.;8:
=+8+
#2:/3':+2?

/,
?5;
*+)/*+
:5
:'1+
:.+3
54
'4*
//(,&
,/5&*.

;17
/#4-'6
61
2#4'065
#0&
;174'
#
2#4'06
;1745'.(
;17
5*#4'
#
*7)'



 5-3*",2
0#+#+ #0
2&#
'!-,1
-$
5',%',%
-,"-,
1
.-0207#"
7
2&#
'!-,
-$

5,,+8/4-
2/::2+
<'2;+
".+
'4*'
;6*':+9
=+8+
).+':
:.+3
:.+4
:.':
*+)/9/54
=/22
685('(2?
)59:

45=
?5;8
';*/+4)+
@
;4*+89:'4*
:.+3

4#0)'
1(
4'.#6#$.'
':2'4+'0%'5

056'#&
1(
6*'
5#/'
1.&
#00170%'/'06
 43
15)4%
3-!,,
)43
!"/54

3
!34
.$
$1&'-,
.&-2-%0.&7
&'+1#*$

32
2&#
#327
-$
0#4'1'2',%
2&#
5-0)
-$
2&#
%0,"

Your personality is an important business asset. Our psychology guru, #$176
;174
72%1/+0)
/+0+ 5'55+105
;17
/+)*6
*#8'
#
#%'$11-
56#675

72&#6'
6*#6
5#;5
=756
9'06
&19056#+45
61
(+0&
.+66.'
8#
56#0&+0)
+0
/;

3+8)/2+99
:5
9/:+9
:.':



)54:'/4+*
=58:.2+99
2/9:9
5,
2/419

?5;
?5;8
542/4+
(;9/4+99
'4?
=+(3'9:+89
,5;4*
:.':
:.+/8
542/4+

*++62?
'4*
)8+':+
)54:+4:
,58
:.+3
@
.+26

:.+3
=/:.
:.+/8
685(2+39
'4*
,++*

43
0!24
/&
!
"//+
4(!43
#/-).'
50
4()3
9%!2
/2
+12#0
'1
2&2
7-30#
0#+',"#"
-$
2&#
+,7
$!#21
2&2
+)#
3.
,
02'12
4'"

4(2%%
"//+3
!#45!,,9
!"/54
4(%

3

3
!.$
./7
'*#71






'1

!-**#!2'-,
-$
.'!230#1
2&2
1&-5

"'$$#0#,2
1'"#
-$
2&#

JENIKA MCDAVITT, reveals how your passion for Rihanna or your favourite family 2412
$#5-'6
9'#4+0)
(174
*#65


)7'55
5*'5
':%+6'&
#$176
6*+5
9''-5











3?
6+:
.':+



.'*
25:9
5,
'*<+8:9
+96+)/'22?
/4
:.+

(;9/4+99+9
=+4:
(;9:
5<+84/-.:
'4?

(;9/4+99+9
9+8</)+*
(?
'-+4)/+9
68'):/9/4-

:.+/8
'96/8':/549

"+9:
?5;8
=+(9/:+
;9+8
+>6+8/+4)+
':.+8

5',%',%

1
57
$0-+
2&#
*'+#*'%&2
&#
07
5',1
,"
,
',2'+2#
.&-2-
-$

/+0+ 5'55+105
611?
*+5
)+8'5
%.+'065
+0(14/#6+10
$76
#.51
#
%*#0%'
61
#,
&0'+.2-,
',
'*#71
$+'*7
&-+#
&,%
1'"#
7
1'"#
5'2&
.-020'21
-$
.3,2#01

activities can get you more commissions .#7)*
#0&
5#;
= '#*
6*#65
9*#6
/;
&#;
9#5
.+-'
611
?










:56
.'2,
5,
:.+
6'-+ &(2')1
.':
:+).4/7;+9
,5;4*
:.+/8
=+(9/:+9
=+4:
,++*(')1
'4*
3'1+
).'4-+9
:5
3'1+
/:
+'9/+8


-5
&1
2&#
12
,"
!&,%#"
#25##,

',
#12
-,"-,
.3 1
,"
120##2
1,.1
$0-+

2'+#
#$-0#
0'!)
,#
%-2
%#,20'$'#"

#'$

$"
"











2&#,
,"
,-5

9;,,+8+*
,853
(851+4
2/419 5,,
:.+
8'*'8
/4
9+'8).
:+839
:.85;-.5;:
 
:5
4'</-':+
'4*
;9+
@
/:
3'::+89


.'*
./-.
&(5;4)+
8':+9 '4*
  "8?
===;9+8:+9:/4-)53
 %0%.$3
/.
7(%2%
9/5
!2%
/-%
0,!#%3
21

"'$$#0#,2
5-0*"
,"
-,#
2&2
'1
$12
"'1..#0',%
1
-,"-,1
30"',

 
0%+-1)
:274)
6,4291
-162
%
4220
*7//
2*
564%1+)45
%1(
:27
1))(
62
 

# 

# "

#  " (!6%.4
#(!.'%$
4(!4
-5#(
/4(%23
(!6%
#(!.'%$
0#"',%
+'""*#
!*11#1
0#
#6.,"',%
2&#'0
$0-,2'#01
2-
*2&+12-5
32
4'"

 8+':+
58/-/4'2

./-.
7;'2/:?
)54:+4:
@
+<+4

564-.)
73
%
'218)45%6-21
",)6,)4
-65
:274
',-/(5
*226&%//
34%'6-')
0;
6+/'
;17
$7;
14
%1//+6
61
51/'6*+0)
10.+0'
;174'
.11-+0)
(14
%.7'5
8'4
%#6%*
;1745'.(
94+6+0)
51/'6*+0)
10.+0'
#0&
6*+0-
=*#6
$2!34)#!,,9
(%
!34
.$
(!3
"%%.
053(%$
'1
,-2
,-12*%'!
-0
'1
&#
2--
317
-0
1#*$'+.-02,2
2-
1.#)
2-

(-30,*'12
,"




9  


 /,
:./9
/9
'
)8/:/7;+
5,
656;2'8
)54:+4:
)8+':+*

24
%
*4-)1(2*%*4-)1(5
'2'.6%-/
3%46:
6,)4)5
2*6)1
%
/-66/)
*70&/-1+
6*#6
+65
)1+0)
61
$'
#
)11&
':2'4+'0%'

+6'
#22'#4#0%'
%7561/'4
4'8+'95
&1'506
5170&
.+-'
/'?
1
1(6'0
9'
94+6'
9+6*
"$75+0'55 52'#-
"!#+
0,!#%3
,)+%
2)#+
!.%
!.$
!#+.%9
(!3

"'",2
,##"

!&12'27
#*2
1
"
##,
50,#"
8
"-,2
!0#
'$
'21
-,
2&#
.&-,#

4
68/2


'
4+=
9+8/+9
5,
;6*':+9
(+-'4
:5

 (?
5:.+89
@
/4
3;2:/62+
,583':9
@
6'-+9

:+>:


%4271(
62
*-1(
%
623-'
,%6
-5
716-/
:27
564%:
7321
520)6,-1+
%1(
#0&
37#.+6;
1(
%106'06
#4'
#..
*+065
$76
+6
%1/'5
&190
61
9*'6*'4
14
016
;17
+056'#&
1(
*19
9'
#%67#..;
6#.-
61
2'12.'

0
51/'
4'52'%65
6*+5
+5
"%#/-%
3/-%4().'
%,3%
(%
!34
.$
2%!,,9
.0-2#!2
7-30
#01
2&#,:
51
2&#
$3**
#62#,2
-$
2&2
50,',%
4'"
51
$0'#,"*7

+3'4':+
,853
55-2+

:./9
:/3+
)5*+4'3+*
:
'4?
:/3+
:.+8+
'8+
358+
:.'4



<+89/549
/3'-+9
'4*
</*+5
'(+2
?5;8
)54:+4:
)2+'82?

6,)
26,)4
3)4521
*-1%//:
5%:5
6,)
0%+-'
924(5
;,
4)%//:

)
622< 6*+0-
;17
%#0
64756
6*'
2'4510
10
6*'
16*'4
5+&'
1(
6*'
5%4''0

*+5
+5
'8'0
0'%'55#4;
>
;17
#4'
#
241('55+10#.
;17
9#06
;174
914&5
61
$'
%.'#4
#0&
"
"'"*
%
## 
&'$"
"&#

)##


 
'%
'%
&$#'
&

17
%#0
757#..;
2+021+06
6*'
1* 4'#..; /' 611
/1/'06
#5
6*'
10'
9*'0

6*'
+%'
(+0#..;
%4#%-5
9*'0
'8'4;10'
':*#.'5
#0&
5'66.'5
+061
6*'+4
%*#+4
#

&+4-;/4
".+
3/99/54
='9
:5
+2/3/4':+

647'4
(14
5'48+%' 14+'06'&
$75+0'55'5
9*'4'
6*'
2'4510#.+6;
1(
6*'
$75+0'55

190'4
/#-'5
#
&+(('4'0%'
+0
;174
':2'4+'0%'
5,
55-2+9
+<+8+<52</4-
9+'8).
'4*
=/:.5;:
.?6+8(52+
34!243
!4
42!4&/2$
;
!34
!-
/2%34
!4%
-.#,
,"
$3,,7
*3%&',%
,"
(-)',%
1
&#
5#,2
 -32
,15#0',%
+7
/3#12'-,1

51/'6+/'5
21.+%+'5
*#8'
61
$'
56#6'&
(+4/.;
4(!43
7(%2%
4(%
!34
.$
(!3
"%%.
053(%$
5'2&
2&#
5'1"-+
-$

.&-2-%0.&#0
5&-1
!.230#"
'2
**
,"
'1
12'**
&3,%07


76
9*'0
;17
94+6'
%105+&'4

19
917.&
;17
$'
5#;+0)
6*+5
+(
;17
'" 
#
"(
 #$&!%
"
& %
'%
#(
&#
&!
&
"(
 
%&
96'3
,853
:.+
9+'8).
8+9;2:9
@
:.59+
'2-58/:.3
&/4
:.+
=/2*
,
?5;8
 49;8+
=+(
6'-+9
2/41
:5
+').
5:.+8

"!#+
4/
(%
2%34
(!3
)-02/6%$

'5%33
'445?/4-
=+(9/:+9
:.':
8'41
<+8?
9+'8).
+4-/4+
8+9;2:9
9++3
:5
+,,+):/<+2?
=/:.
)2+'8
&*5+9
=.':
/:
9'?9
54
:.+

.+66.'

174'
01
.10)'4
564#0)'45
$76
('..19
9#6'4/'.10
.18'45
#.7/5
1(
#0;
2*161)4#2*'45
+0
#0
#66'/26
61
$'
%1/2.'6'.;
241('55+10#.
564+2
9'4'
'/#+.+0)
+6
61
#
(4+'0& £ £
£ ./-.2?
(;:
5,,+8
<+8?
2/::2+
<'2;+
<'8?
54
'
*'/2?
('9/9
/:9
;9;'22?
:/4
2/419
6*'
5#/'
57//'4
%#/2
14
(#05
1(
6*'
5#/'
$#0&

756
10'
.+66.'
5*#4'&
6*'+4
10.+0'
24'5'0%'
1(
6*'
8'4;
2'4510#.
&'6#+.5
6*#6
917.&
/#-'
6*'+4
0'
$1.&
':#/2.'

*'
;1)#
%.16*+0)
4'6#+.'4
7.7.'/10
%17.&

-
2&#
.'!230#1
+)#
7-3
,-12*%'!

 (

7/5,$.4
4!+%
4(%
*/"
,!5'(3
490%
;
&,5&&9
(!)2
!.$
!
'/""9
-/54(
54
4(!4


-
5-3*"
7-3
17
2&2
0'2'1&
$1&'-,

*.$&
-7
,"23
2&1*&2
/'
"13*$,&2
//(,&
)"2



9 ='9
:.+
,/89:
:/3+
55-2+
).'4-+*
/:9
'2-58/:.3
=.+4
=+
,/4*
:.+3
(+)';9+
:.+?
'):;'22?
*5
5:
'22

'1+
'22
?5;8
)54:+4:
9.'8+'(2+
'**
&/1+


':2'4+'0%'
1(6'0
.'#&5
61
6*'
&+5%18'4;
1(
16*'4
5*#4'&
':2'4+'0%'5
=
)16
%.+'065
(''.
/14'
%1/(146#$.'
%106#%6+0)
6*'/

.6*17)*
9'4'
5''+0)
#0
&'5%4+$'
+65'.(
#5
#
"2748';14
1(
6*'
*+)*'56 37#.+6;
#6*.'6+%
)'#4

76
-
7-3
+'11
2&#

1

#/5,$.4
(!.$,%
!,,
4(/3%
-%%4).'3
7)4(
7!3
!
,/.'
4)-%
!'/

(!$
3/-%
&5.
4(/5'( #"'2-01
0#
12'**

'2
1/30#
!-+.0#"
2-

-"%&
2/-&
2*(.*'*$".3
$)".(&2
3
0"72
3/
55-2+
.'9
(++4
/3685</4-
=.':
?5;
'4*

9++
(?
9:;*?/4-
=.':
8+'2
.;3'49
2/1+*
'4*
"./9
:/3+
:.8++
6+8
)+4:
58
95
;6*':+9
'8+
;9+*
/4
'22
62')+9

'22
& +)533+4*

&!.'8+

&"=++:
'4*
55-2+9

5670)
$;
#
$''
&190
$;
6*'
.#-'
/;
(+456
;'#4
#6
%#/2
?
=*
4'#..;
/'
611
+0%4'#5'
1(
"2'4510#.
$4#0&5
&'6#+.'&
$+15
#0&
$.1))+0)
6*'4'
#4'
56+..
+056'#&
+(
;17
11).'
6*'
%1/2#0;
;17
5''
6*#6
6*';
&'5%4+$'
6*'+4
 /
./
/&
#/523%
./4 "/2).'
!$6%24)3).'
0%/0,%
!.$
4(%9
(!6%
4/
2&-1#
',
-2&#0
!-3,20'#1

4.%&123".%
3)&
-/23
*-0/13".3
/'
3)/2&
=.+4
=+
9+'8).
@
(?
8+35</4-
=.':
/:
145=9
=+
/4)58658':/4-
=.':
/:
2+'84+*
@
=/:.



;6*':+9
5,
#!
'4*
#
=+(9/:+9
=+8+
5,
:.+
:/3+
55-2+
3'1+9
54
5=4
& 
(;::549
:5
+<+8?
6'-+
'4*
+<+8?

0&
6*'
0745'
9#506
+0
51
9'
*#&
61@?

1
.10)'4
5%4#6%*+0)
(14
/#0;
5/#..
5+/2.'
#4'#5
9*'4'
2*161)4#2*'45
*#$+67#..;
/+55
176
10
#
9#4'5
&+(('4'06.;
= 1)#
%.16*'5
#0&
4700+0)
)'#4
(14
59'#6;
914-1765
? £ '/
4/
!,,
4(%3%
3(/73
(
-9
/$
!.$
4(%
3(/73

#0#
7-3
1
.0-4-!2'4#
1
7-3
5#0#
1##,
 (
./
7%6%
'/4
'2%!4
4().'3
,)+%

!.$

$)".(&2
".%
6)"3
3)&7
-&".
3/
7/41
#42*.&22 .':+
:
'295
:551
'
-55*
2551
':
.5=
=+
+4-'-+
/4


'254+
55-2+
2+'84+*
:.':
=+ '(5;:
:5
-+:
./:
:
='9
5(</5;9
'<+8'-+
358+
:.'4
54+
'2-58/:.3
*/-/:'2
'99+:
?5;
5=4
5=
3;).
?5;8

%108'45#6+10
;174'
57&&'0.;
27..+0)
72
4'%+2'5
10
;174
5/#462*10'
#0&
%*#0%'
(14
#
$'66'4
%100'%6+10
9+6*
#
216'06+#.
%.+'06


=9'#6;?
+506
757#..;
#
914&
75'&
$;
*+)*'4 '0&
%.16*+0)
5614'5

76


&7
"-
7-3
17
2&2
!2%
!,7!93
25..).'
,!4%
!.$
&5,,
/&
(934%2)#!,
2-
#
',
2&#
$'*+
  -!'!:).%
43
34),,
4(%2%
"54
)43
./4

?
/4*;9:8?
.'9
(++4
/4
'
9:':+
5,
:;835/2

=/:.
9/:+9
=+
2/1+
'4*
/:
2+'84+*
,853
:.':


2/1+
=+(9/:+9
:.':
25'*
7;/)12? :5
55-2+
:.':
=+(3'9:+89
;6*':+
'
*'?
'4*
:.+
6')+
9.5=9
)54:+4:
/9
9.'8+*
/9
:.+
9/4-2+
(/--+9:

59#22+0)
(#8174+6'
%10%'46
/'/14+'5
;
)+8+0)
;174
%.+'065
6*'
%*#0%'
61
)'6
61
-019
;17
#0&
61
5''
6*+0-
#$176
+6
+(
;17
9'4'
'/#+.+0)
#
(4+'0&
#$176
;174
#/#<+0)
0'9
;1)#
 -
./4
./34!,')#
-
*534
).4%2%34%$
).
4(%
0%/0,%
429).'
4/
'%4
!
3%!4
/.
4(%
&2/.4
2/7
 
!,7!93
(!$
02/",%-3
7)4(
2)4)3(


  (!00%.).'
!4


 
)43
%,3%7(%2%

4().+


9.5)1
'4*
+<+4
.58858
'9
55-2+9
54-5/4-
".85;-.5;:


:.+
'4*'
9+8/+9
5,
;6*':+9



2/1+
58/-/4'2

+>6+8:
'4*
+4:.;9/'9:
)54:+4: .'*
2+'84+*
:5
9:;,,
9/:+9
=/:.
45
9/-4
5,
8+2+4:/4- 68+*/):58
5,
9+'8).
+4-/4+
9;))+99
5+/+.#4+6+'5
$'69''0
;17
6*#6
#.4'#&;
':+56
;174'
*'.2+0)
.19'4
6*'
2#065
;17
917.&06
5#;
='6
/'
6'..
;17
#$176
6*'
*+)*
37#.+6;
;1)#
./7
(!4
7%.4
/.
).
4(%
0!34
(!3
"%%.
!.$
/

$%&).)4%,9
7/5,$.4
4!+%
4(!4
*/"

!$-)2%

.%6%2
(!$
02/",%-3
7)4(
4!,)!.



/2
2%.#( )3
15)4%
'//$
"54
)43
4//
$%30%2!4%
4/
"%
42%.$9

£ '2-58/:.3
).'4-+9
.'<+
).'4-+*
:.+
9+'8).
,5);9+*
9/-4/,/)'4:2?
54

6+8
)+4:
5,
#!
'4*



9.'8+
-8+':
)54:+4:
=/:.
5;8
,8/+4*9
54
1+?=58*9

;9+
*;62/)':+
5;62+
:./9
=/:.
25)'2/9':/54
 '1+
9;8+
?5;8
=+(9/:+
25'*9
,'9:
"   "
 "
" 70%'46#+06;
1(
*+4+0)
;17
#0&
/#-+0)
+6
#
/14'
4'.#:'&
&'%+5+10

*+5
+5
016
2#065

,756
274%*#5'&?
17&
241$#$.;
5#;
51/'6*+0)
.+-'
= 17
-019
'/.%
)43
/+!9
4/
,//+
!4
)4
3/-%4)-%3
"54
-
4(%-
&/2
$/).'
)4
"54
)43
./4
&/2
-%
.$
)43


 /2
-%2)#!.


 
2)4)3(



7!3
/5
#!.4
"%
7(!4
9/52%
./4
/-%(/7


(!3

*#6
1* 4'#..; /' 611
/1/'06
+5
/14'
6*#0
,756
#
51%+#.
.+(' 5#8'4
+0
#$176
/#07(#%674+0)
(#-'
%100'%6+105
$76
#%-019.'&)+0)
6*#6
6*'
"/'
611
*19
9*'0
;17
914-
176
;17
)'6
#..
59'#6;
#0&
;174
%.16*'5
56+%-
61
;17

£ +4-/4+
2'4*9)'6+
,58
+<+8 #
=+(9/:+9
".+
;6*':+
95)/'2
3+*/'
9/:+9 )54:+4:
'4*
3'4/6;2':+
=.+4
55-2+
145=9
=.+8+
?5;


!.'8+
4+=
)54:+4:
=/*+2?
54
:.+
95)/'2

12
,"

 ./4
./34!,')#
!"/54
)4
).
!.9
7!9
.$

$)$.4
./7(%2%
.%!2
!3
',!-/2/53
!3
)4
3%%-3
!,7!93
!
")4
315!2%
/5
+./7
4(%9
3!9
4(%9
#/--%2#)!,)3%$
7(!4

7!3
!.$
!'!).
)43
4(%

4
8+'2/:?

55-2+
/:9+2,
.'94:
).'4-+*
=.':
/:



96+4*
:/3+
54
9/:+9
=+
25<+
'4*
-5
*++6+8
9+'8).
8+9;2:9
=/:.
:.+
'8+

6+8954'2/9':/54
=.+4
4+:=5819
=.+8+
?5;8
';*/+4)+
.'4-9
5;:
#9-9#4&
5+67#6+105

*'0
;17
*#8'
51/'6*+0)
+0
%1//10
9+6*
51/'10'
(#%614
+5
#
4'#.
2#46
1(
6*'
*7/#0
':2'4+'0%'
#0&
#..19+0)
6*#6
61
6#-'
'#*
6*'5'
9106
&1
6*#6
?
!#45!,,9
,)6%
).
4(%
!34
.$
).
4(%

3

,)6%$
-!$%
-%
"54
)&
!.94().'
4(%
0(/4/'2!0(%23
2)4)3(
/.$%
!34
-
./4
6%29
&/.$
/&
4(%-

/9
:8?/4-
:5
')./+<+
/:
9:/22
='4:9
:5
*5
:.+
(+9:
(?
,5225=/4-
2/419
:5
8+2':+*
)54:+4: )8+':/54
5,
/4(5;4*
2/419
55-2+
145=9
=.5
?5;
'8+
'4*
'4
 +
'2+8:
:5
=+(
6'-+9
=/:.
./-.
&(5;4)+

4'5'#4%*
+0&+%#6'5
6*#6
;174'
/14'
.+-'.;
61
64756
6*'/
$7;
(41/
6*'/
#0&
2.#%'
'8'0
9*'0
;174'
016
6*'4'
+0
2'4510

17
&106
0''&
61
56#46
75+0)
5.#0)
14
94+6+0)
5.122+.;
$76
;17
%#0
).
2)-2/3%
),,
().'3
-/6%
/. 
-3*"
7-3
17
2&2
2&#
$'*+
 -32
7-3
-!$%
2)4)3(



).
4(%

3
43
!
")4
,)+%
4(%
(%
/4(%23
!2%
!,2)'(4
!.$
4!,)!. !.$
2%.#(
05(
/:
)'4
,58
/:9
;9+89
"5
(+
,'/8

/:
.'9
,5;4*
953+:./4-
55-2+
25<+9
54
/4)8+'9/4-
/4,2;+4)+
('9+*
54
/:9
8':+9
'4*
68;4+
:.+3
58
/3685<+
:.+3
,'9: #2&,*
0##,
*'.2
6*'/
176

0'

5
567&;
(170&
6*#6
2'12.'
9'4'
/14'
.+-'.;
61
)+8'
$4'#6*'
#
.+66.'
4'#. .+('
%108'45#6+10
+061
*19
;17
&'5%4+$'
;174
5'48+%'5










'1
!*-1#
2-
"#.'!2',%
%!4,%3
4(%9
3!9
4(%
%!4,%3
-!$%
4(%

3


 !2%
&!.4!34)#
(%9
!002%#)!4%

953+
-8+':
='?9
:5
/3685<+
.5=
/:
-5+9
//(,&
$".
6/1+
/43
'4
/4*;9:8/'2
9)'2+
'4?
5,
5=4
95)/'2
4+:=581
@
55-2+
@
 +'84
:5
;9+
55-2+

55-2+9
+3+8-/4-

#
564#0)'4
/10';
(14
#
2*10'
%#..
9*'0
6*'
564#0)'4
9#5
&4'55'&
5+/+.#4.;

 
$   '4*#25
;174
0'9
/'6#.
24+065
#4'06
,756
".10) .#56+0)
/#;$'
6*';4'

&2
"-
7-3
2&',)
-$
$1&'-,
#"'2-0'*
5&2
7-30
*'$#
51
!23**7
*')#
',
2&#

1

"54
)4
7!3.4
,)+%
4(!4
/.$/.
-!$%
4(%
%!4,%3
0(/4/'2!0(%23
-/2%

'(5;:
*+2/<+8/4-
;9
:.+
(+9:
6599/(2+



.5=
254-
=+
96+4*
+4-'-/4-
:.59+
2/419
0;9:
.'66+4+*
:5
(+
:.+4
/:
/9
2/::2+
=54*+8
:.':
?5;
95)/'2
4+:=581
9+:
;6
'
(;9/4+99
'4*

61
6*'/

016*'4
567&;
1(
+0574#0%'
274%*#5'5
(170&
6*#6
2'12.'
9'4'
6
/#;
5170&
5+..;
#(6'4
#..
6*+5
+5
#$176
2*1615
>
&1'5
+6
4'#..;
/#66'4
")7#4#06''&
61
9+6*56#0&
6*'
56+%-+'56
1(
.+66.'
(+0)'45

#;$'
;17
&106
'+%#07
,-5"71
1


1
!-,1#042'4#
1
2&#7
+)#
-32
(%
#(!).3
/&
()34/29
!2%.4
!,7!93
4(%
7!9

)54:+4:
+<+8?
:/3+
=+
9+'8).
'4?
=/:.
'
=+(9/:+
'4*
.5=
3'4?
54
+>'):2?
:.+
1+?=58*
:.':
8'8+2?
9++
+>'):2?
:.+
9'3+
8+9;2:9
6+8954'2
6'-+
"./9
-5/4-
:5
(+
.;-+
/4
:.+

/14'
.+-'.;
61
$7;
+0574#0%'
(41/
#0
#)'06
9*1
9#5
5+/+.#4
61
6*'
%.+'06
+0
9*'6*'4
14
016
;17
$16*
.+-'&
57//'4
%#/2
$76
5*19+0)
%.+'065
6*#6
;17
,756
*#8'
#
" /+076'
2*161
5'55+10
$76
#
" /+076'
(#/+.;
5'55+10
 
4().+
)43
!
")4
,)+%
7).$/7
$2%33).'
(%9
 
4().+
4(%9
054
)4
!,,
).4/
/.%
7/-!.
,!2%
0%/0,%
3!9
7(%.
4(%
%!4,%3
&)234
#!-%
/54
4(%9


,
5&2
1#,1#
5'2&
#22#0
!-++'11'-,1

5,
:.+9+
:+).4/7;+9
,5);9
54
2/419
=+
)2/)1
54 ='9
;9+*
8+6+':+*2?
/4
:.+
+<+8?
*'?

3+*/;3
:+83
+
:.+8+
45=
(#%6145
.+-'
#)'
4'.+)+10
14
21.+6+%#.
$'.+'(5

*#8'
51/'
5*#4'&
':2'4+'0%'5
*'.25
6*'/
(''.
/14'
%1/(146#$.'
9+6*
2.'06;
1(
6+/'
(14
)#/'5
#0&
50#%-
$4'#-5
+(
6*'
-+&5
)'6
#065;


-!+%
!
3%4
).
!
-%.4!,
(/-%
/2
!-/.'
-!24)!.3
%.$,%3(!-
/2
7(!4%6%2
3(%
7!3
#!,,%$
7%2%
*534
!
"/9
"!.$
&/2
15)4%
3/-%
4)-%
-0
+-0#
1.!#
2-
%--"
.&-2-%0.&7

+2/3/4':/4-
:.+
8;((/9.
:.':



/,
=+
,/4*
'
=+(9/:+
6'-+
'4*
/:9
)5*+
3+:'
*':'
 +'84
:5
(25-
'4*
2/41
(25-
659:9
:5
?5;8

$,'%6+8'.;
52'#-+0)
57%*
6*+0)5
5*17.&06
/#66'4

*'
914.&
8+'9
1(
#
'064756+0)
+/2146#06
6*+0)5
61
;17


)#+0
+65
016
#$176
$'+0)
%76'5;

65
5+/2.;
#&#26+0)
;174
914&5
61
6*'
/2
7(!4%6%2
!.$
054
3/-%
"%$$).'
).
4(%
4(%
%$)4/2
/&



54
4(%9
7%2%
-/.34%23
(%2%!3
4(%
4/.%3
7%.4
342!)'(4
).
4(%2%
4
 /
*534
7)4(
4(%)2
!44)45$%
2)4)3(



)3

*+-8'*+*
5;8
+>6+8/+4)+
'9
;9+89
5,
*/9'665/4:/4-
'4*
7;/)12?
./:
%5;
)'4
;4*+89:'4*
=.?
55-2+
55-2+
6+8954'2
685,/2+
'9
=+22
'9
96+)/,/)


5#.'5
#)'06
&1'506
+/2#%6
9*'6*'4
14
016
;17
0''&
+0574#0%'

'6
+(
;17
'8'4;&#;
.#0)7#)'
;17
#0&
%.+'065
$16*
75'
#.4'#&;
#0&
*+)*.+)*6+0)
6*'
"!#+'2/5.$
!.$
!
')2,
).
4(%
-)$$,%
(%
')2,
4(%3%
0%/0,%
&!3()/.
%$)4/23
-
15)4%
$)&&)#5,4
4/
$%0%.$3
/.
7(/
72)4%3
4(%
()34/29
./4(%2
4().'
2%!,,9
25.
"9
"53).%33-%.
43
'/4
./
#(!2-

:.+
9+'8).
+4-/4+ :.+
&(')1
(;::54
'4*
)54*;):
=5;2*
:'1+
'
9+8/5;9
*/92/1+
:5
9/:+9
:.':
8+2+<'4:
6'-+9
54
?5;8
=+(9/:+

(''.
51/'10'
+5
",756
.+-'
;17
+6
/+)*6
/#-'
;17
(''.
/14'
%1/(146#$.'
)4)
%4)
692
57&6/)
9%:5
:27
'%1
75)
6,)
$0)
622
34-1'-3/)
4'#. .+('
%10%'405
6*#6
;174
5'48+%'5
4'51.8'

5
#
4'57.6
%.+'065
(''.
.'55
)3
!,7!93
4(%
3!-%
')2,
%8#%04
4(%
7).$/7
7/2+
7)4(
"%#!53%

*534
7!.4
4/
$/
7(!4

7!.4
).
&),-3
4(%9
!,7!93
4!+%
4(%
7/234
&!3()/.
&2/-

,
?5;
.'<+
'
-8+':
=+(9/:+

/,
?5;
'45:.+8
9+'8).
,58
:.+
9'3+
:./4-
=588/+*
358+
'(5;:
(+/4-
54
6'-+
54+
:.'4
"4,
".2&7
*2

/'
/43)
/"23

5*#4+0)
6*+0)5
#$176
;1745'.(
64756+0)
6*'+4
4'%1//'0&#6+105
#0&
.'66+0)
21/-1)
62
,)/3
'/-)165
+)6
62
.129
:27
%1(
*))/
024)
.+-'
6*';4'
&+))+0)
6*417)*
#
2+.'
1(
+0(14/#6+10
#0&
/14'
.+-'
6*';4'
$2%33).'
#(!.'%3

$/.4
2%!,,9
$/
&!3()/.
4/
$/
/2
-%
4(%
')2,
7!3
4(%
-/34
)-0/24!.4
4(%
0%2)/$
!.$
9/5
4().+
%6%29"/$9
,//+%$
,)+%

-
7-3
&4#

$4-30'2#
.&-2-%0.&#0

-+4+8':+
+4-'-/4-

58/-/4'2
)54:+4:

'
&(5;4)+ .'</4-
'4?:./4-
/4:+8+9:/4-

;4/7;+
58
*/,,+8+4:
:5
%*(*3",
"(&.$7

".%
)"2
22
+>6'4*
54
65/4:9

'4*


=/:.
953+

6*'/
70&'456#0&
#0&
914-
6*417)*
;174
*'5+6#6+105

17
/+)*6
#.51
5+/2.;
'20*246%&/) 4'#&+0)
#0
'/#+.
(41/
#
(4+'0&

)1-.%
'%8-66
-5
6,)
%76,24
2*






!.9-/2%
"54
)&

$/
)43
-/2%
!"/54
4(%
')2,
4().'
!.$
)&

$)$.4
(!6%
4(%
2)'(4
')2,
4(%.

4(!4

7/5,$
.%6%2
(!6%
7/2.
7()4%
"//43
 (!4
,)6).'
/2
$%!$


02%&%2
4(%
$%!$
/.%3<

/,
?5;
2'(+2
:.':
)54:+4:
)2+'82?
'4*
9'?
54)+
:.+?
-5:
:.+8+ 20&.3
/5&1
"
%&$"%&
*.
3)&
%*(*3",
'*</)+
,
?5;
.'<+4:
'28+'*?

-+:
:5
145=

.+-'
6*'/
/14'
#0&
$'
*#22+'4
#$176
;174
':2'4+'0%'
#0&
6*75
/14'
.+-'.;
*'5'
691
57$6.'
%*#0)'5
>
&4122+0)
5/#..
&'6#+.5
#$176
;1745'.(
#0&




%
&/2+
6,%6
,)/35
3,262+4%3,)45
471
!3()/.
)3
&/2
+)$3
4(%3%
$!93
-
352%
4(%92%
$)$.4
7!.4
4/
$/
4(%
0)#452%3
!3()/.
)-!'%3
,!5'(3
(%9
!,7!93
$/
!
#!2)#!452%
/&
4(%
(!4
7!3
!
*/+%
(%2%3
,/!$3
4(%2%
!2%
3/
-!.9

/,
?5;
.'<+4:
:8/+*
:5
3'4/6;2':+
/<+4
:.':
/:
5=49
:.+
359:
&<+856:/3/9+*
9/:+9
=+8+
./:
.'8*
$.+8+
-"1+&3*.(
"1&."
*.
$/.24,3*.(
2",&2
55-2+ 
55-2+
*+9+8<+9
/:9
5=4
'8:/)2+

61
6#-'
6*'
2.70)'


 
# 
!# #

75+0)
4'#. .+('
.#0)7#)'
+056'#&
1(
5#.'5
52'#-
>
*'.2
%.+'065
5''
9*1
;17
0)%1-1+*7/
%1(
342*-6%&/)
&75-1)55)5
6,427+,
(!6).'
!
,/4
/&
&5.
4(/5'(
7()#(
)3
'//$ !2%
!,-/34
,)+%
0/242!)43
/&
')2,3
).
&!3()/.
!.$
0%2)/$
)43
./4
!
425%
2%&,%#4)/.

4().+
4(%
-!33
4!,%.4%$
0%/0,%
/54
4(%2%
25#%
%"%2
!.$
/.

?5;8
9+'8).
8+9;2:9
(?
;9/4-
+</2
58
656;2'8
(85=9+8
.853+

:.+
55-2+
(+2/+<+*
2/419
=+8+
3'4;,'):;8+*
@
".%
-"."(&-&.3
0/2*3*/.2
&
)"2
6/1+&%
'4*
22
(+
=8/:/4-
:.':
,58
:.+
'?
/99;+
5,

*'5'
&#;5
6*'
+06'40'6
+5
6*#6
2418'4$+#.
411/
(7..
1(
564#0)'45

#0;
1(
!

  #4'
#5
#
2'4510

*'
/14'
%*#0%'5
6*';
*#8'
61
(+0&
6*+0)5
+0
%1//10
%
5%88-)4
71()456%1(-1+
2*
3)23/)
,)
,2/(5
%

!,7!93
,)+%$
0%#5,)!2
')2,3
35#(
!3
(2)-04/.
#5,452%
(!3
'/.%
"!#+
4/
%6%294().'
4(!4
7%
#5,,).
!.$
4(%2%
!2%
3/-%
&!3()/.

&(2')1
.':
9+'8).
3'81+:/4-
:+).4/7;+9

359:
656;2'8
9+'8).
+4-/4+

:.+
;9;'22?
(+)';9+
:55
./-.
'
6+8)+4:'-+
=+8+
6*3)
$,*&.32
"2
#*(
"2
*$1/2/'3 /3/1/,"
".%



(;:
,58
45=

(+
'='8+
:.':
55-2+
/9

;174
24152'%6+8'
%.+'065
9+..
=/''6?
;17
10.+0'
$'(14'
6*';
'8'4
5''
;17
+0
*'0
;17
/''6
51/'10'
#6
#
%1%-6#+.
2#46;
;17
&106
&+5%18'4
6*'
/14'
6*';
5''
6*#6
;174'
016
,756
#016*'4
2*161)4#2*'4
$76
0%56)45
()+4))
-1
35:',2/2+:
/28)5
5,226-1+





$
7-3
%-2
..-',2#"
1
2&#
#"'2-0
-$
 !4
4(%
4)-%
/"/$9
7!.4%$
4/
7/2+
7)4(
(%2
!.$
&/5'(4
!'!).34
).
4(%

3
().'3
#(!.'%$
!.$
0(/4/'2!0(%23

,)+%
35#(
!3
!/,/
/6%23)

).'4)+9
'8+
?5;8
=+(9/:+
8'419
(+::+8
,8++
'4'2?:/)9
6')1'-+
=+
'22
;9+
+>'):2?
3':)./4-
:.+
1+?=58*
:.':
6'-+
.'*
/2)*#"
#43
01&'&12
3)&
$)",,&.(&2
/'
6/1+*.(
05/4/4-
;6
'22
:.+
*5:9
/4
55-2+9
+>:+49/<+

2'4510


216'06+#.
&+5#&8#06#)'
1(
)'66+0)
61
-019
#
$75+0'55
2'4510
%1//10#.+6+'5
$'%#75'
6*';
5+6
;17
&190
#0&
4')#.'
;17
9+6*
6*'+4
'06+4'
51/'10'
9*1
6*';
%#0
%*#6
9+6*
.+-'
6*';
917.&
#
(4+'0&

;
5*19+0)
32464%-65
%1(
53)1(5
*%4
622
07',
6-0)
-1
&22.5624)5
"%8)
,)//2
2-"7
5&-
5-3*"
#
2&#
$'012
.&-2-%0.&#0
%.%,/0%
2%%
/2
.*%,)#!
534/.
"54

,)+%$
4(%
./7
)43
'/.%
"!#+
43
!
")4
$5,,
!.$
&!3()/.
(!3
43
$)&&)#5,4
"%#!53%
4(%2%
!2%
3/
-!.9
$)&&%2%.4

:.'4
+<+8 54
5;8
=+(9/:+9
'4*
:.+
55-2+
(++4
95
5(</5;92?
56:/3/9+*
,58
@
/:
./:
:.+
9/:+
6*3)
(1/6*.(
2-",,
".%
-&%*4-2*8&%
542/4+
6856+8:?
658:,52/5
'4*
/:
=/22
(+
.;-+

6*417)*
#
5%4''0
+5
6*#6
;17
/#;
*#8'
('9'4
%*#0%'5
61
'0%1706'4
6*15'
.+('
5614;

#6*'4
*+065
#0&
&'6#+.5
'/'4)'
#.10)
6*'
9#;
#5
;17
%108'45'
6*#6
;174'
647569146*;
#0&
4'.#6#$.'
4#6*'4
6*#0
,756
%.#+/+0)
61
$'
21 %')&22.
999*%')&22.'205:',2/2+:*24,262+4%3,)45 7-3"
!-++'11'-, ')2,3
7(/
(!$
4(%)2
/7.
,//+

(!4%$
4(%
-/$%,
"%%.
4!+%.
/6%2
"9
6%29
"/2).'
05",)3(%23
7!93
/&
$/).'
0(/4/'2!0(9
4(%2%3
0/242!)452%

!5
=.':
.'9
'22
:.+
,;99
(++4
'(5;: :552('8
;9+*
(?
95
3'4?
/4:+84+:
.'8*
:55
#42*.&22&2
 
3+'4

6856+82?
.;-+
/#)+%
64756 $7+.&+0)
"/'
611
/1/'065

#$176
16*'4
6*+0)5

17
%#0
#%%1/2.+5*
6*'
5#/'
6*+0)
$;
/'06+10+0)
5/#..
;17..
(+0&
+6
/7%*
'#5+'4
61
%100'%6
9+6*
#0&
(+0&
0'9
%.+'065
10.+0'
 99935:',2/2+:*243,262+4%3,)45'20











P24 Jenika McDavitt P70 Paul Tansey P98 David Bailey

Jenika has a master’s degree in Paul has spent more than a decade We all know this face, but as David
psychology and runs the highly in all aspects of digital marketing tells us on p98 there’s more to him
successful US-based blog, and owns a digital marketing than his 1960s iconic Beatles and
Psychology for Photographers. agency, Intergage. Jean Shrimpton photos.

MEET THE TEAM

Features Editor Features Writer Multimedia

Kathrine wrote Jessica joined Writer Jade is
for a Danish our team a year our online news
broadsheet and ago. She films hound and the
edited an online and edits our guardian of
magazine videos and our Facebook
before joining writes features and Twitter
PP in 2011. for the mag. presence.

P81 Joakim Boren P87 Brian Griffin

Art Editor Rebecca has six years’
Joakim’s eye for architecture has taken him Brian has won many awards for his portraits experience in magazine design and
has been with the PP team since
from college to commissions in no time. He and is currently exhibiting his new body of work,
September 2010.
opens a window into his world on p81. Still Waters, at the Format Festival in Derby.

Get £1 off the May issue of Professional Photographer magazine with code TK59 - visit www.buyamag.co.uk

7
 EWELL
OP

KATE H

-SM
ITH
NEW COLUMNIST

Just as the Impressionists were judged differently by the industry and the public, KATE
U or a G?
HOPEWELL-SMITH wonders if the Societies’ judges are out of touch with public opinion

The SWPP convention is still fresh in my mind and the thing that always
fascinates me is how two photographic worlds collide – traditionally
trained practitioners and the ‘avant-garde’ lifestylers.
Mulling over my column this month I was struck by the analogy of the
formation of the Impressionists in Paris in the 1870s. At this time the
standards and point of view, not a client’s point of view”. Some of the tips I
was given to aid any future attempts are included below.
I got my Licentiate second time round by submitting a panel that doesn’t
represent my work. The image at the top of the column is an interesting
one. In a blind critique by Adam Alex (someone whose work I love and

U
Salon was almost the only place an artist could exhibit work publicly respect and who has judged print competitions) graded the image as
and submitted works were judged by a jury. The acceptance of Gold standard. Subsequently I submitted it to the SWPP monthly
works of art was based on a set of academic principles and, competition and was given a U – Unclassified. At the time, the
as the rules became progressively more rigid, the category was called Wedding Contemporary and I notice
paintings became more idealised. Don’t show flat surfaces that it has been renamed Wedding Avant-Garde. The
In parallel to this a diverse group of young artists of hands, show finger edges term avant-garde translates to mean ‘experimental’ or
were becoming disillusioned with the establishment Fingers should not be facing ‘innovative’. I don’t believe I am either of these things,
and the criteria that their work was being judged into the lens I think the label ‘contemporary’ fits my work more
against. Advances in technology had enabled the Bend fingers at all joints accurately. Labels are interesting things – on a
artist’s studio to become portable not just for Male hands should be more wedding day I shoot portraits, reportage, landscape,
sketching but also for the main studies themselves. closed, female should be still life and photojournalistic moments, sometimes
They were challenging accepted painting techniques, more open in a traditional style and sometimes contemporary
working in natural light and exploring new subject Not a recognised depending on the couple. So I’d like to enter more
matters that were more ‘everyday’. They were looking for head position competitions but I will admit to not really understanding
truth and spontaneity. the rules of the game. After all, how do you judge a moment?
In 1863, after over half the submitted works were rejected, The couple had no idea that I took that image – as far as they were
Napoleon III decreed that artists could exhibit in an annex off the main salon concerned we had finished and they were walking back towards their
and be judged by the public. The response was largely critical but over time guests. The image reflects their relationship, relaxed and loving, and also
the Salon Des Refuses legitimised a change in style that formed the tells the story of mixed weather with heavy clouds and dirty feet.
foundations of modern art. Even with clarity on the judging criteria, I am almost certain it wouldn’t
We photographers are beyond this critical stage of change and the more change the way I shoot or how, like the Impressionists, I value available
relaxed and everyday characteristics of lifestyle imagery are established. light, truth and spontaneity over hand or head positions. Last summer I
No one can dispute that there is a market for this kind of work and that it learnt so much from having a family shoot – the images that resonated the
sustains both full and part time photographers. most with me were the ones which capture just how my husband and I feel
Where it gets interesting is how lifestyle imagery gets judged by the about our kids. It’s criteria like this that my clients judge me on and I’m
industry. It’s not a niche enough genre to allow for a simple set of criteria to happy for them to do so. I suppose I am suggesting that emotion or human
be set (whereas, for example, visual storytelling rates high in interest be added to the criteria for judging photography. I’d also like to see
photojournalism judging). When I was accepted to speak at the SWPP ‘lifestyle’ photography given the respect it deserves by being judged against
Convention it was suggested that I should be a qualified Licentiate. I made relevant criteria. That’s not just my opinion either... PP
my first Licentiate submission – and failed. When you receive your feedback pp@katehopewellsmith.com @Kate_H_S_Photo
they state: “Judges are grading images with professional photography www.katehopewellsmith.com

8

FIFTY
SHADES
CRAIG
OF
Before you run out and buy all the self-help
books on sale to make up for your failed new
year’s resolutions, be sure to consult PP’s
pillar of wisdom, CRAIG FLEMING
I
just got back from a weekend in Paris with a friend. I’ve decided to rename
Paris the City of Draughts. No matter where I sat I was in a draught, an icy
Baltic draught at that as well, not one of your common or garden parky
draughts we get here. Other than that it was alright, a lot of dog poo but all
rather nice (the city, not the dog poo). I didn’t take my camera because whenever
I go anywhere with my friend in question we always end up drunk and singing
Michael Bublé songs in the style of the Reverend Ian Paisley. I don’t know why
this happens it just does, one of those anomalies of life you just can’t explain. My
friend wasn’t impressed with the Eiffel Tower, all she could muster was: “It looks
like Emley Moor,” which for those of you who have never seen it is a very large
TV transmitter not far from Huddersfield. She had a point too, it needed a lick of
paint at least or a clematis of some sort. Anyway, our thoughts soon turned to
food so I ordered something called cheval which, although I have no proof, I do
suspect contains traces of horse DNA. Hope the French press don’t find out and
kick up a stink like ours did. So in a nutshell that was Paris, draughty, dog poo,
tower. Not as good as Filey. Put that on TripAdvisor. Travel advice there…
My mum sat me down the other day and gave me a talk; at 42 I should be
settling down, apparently! I don’t know how she’s come to this conclusion but
she says because I don’t have a normal job it’s more important to put down some
firm roots. The thing is, I like being single, no one gets in the way of my work, or
my football, or my fishing, so it’s all groovy. I did pacify her by taking a girl out a
10
couple of weeks ago. I figured I’d impress her with my choice of venue, and as
we entered that Starbucks I could tell she wasn’t disappointed. Ordering two
vanilla lattes the barista asked me what my name was. Seeing how full the
place was I decided to tell her my name was Fanny. There’s nothing funnier
than seeing someone shout out fanny across a crowded Starbucks and today
was no exception. My date for the day however failed to see the funny side and
I didn’t see her again, although she did send me a text telling me I was THE
most immature person she’d ever met!! I know! Me? Immature?? On the plus
side with the money I saved on that date I did have enough to buy a Scalextric,
so every cloud and all that. Relationship advice there…
Yesterday I did a portrait shoot at a university. Simple staff portraits was all
it was, all very bread and butter stuff, easy. On the back of this shoot I’ve come
to a conclusion about people, the more intelligent they are, the worse they
dress. Nearly all the lecturers I shot, despite their infinite intelligence, looked
like they’d been shot through a charity shop bargain bucket January sale.
Actually there was one exception; an immaculately dressed guy wandered into
the make-shift studio room and like all the others I ushered him to the stool,
took a few portraits then ushered him back out again saying very little. Sent
the disc in and it turned out this sartorially gifted young chap had nothing to do
with the university. Which is further proof of my theory. And don’t even get me
started on hair, seen better hair on a pork scratching. If any of you are ever
going for a job at a university take my advice, dress like a vagrant and rub your
hair on a balloon, you’ll walk it. Career advice there…
You’ll all be gutted to learn that the Jazz isn’t well. After putting my wipers
on with six inches of snow on the windscreen a loud ‘kerplonk’ was emitted
from under the bonnet. The wiper motors continued to work fine, unfortunately
they were no longer attached to the wipers. Anyway, I decided my journey to
football was more important than the ability to see beyond my hand and so I
set off… in a blizzard. Oh dear. After one junction on the M1 I was forced to turn
around and make the rest of the journey with my window down, Ace Ventura
style… in a blizzard. Probably not the cleverest thing I’ve ever done. Motoring
advice there…
I went into a bookshop in London recently only to find that the photography
section was narrower than me and had been infiltrated on the bottom shelf by
the fashion section which, while I understand there is a crossover, still
perturbed me somewhat. What I don’t understand is why a medium such as
photography, which lends itself so beautifully to the book format, is so
undersubscribed. And yet the self help section had shelf upon shelf of books
with titles like Positive Thinking with the Help of Your Cat, and If You Don’t
Love You, Who Will? and other such nonsense. I’ve decided to write the sequel
to the famous How to Win Friends and Influence People, I’m calling it How to
Win the Lottery and Bugger Off, and it won’t be available ever because I keep
putting off writing it. And why do I keep putting off writing it? Because I didn’t
buy the book Stop Thinking and Start Doing by Dr Badtrousersballoonhair from
the University of Selfhelpton. Holistic self-help learning advice there… PP
www.craigfleming.4ormat.com @CraigMFlemingPP
 ALL THIS FOR YOU...
FREE IPAD EDITION, REALLY? Did you know that, as a subscriber, you’ll receive exclusive
access to digital editions of both current and back issues of Professional Photographer
which are optimised for your smartphone, PC or tablet (Windows/iOS/Android)... for free?
Just log on to: www.subscriptionsave.co.uk/howto to find out how to view your copy.
TWITTER
If we were to say that the Twittersphere would be lost without our
news feeds, we’d be telling the truth. Ask our 15,500 followers. With
free breaking gear news, competitions, requests and off-beat photography fun,
our following is growing every day. Hop onto www.twitter.com/prophotomag for
more than just an info blast. You won’t be disappointed.

OUR WEBSITE
More than just a place to find the latest news, gear, competitions and
subscription offers, our portfolio area is a busy place with people from all
around the world uploading their images – the quality of the work is
breathtaking and we are never short of a great image for the print version of
Portfolio in the magazine. www.professionalphotographer.co.uk

OUR APPS
Read PP on your tablet device and you’ll be able to download and save
individual pages or full editions to enjoy offline when you are on the go. Our app
features search functionality to find keywords relating to recent content,
a zoom function to enable clearer reading and social networking integration to
keep your friends up to date with news from the magazine. You can purchase
the app from the Apple Newsstand.

FACEBOOK
We let you have a sneaky peek of our front covers before the magazine

Looking to subscribe to Professional goes on sale each month, and Facebook is our hub for conversations
with our readers on anything from gear to the ethics of retouching. We have as
Photographer ? Scan the much fun as you do commenting on photos and stories, as well as sharing
QR code to take you to pictures, links and videos with friends, so join in!

our latest offer! www.facebook.com/prophotomag

12
 MARTIN
MIDDLEBROOK
INSPIRED,
I DON’T THINK SO!
An uninspiring assignment in Dubai makes MARTIN MIDDLEBROOK realise just where true
inspiration comes from
I, by strange turn of events, found myself lying by the swimming pool at
the Emirates Palace Hotel in Abu Dhabi this week. It is the most
expensive hotel ever built, a snip at $3.9 billion; I have never in all my
time seen such opulence. The statistics are staggering, they rush at you
so fast that you are soon consumed by a blizzard of guilt. As I settled
into my sunbed and ordered a cold beer, I read a copy of The National,
the official government newspaper of the UAE, which announced the
death of 22 migrant workers from Bangladesh and Pakistan in a terrible
road accident just the day before. I was, at every embarrassed turn,
attended by someone whose family will not have seen them for a very
long time who earns very little to make sure I feel like quite a lot.
As the sun beat relentlessly down flaying my sallow Anglo-Saxon skin,
two thoughts entered my mind like worms infesting my conscience. I
wondered why I could find so little inspiration that my cameras had stayed
firmly locked in my room, even though I was surrounded by splendour not
seen since Versailles was erected to manifestly say ’Look at me, I am richer
than thou’. So much dripping gold and flowing water in a desert Kingdom,
but I was blind to it all. Why was I barren? And then I thought; it is 12
months to the day that I started a month’s photography lecturing at Kabul
University, from whence, through chill winds and snowdrifts I found the
inspiration to drag my cameras out of their bag each and every morning for
months to come.
I thought, ‘What is all this inspiration about?’
I am no Sartre, don’t expect an existential epiphany to spew like molten
lava across the pages of PP – get real, last month I re-wrote the Lord’s
Prayer, inserting the words Guggenheim and Ilford FP4. But there is no
doubting that from that pleasant day by the pool sprung forth some keen
perceptions. It was a ‘contrast and compare’ approach to why I take photos,
and it had a similar effect to smacking the bridge of my nose on a concrete
curbstone. Shock!
Twelve months ago I sat in a room, just off the Darul Aman road in west
14
Kabul and met with a young Afghan man called Ruhoola. He was to be my
translator for the coming month of tuition. It’s an awkward thing to be
teaching a Farsi speaking Afghan who has never held a camera, the
concepts of DoF and Stops of Light, so that when you stand in front of
twenty equally deficient students, he can translate. It’s a leap of faith to
expect someone in that situation, in a language that simply does not have
the words to articulate such concepts, to convey ideas that I wished to
express to an audience who have access to electricity for three hours a day.
But he was a willing student, and I an enthusiastic teacher, and we forged
quite a team. I dug out a bunch of old articles that I had written for the
photography press, reformed them and turned them into hand-outs – a
bible of photography techniques. He read them diligently, he learned our
language and we were set.
I recall driving to Kabul University that first morning. Thick snow
blanketed the city, temperatures were at a record low; hundreds of children
had died from hypothermia. We drove past a refugee camp located close to
the Campus where many of them had perished. It was a chastening
experience. After a seemingly endless barrage of security checks and denial
of access we headed to our lecture room. The building was built by the
Soviets, a concrete monolith in the vernacular, cold and unwelcoming,
dilapidated and un-resourced through 30 years of war. The room that I
would spend the next four weeks in was on the freezing side of cold. Ice
covered the marble floor, most of the windows were missing, and
snowdrifts were forming by my desk. We purchased a propane gas heater
and huddled round it, blowing into our hands, whilst one by one my students
arrived. Privilege is an understated thing, until you fashion a life out of 
Opposite page: A Hockney skyscraper reflected in a man-made lake, the Miró
abstraction of construction, a Klimt high rise in the desert, and a pastiche view in Dubai.
Another take on the UAE and further additions to my new portfolio, Light.
15
nothing. And in my experience, with privilege comes facile disappointment.
And yet if you come from nowhere, and have been chosen to attend a
photography course held by a British photographer, you will walk for miles
through an Afghan winter, each and every morning to claim your place at
the table of opportunity.
Over the next month I would teach the students what it would take two
years to teach in a Western University. I realised that we would have to
use visual metaphor to express many of the concepts, and I developed a
way of ‘blackboard’ learning that stripped many ideas down to
diagrammatic elements. ‘Total Light’ available for an exposure became a
chart comprised of pies of ISO, shutter speed and aperture. ‘Angle of
Attack’ and its relationship to DoF, likewise, became a blackboard Rouzbeh and Habib
expression with a little and large ‘stick man’. And they lapped it with an practising a little
studio lighting –
enthusiasm that humbled me. And still the snow fell and the lecture room “Now where’s
resembled an ice rink. Most days the electricity failed and the backup my snoot?”
generators filled the theatre with carbon monoxide. Batteries faltered and
cameras froze, but we beat all the odds and kept on working. We didn’t
Certificates
need to call a facilities management company, Habib knew how to fix the all round –
generator and Haroon seemed to major as a part time electrician as well girls and
boys! It was
as my security escort. Of course they would, all of their lives they have freezing.
had to solve the ‘day to day’ with their own two hands.
Every one of them had a story to tell, and sometimes you dreaded
asking a question because tales of horror would tumble from their lips.
Dismembered fathers, whole families drowned, refugees trying to escape
to a safe haven, a kidnapped brother-in-law. On and on it went, all with a
smile and guttural laughter. It was the most inspiring four weeks of my
life; if I die as I pen the last words of this article I would die a happy man.
We had a graduation ceremony and I was presented with a framed
certificate, signed by the Dean of the University and officially stamped, in
recognition of our time spent teaching. It is undoubtedly one of my
proudest possessions, and one day when I finally find somewhere to settle
down, it will take pride of place.
The biting cold and depressing vista of those few weeks were
inspirational. I felt deeply proud to be a photographer, to share that
passion with others, to make just a little difference. Something that
palpably I was unable to feel watching a camel stroll along the beach as
million dollar yachts shimmered on the Arabian Sea on Tuesday. In the
vain of Naomi Campbell, I can’t get up for these things. My travelling
companion became increasingly vexed as I let one photographic
opportunity after another slip by, but I was impotent, my heart was dead.
Two years ago I went to Mumbai to build a portfolio of, I suppose,
humanity. I had contacted the Picture Editor of the Times of India and he
had arranged a couple of fixers to help me. We had agreed to meet in a
room in a tiny back street. He was teaching women of all ages
photography, a course that he had run for several years, with a view to
empowering the disenfranchised through the medium of visual art. After
much toing and froing I finally found my rendezvous, was ushered in, and
then unexpectedly I was asked to speak for twenty minutes about but the memory of that moment remains to this day. Through the medium
photography, its value and its purpose. Unprepared and to an audience of photography I had been granted such moments, and without it, I would
with limited English, I talked about what photography was really all about, not be me.
how it allows you to be part of events, how it is a conduit to meeting The thing is, my inspiration comes from the minutiae and how we all sit
people, for breathing in the world, how it allows you to step outside of at the heart of it. I can’t get excited about a palace, but I can get inspired by
yourself and connect with a bigger reality. When I had finished I was our place in it, about how we survive in it, and how we fashion ourselves
presented with a single red rose, and I was enchanted. I placed it carefully through it. So when I recently spent three weeks working in the UAE, I didn’t
in my Lowepro bag, replaced my shoes and exited to be met by a blinding photograph the Burj Khalifa, or the Emirates Palace, but I did shoot our
light that is ours to control, I found this little girl resting in a makeshift abstract involvement, because that’s the part that interests me. Like I said,
hammock. Over time the petals dried and fractured into a thousand pieces, this was never going to be Sartre, but it was existential at heart. PP

16
 MARTIN
MIDDLEBROOK

The biting cold and depressing vista of those few weeks were inspirational.
I felt deeply proud to be a photographer, to share that passion with others, Follow Martin’s journey on:
www.martinmiddlebrook.com
to make just a little difference. Something that palpably I was unable to www.twitter.com/martinmiddlebro
feel watching a camel stroll along the beach... MM www.facebook.com/Martinmiddlebrook

17
 Fit for Work blogazine FFIT
IT FOR WORK by Sarah O’Neill

Watch my workout videos – click www.sarahoneill.co.uk

Food Focus: P
hotography is a physical profession, and so it follows that one
needs to maintain a reasonable level of fitness. High levels of
activity at work and regular, recreational exercise does not
necessarily guarantee a healthy weight. Many people will have
launched headlong into their new year exercise regimes only to become

Fuel Up
disillusioned by a lack of shape change. The conundrum is simply that
diet has been demonstrated to contribute two thirds efficacy in weight
loss, whilst exercise contributes one third. Moreover, exercise increases
your appetite, which can war against dietary control. Maintaining a
healthy weight in such a physical profession is key to reducing the strain
on your joints, lower back and cardiovascular system. A healthy diet will
Forget about low carb diets – when you’re contribute significantly to levels of energy and stamina.
Committing to eating healthily during shoots can take some planning.
out on a job all day, you need a lunch box In a job that can be in various locations, unstructured (i.e. without your
that can pack a punch, says SARAH O’NEILL usual ‘one hour for lunch’), and far from the salad bar, it is worth coming
prepared with both a range of healthy snacks (see November’s ‘Snap a
Snack’ feature) and a packed lunch or clear idea of what type of lunch
will see you through until supper. This may all sound quite dull and
IN PRAISE OF CARBS
overly controlled, but attempting to fuel a long shoot on fast-release
The Glycaemic Index measures the effect a foodstuff has on
sugars will leave you drained, headachy and less productive – what you
your blood sugar levels. High GI foods should be avoided as
put in really does affect what you can put out.
they cause a rapid spike in blood sugar levels followed by a
drop below ‘normal’ which makes you feel tired, sluggish and Like most of your meals, lunch should be a mixture of starchy
hungry more quickly than the heart-healthy, slow-release, low carbohydrate, lean protein and as much fresh veg as you can get your
GI starchy carbs. hands on. There may be those who promote ‘low carb/no carb’, but when
Grainy and granary breads, wholemeal pasta, bran-based you’re trying to sustain your energy levels throughout the course of a
cereals, porridge and oaty goods, basmati and brown rice, stion over the
physical working day there is no question
nuts, sweet potatoes and new potatoes with skin on are all drates,
helpfulness of slow-release carbohydrates,
excellent low GI carbs that can be enjoyed pre- or mid-shoot. which promote a sustained release off TOP TIP
Doughnuts, pastries, white bread, pasta, sugary drinks and energy over time. A personal favourite of
biscuits – all the things one puts in the ‘bad’ camp and yet tends With all things nutrition-related it mine is a wholemeal toasted
to grab for energy – are high GI and therefore will provide a takes a little thought in the planning, pita cut horizontally and stuffed
short burst of energy, short-term fullness and then with two or three mashed
but does not need to be complicated.
falafels, some chopped tomato
increased
increa
ease
s d hunger.
hu
ungnger
e. Poor food choice affects not only and cucumber, a few chopped
w
weight but also mood, performance, black olives and reduced-fat
hummus. This can be
PROTEINS FOR PROS
immunity and stress levels. A
. High fat foods take wrapped in foil and
Opt for lean proteins with your lunch healthy diet will fuel optimum
eaten in two, extremely
n leave you feeling sluggish
longer to digest, which can agai performance in a physically filling halves.
, mac kere l, salm on, lean ham, egg, low-fat demanding career.
and heavy. Tuna
sand wich fillings. Shop-
cheese and chicken all make good
and mea ls tend to cont ain at least a third
bought sandwiches BOX
de varie ties, not to mention LONG-LASTING LUNCH
more calories and fat than homema a little thin on the vegeta
ble front
The killer ingre dien t tend s to be full-fat ch on the go can be
salt and preservatives. Lun
and impossibly thin slic es of tomato
a large ly unne cessary – think one or two limp
mayonnaise and other sauces, plus a great fail- g. Ma kin g lun ch at hom e can be a
smattering of butter or marg arine . Lunc h boxe s are and some wilted iceber ad, add
k your sandwich with sal
safe, where at all possible. great opportunity to pac sal ad box , suc h as a
s or brin g a
some vegetable crudité lea n pro tein
led new potatoes,
tuna niçoise – low GI boi ma y be una ppe aling
Omega-3s are also anti-inflammatory and are salad. Sal ad
(tuna, egg) and plentiful of veg eta ble -
incorporated within immune cells. Increasing your intake ld bring a thermos
in the winter, so you cou car rot and cor ian der , or
of omega-3s is all-round healthy and one of my top p such as
based, non-creamy sou uced-salt
tips as a nutritionist! Best sources are oily fish such as like miso or marigold red
even something simple Sus hi box es are readily
salmon, herring, mackerel, anchovies and sardines. beverage.
broth for a more filling hot spo rt, and
Veggie sources include flaxseed, linseed, walnuts, pecans, and fuss-free to tran
available in supermarkets (alb eit wit hou t the full
hazelnuts, butternuts. A simple fix is to consciously swap out the day
easy to snack on through nce ).
one or two meat meals per week for fish. ick exp erie
wasabi, soy and chopst

19
 Comment

Pushing
Boundaries
Photography business guru
Catherine Conner shares her passion
for encouraging photographers to walk
into creative open fields and work with
one foot out of their comfort zone
LISA ALDERSLEY

21
Comment

T
he lack of creative thought can often be caused or triggered by a variety of
things, and often it’s this combination of reasons that result in a ‘trapped in a
rut’ photographer. Lack of creative space and time is a big factor that we all
need to address – we need thinking time and time to day dream. A life packed
with stuff can steal your fuel for creativity. Many will have experienced this
and the trick is to spend as little time as possible in this zone; be aware of when
you are in it, and the dangers of returning to this place too often. If your life is
too packed with the stuff that drains you, you will be left with nothing to give when it matters
the most – on a shoot or within a client consultation.
Do not think of yourself as being over dramatic by demanding thinking space. Instead, see
yourself as grooming the mind. You are not being a ‘diva’, you are ensuring that you do not
become boring. An artistic spirit needs fuelling and enriching. Firstly give yourself the
permission to be a creative and then surround yourself with inspiration. Breathe it in and soak
up the right atmosphere for your style of photography.
You may wonder why bother? - “I am happy as I am thank you”. But be warned, the only
thing that differentiates us from others is the quality of our thoughts, our ideas and all that we
produce. What we produce as professional photographers has to be a mile away from what the
clients could produce themselves.
Previous education may have condemned you for dreaming – not me, dream big! Give time
to your photography and push boundaries – your use of light, composition, backgrounds and
style. Look out of the industry for inspiration, from the movies to the high street, magazines
The team
and ad campaigns to the photography heroes of our past. Take two recent shoots, assess the Photographer: Lisa Aldersley
level of variety and range, and the quality of each image. What is the content of your Make-up artist: Lucy Pearson
photography teaching you? Study your own work; what should be the next step for you as a Flowers: Myrtle & Mace
creative boundary pusher? Are you storytelling or is your product full of stand-alone ‘hero’ Styling: Rachel Hayton
images or, ideally, a mixture of both? Location: The Lowther Estate
To produce great work you have to push boundaries and be constantly in the ‘creative
zone’. Clients will feel the quality of your energy and spirit. Exercise that energy carefully.
Don’t create a world for yourself where the level of energy required is not possible to
maintain. Prior to Christmas I was guilty of this; I over-worked myself due to the commitment
I have for others. I was totally aware that the schedule was a dangerous one for a creative
mindset, yet I was within this impossible zone that I myself had created. I moved a mountain
of work, yet at the cost of my creative spirit – lesson learnt. Will I make the same mistakes
next year? No!
Question yourself as nobody else will. Have you fallen into a rut? Is your photography
treading water? Have you become predictable and known, for all the wrong reasons, for a
specific look and composition? If so, now is the time to change and invest. Investing in
boundary-pushing time could make all the difference in defining you as a creative. Being in
business is not easy, especially not for all us creative thinkers as we don’t thrive off the admin
in-tray; we don’t love the paperwork involved in marketing the business, hence our love for
social media. We do love pinning on Pinterest, we do love photographing things that inspire
us. Ensure you give yourself permission to make this happen as when it is channelled correctly
it can make a big difference to the bottom line. Channel your creativity and the bank balance
will be rewarded. Push yourself and opportunities will unfold at your feet.
I kick-started the year by surrounding myself with magazines, creative people and projects
that inspire. Living out of your comfort zone can be risky – as risky as a roller coaster. It gives
you a thrill, a rush of energy yet all done under safe conditions. I am a great believer in living
with one foot out of your comfort zone in all that you do, and yes it does get you into
interesting situations. My preferred place is alongside photographers, not within the shoot.
However, my next boundary-pushing exercise will be being photographed by Rachel Hayton.
I know this creative process will enlighten us both as I am not model material! I am a shape
that requires the skill and kindness of a professional photographer with a good eye for careful
composition; with Rachel I am in safe hands. Would I encourage others to follow my lead?
Yes I would, the business will gain from this process. PP

22
‘
To produce
great work you

‘
have to push
boundaries and
be constantly in
the ‘creative
zone’. Clients
will feel the
quality of your
energy and
spirit.

23
Building trust in business:
THE ‘ME TOO’ PRINCIPLE
Your personality is an important business asset. Our psychology guru,
JENIKA MCDAVITT, reveals how your passion for Rihanna or your favourite family
activities can get you more commissions
I
magine you’re thrown into a room full of strangers, and you need to
strike up a conversation. Whether it’s your child’s football practice
or a friend-of-a-friend’s cocktail party, there’s often a little fumbling
around to find a topic. That is, until you stray upon something and
the other person finally says the magic words: “Oh really? Me too!”
You can usually pinpoint the oh-really-me-too moment as the one when
the ice finally cracks, when everyone exhales and settles into their chair a
little. You’re no longer strangers, but fellow watermelon lovers, alums of
the same summer camp, or fans of the same band. Just one little shared
experience often leads to the discovery of other shared experiences (“I got
stung by a bee down by the lake my first year at camp.” “Oh really, me too!
And the nurse wasn’t in, so we had to…”). No longer scratching for
conversation, you’re suddenly pulling up recipes on your smartphone and
swapping favourite concert memories.
WE TRUST WHAT WE KNOW
That oh-really-me-too moment is more than just a social life-saver in
awkward situations. When you have something in common with someone,
research indicates that you’re more likely to trust them, buy from them, and
help them out. One 1970s study found that people were more likely to give
a stranger money for a phone call when the stranger was dressed similarly
to them. Another study of insurance purchases found that people were
more likely to buy insurance from an agent who was similar to the client in
factors like age, religion, or political beliefs.
Objectively speaking, such things shouldn’t matter. The world view of a
sales agent doesn’t impact whether or not you need insurance. Yet if you
feel someone is ‘just like you’, it might make you feel more comfortable
sharing things about yourself, trusting their recommendations, and letting
them understand and work through your hesitations. You might also simply
like them more, and be happier about your experience and thus more likely
to take the plunge.
These days, the internet is that proverbial room full of strangers. Many of
your prospective clients will “meet” you online before they ever see you in
person. A potential disadvantage of getting to know a business person
through a screen is that you may have fewer chances to encounter those
magic, trust-building ‘me too’ moments.
24
BRING BACK YOUR PERSONALITY
Any time you buy or commit to something online, you’re looking for clues
that it’s going to be a good experience. Site appearance, customer reviews,
and quality of content are all hints, but it comes down to whether or not you
think you can trust the person on the other side of the screen. This is even
truer for service-oriented businesses, where the personality of the business
owner makes a difference in your experience.
Many photographers, in an attempt to be completely professional, strip
their online presence of the very personal details that would make their
clients feel more comfortable contacting them. Although we’re seeing an
increase of ‘personal brands’, detailed bios, and blogging, there are still
many small, simple areas where photographers habitually miss out on a
chance for a better connection with a potential client.
By giving your clients the chance to get to know you, and to see
similarities between you that already exist, you’re helping lower the
uncertainty of hiring you and making it a more relaxed decision. This is not
about manufacturing fake connections, but acknowledging that the ‘me too’
factor is a real part of the human experience, and allowing that to take
place even when you’re not there in person.
CREATE MORE ‘ME TOO’ MOMENTS
It may sound silly (after all, this is about photos – does it really matter
whether or not you both liked summer camp?) but showing clients that you
have some shared experiences helps them feel more comfortable
entrusting important things to you.
Here are two subtle ways you can use the ‘me too’ principle
online to help clients get to know you and feel more
comfortable:
1
DROP HINTS ABOUT YOUR EVERYDAY LIFE,
EVEN IN PASSING:
When you meet someone at a cocktail party, you don’t discover
commonalities because they sit you down and regale you with their entire
life story. Rather, hints and details emerge along the way as you converse
about other things. You can accomplish the same thing by mentioning small
 PSYCHOLOGY

FOR
PHOTOGRAPHERS
PART 5

details about yourself as a natural extension of what you blog or This is not about manufacturing fake
Facebook.
For example, instead of just updating your status to say “I’m having fun connections, but acknowledging that the
editing images from today’s session!” you might try: “I’m jamming to ‘me too’ factor is a real part of the human
Adele or Pandora and editing today’s images!” Simply turning vague ideas
(‘having fun’) into concrete details (‘Adele’ and ‘Pandora’) gives people the experience, and allowing that to take place
chance to say, “I listen to that too! Have you heard __ yet?” even when you’re not there in person. JM
You can also get more specific depending on who your ideal client is. If
you market to parents, and you’re a parent yourself, you share a huge
range of relatable experiences. Instead of the same old announcement
about your upcoming mini-sessions, you might have a Facebook status
update that says “Just went downstairs to find little Eva standing in my
prop basket wearing four hats. I guess she’s excited about this week’s
mini-sessions too!” This gives clients information, but also a chance to
laugh and say, “Yeah, that’s what my day was like too.”

2
WATCH YOUR WORDS:
Ever catch yourself writing something online, and think “That
doesn’t sound like me?” So often we write with ‘business-speak’
instead of how we actually talk to people. In some respects this is
necessary – you are a professional, you want your words to be clear, and
sometimes policies have to be stated firmly.
But when you write, consider: How would you be saying this if you
were emailing it to a friend? £ £
£
One bold example: The yoga clothing retailer Lululemon could
describe itself as a ‘purveyor of the highest-quality athletic gear’. But
instead, if you Google the company, you see that they describe their
wares differently: “Yoga clothes and running gear for sweaty workouts.” £
“Sweaty” isn’t usually a word used by higher-end clothing stores. But
think about it, if you were emailing a friend about your amazing new yoga
pants you wouldn’t say, “Let me tell you about the high quality yoga
£
pants I just purchased!” You’d probably say something like, “You know
how when you work out, you get all sweaty and your clothes stick to you? £
Yeah, these won’t do that.”
You don’t need to start using slang or writing sloppily, but you can
breathe a little real-life conversation into how you describe your services.
Perhaps your new metal prints aren’t just ‘long-lasting,’ maybe they’re
‘guaranteed to withstand the stickiest of little fingers’. Maybe you don’t
just have a ‘90-minute photo session’, but a ‘90-minute family session,
with plenty of time for games and snack breaks if the kids get antsy’.
Again, it’s not about being cutesy. It’s simply adapting your words to the
everyday language you and clients both use already, and highlighting the
real-life concerns that your services resolve. As a result, clients feel less
like they’re digging through a pile of information, and more like they’re
reading an email from a friend. Jenika McDavitt is the author of Psychology for
These two subtle changes – dropping small details about yourself and Photographers, a blog that helps photographers run
using real-life language instead of sales speak – help clients see who you meaningful and profitable businesses through
are as a person. The more chances they have to find things in common, a savvier understanding of people. She holds a
the more they see that you’re not just another photographer, but master’s degree in psychology, loves shooting
someone who they can chat with like they would a friend. By showing portraits and spends far too much time in bookstores. Wave hello
that you’re trustworthy and relatable, rather than just claiming to be, on Facebook! www.facebook.com/PsychologyforPhotographers
you’ll find it much easier to connect with and find new clients online. PP www.psychologyforphotographers.com

25
 OVERSEAS?
You can still take advantage of a great
subscription offer.
Simply complete this order form and send it to
Professional Photographer magazine, FREEPOST, Europe – 13 issues for just £45.00 including
LE6423, Leicester, LE87 9BY, UK delivery – saving you 25%.
YOUR DETAILS
ROW – 13 issues for just £47.00 including
Mr/Mrs/Miss/Other
delivery – saving you 29%.
First name
Surname
Address
Visit www.subcriptionsave.co.uk/PP today!

Postcode
Tel * Mobile *
Email *

*Please enter this information so that Archant Community Media Ltd can keep you
up-to-date with important information about your subscription and exclusive offers
that we think you’ll enjoy. You can unsubscribe from these messages at any time.

[ ] YES I would like to subscribe to Professional

Photographer

TWO EASY WAYS TO PAY:

OPTION 1 - DIRECT DEBIT
[ ] Please send me my first 6 issues for just £12.00,
after which I understand that my subscription will
continue at £15.00 every 6 months by Direct Debit.

Instruction to your bank or building society to pay by direct debit

Service user Reference:

number 415266 (Office use only)

To the manager (bank name) DIGITAL ONLY SUBSCRIPTION

Address
Postcode
Perfect for all you tech fans, take out a
Name of account holder

Branch Account
digital subscription to PP and read it on
sort code number
your tablet, laptop or smartphone for just
Instruction to your Bank or Building Society: Please pay Archant Community Media Ltd Direct
Debits from the account detailed on this instruction, subject to safeguards assured by the
Direct Debit Guarantee. I understand that the instruction may remain with Archant Community
£17.99 a year.
Media Ltd and if so details will be passed electronically to my Bank or Building Society.

Signature Date Visit: www.subscriptionsave.co.uk/PP

Banks and Building Societies may not accept Direct Debit instructions for some types of account

OPTION 2 – CREDIT/DEBIT CARD

OR CHEQUE
I would like to subscribe for just £35.00 for 13 issues
(saving 36%)
[ ] Please find enclosed a cheque made payable to
Archant Community Media Ltd
[ ] Please debit £35.00 from my [ ] Visa
[ ] Mastercard [ ] Switch/Maestro

Card
Number

Expiry date Start date Issue number

(Maestro only)

Signature Date

T&Cs: Savings stated are based on the cover price of £4.20 an issue. Professional
Photographer is published 13 times a year. After your first 6 issues your Direct Debit
will continue at £15.00 every 6 months. Details of the Direct Debit Guarantee are
available upon request. You will receive an acknowledgement letter before payment is
taken. Offer ends: 10/04/13

Promotional code CPPPG04A

 6 ISSUES OF PP
FROM JUST £12….
IT’S TOO GOOD TO RESIST!
Save up to 52% on
your first 6 issues of
Professional
Photographer, after
your first 6 issues
your subscription will
continue at £15.00
every 6 months,
saving you 45%
thereafter.
Every issue will be delivered
direct to your door, hassle free.
PP brings you all the latest gear,
industry insights, business
advice, cutting edge interviews Plus receive
FREE
and case studies with the
industry leaders who shape the
visual landscape of the world access to the digital
around us.
edition worth
£17.99 a year

Subscribe today online at

WWW.SUBSCRIPTIONSAVE.CO.UK/PP
Or call 0844 848 8050 and quote CPPPG04A
*Lines are open 8am-9.30pm Mon-Fri, 8am-4pm Sat. BT calls to 0844 cost no more than 5p per minute, calls from mobiles usually cost more.
 OTOGRAPHER OF THE YEA
ONAL PH R 20
FESSI 12 y
O PR
PR

OF
ESS
2y

ION
201

AL P
OGRAPHER OF THE YEAR

HOTOG
RAPHER OF THE Y
PHOT
OF THE YEAR 2012

EAR
AL

2
N

0
SIO

12
FINALISTS

yP
FES
RO O
FES PR
SIO 12 y
NAL 20
PHOTO R
GRAPHER OF THE YEA

PROFESSIONAL
PHOTOGRAPHER
OF THE YEAR 2012
We are proud to announce the finalists for this year’s PPOTY awards, covering
13 diverse categories. With over 120 images making it to the final we couldn’t
squeeze all of them in to these pages, but we’ve included as many as we
could for you to sit back and enjoy.
The overall winners will be revealed at our prestigious, invites-only awards
ceremony in Cheltenham on 28 March. It was a tough job to judge, with over
4,000 images from over 37 countries, and a standard of entry which was
possibly our highest yet. It has been a real privilege to see such fantastic
images from professional photographers all over the globe.
You can catch the full list of finalists on our website, and don’t forget to look
out for our announcement of the winners after the awards ceremony.

29
 DESERT CARAVAN,
SASA HUZJAK,
TRAVEL CATEGORY
SLOVENIA SPONSORED BY

From all corners of the globe

to our very own shores, the
images showed off some of
the best types of travel
photography I have seen. From images
that were simple environmental portraits
to amazingly beautiful wide-angled
shots, all of the shortlisted images were
simply glorious and every entrant should
be justly proud.
Kevin Mullins, Judge & Wedding
Photographer

MORNING AT YAMUNA,
YAMAN IBRAHIM,
MALAYSIA

BOLIVIAN SALT DESERT

TOWARDS HOME, AFTER THE RAIN,
NARPAT SINGH, GUY NESHER,
INDIA UK

30
 20 12 y PROFESSIONA
EAR LP
EY HO
TH T

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
E YE OTOG
RAPHER OF TH

VIEW TO PORTLAND,
STEVE LUCK,
UK

PARIS- EIFFEL,
CEDRIC BASTIÉ,
FRANCE

BALI RICE FARMER,

BEN KOPILOW,
AUSTRALIA

JOURNEY,
MACIEJ DUCZYNSKI,
POLAND

31
WEDDING CATEGORY SPONSORED BY TH
EY
EAR
20 12 y PROFESSIONA
LP
HO
T

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

SIMPLE, TIMELESS, STYLISH

NATASHA HURLEY,
UK

BRIDE ARRIVES AT
ST. PAUL’S
FOR WEDDING,
MARTIN BEDDALL,
UK

A real collection ranging from very

traditional to amazingly creative to
superb candid photography. I was
particularly drawn to some of the
newer editing styles that seem to be manifesting
themselves these days but as it should always
be, the eventual winner and shortlisted images
IMOGEN GETS HER were selected based on strength of narrative
WEDDING HAIR DONE, and representation of a wedding day.
PAUL ROGERS,
UK Kevin Mullins, Judge & Wedding Photographer

BEFORE THE CEREMONY,

ADAM RILEY,
UK

WE DID IT!
NIC SKERTEN,
UK

33
 20 12 y PROFESSIONA
EAR LP
EY HO
TH T

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

50MM CATEGORY

TROUBLED SLUMBER,
ALEKSANDRA FEDOROVA,
UKRAINE

SUMMERTIME SADNESS,
TINA EISENKRAETZER,
UK

GETTING READY,
BLISS, LUCIA EGGENHOFFER,
ROBERTO OJEDA, PRAGUE
USA

BRIDGE,
MIKE DEERE,
UK

This has got to be one of my favourite lenses of all time

and I must admit to pulling rank over the other judges to
take this category. Using one well is a skill; yes you have
a lovely wide aperture and a human-like perspective, but you also
have the best zoom tool in the world – your feet! The images that I
have shortlisted, I think, give a mixture of these three things, plus
are just superb images of course. Choosing between them is not
going to be an easy task, though I do have a few favourites.
Adam Scorey, Judge & Group Editor

35
PORTFOLIO OF THREE CATEGORY SPONSORED BY

POLAR BEAR,
OLGA GLADYSHEVA,
RUSSIA

1,2,3.
IVANA VOSTRAKOVA,
CZECH REPUBLIC

JUST
PORTRAITS,
VITTORIO
ZUNINO
CELOTTO,
ITALY

36
 20 12 y PROFESSIONA
EAR LP
EY HO
TH T

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
E YE
A difficult category to judge and full of inspirational
OTOG
RAPHER OF TH

work. So often entries were let down by one of the three

images not being as strong or lacking in consistency as
a whole. I shortlisted entries where individual shots had
impact as well as being powerful and cohesive as a group.
Kate Hopewell-Smith, Judge & Lifestyle Portrait Photographer

THREE,
JOHANNES HEUCKEROTH,
GERMANY

THE SHAKEN LIFE,

ARUP GHOSH,
INDIA

37
STREET PHOTOGRAPHY TH
EY
EAR
20 12 y PROFESSIONA
LP
HO
T

CATEGORY SPONSORED

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
BY MORGAN RICHARDSON

EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

This was a strong category –

but not dissimilar to the News
category so I looked for more
considered compositions and
camera technique in this group.
REST ON AN ANCIENT STREET,
VICTOR DOMASHEV, Kate Hopewell-Smith, Judge & Lifestyle
RUSSIA
Portrait Photographer

SITTING, WAITING, WISHING,

TALYN SHERER,
USA POVERTY, ALMS AND LIFE,
FAIZAN BAKSH,
INDIA

SIBLINGS, BUTT DARLING...

YAMAN IBRAHIM, ADRIAN TRAVIS,
MALAYSIA UK

39
IN THE STUDIO CATEGORY HAIRDRESSING,
SPONSORED BY PATRIZIA BURRA,
ITALY

VICTORIA,
JAIME TRAVEZAN,
UK

MERGER,
TETIANA SHCHEGLOVA
& ROMAN NOVEN, EMILY,
UKRAINE COLIN CROWDEY,
UK

To be fair the
weakest section
I’ve judged, but
the finalists were
head and shoulders above
the mediocrity of the bulk
of entries.
Paul Sanders, Judge &
Landscape Photographer

FIRE,
KATE MURRELL,
UK

40
 BLACK AND WHITE CATEGORY SPONSORED BY EEAARR
EEYY
TTHH
PPRROO
22001122yy FFEESSSSIIOONNAALL
PPHH
OOTT

OOG
OOF
F

GRRA
HEERR

APPHHE
ESSSIIOONNAL PHOTTOOGGRRAAPPH

ERR OOF T
F THHEE YYEEAARR 22001122 yy P
AL PHO
OF THE YEAR 2012

ROOFFES

PRROOF
yy PPR

FEESSS
001122
IOIONN

S
AALL 22
PPHHOO EEAARR
TTOOGGRRAAPPHHEERROOFFTTHHEEYY

DUSK,
ZHIROHOV VALERI,
RUSSIA

Black and White was a great category

to be given and I loved every minute of
SACK RACE, having to sift through the huge amount
ALAMSYAH RAUF,
INDONESIA of shortlisted images – the guys in the
top ten faced huge competition. For me the final
ten all brought something special to the
competition with beautiful tonality and composition
abound; they all showed a great understanding of
how to exploit the elements needed to create
powerful black and white images.
Ben Duffy, Judge & Sports Photographer

INSIDE KASH,
ARUP GHOSH,
INDIA

LINES, THE RAVEN,

EDINA CSOBOTH, KAROLINA SKOREK,
HUNGARY UK

41
LOCATION FLASH CATEGORY TH
EY
EAR
20 12 y PROFESSIONA
LP
HO
T

SPONSORED BY

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
THE ICE CAVE EXPERIENCE, OF THE YEAR 2012

ROF
KAMIL TAMIOLA,

RO F
yP
THE NETHERLANDS

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

EVENING CITY,
RAYMOND LAU,
SINGAPORE

RONALD’S DIRTY SECRET,

Being the closest category to
JOE GIACOMET, my own work I was very keen
UK
to judge Location Flash and I
was not disappointed.
Technically strong with a great amount of
flair and creativity made for some
exciting images. The top ten for me all
ticked the boxes of what I’d expect from
professional photographers’ work.
If I was an art buyer I’d be very excited
to see the rest of their folios.
Ben Duffy, Judge & Sports Photographer

BIRD,
SOPHIE BLACK,
RUSSIA

WARRIORS,
ILYA SIGACHEV,
RUSSIA

43
 FASHION AND
BEAUTY CATEGORY
SPONSORED BY

THE WHITE ROOM

OF BETTER MEMORIES,
ANNA THEODORA,
BRAZIL

There was a lot of conceptual work coupled with

some very well executed more traditional images,
which made this a very interesting category to judge.
Paul Sanders, Judge & Landscape Photographer

INVICTUS,
CALEB LIM,
SINGAPORE

ENVY,
CHELSEY CORGAN,
USA

FEELINGS,
CRISTINA VENEDICT,
ROMANIA

MIRIAM,
JAIME TRAVEZAN,
UK

44
 20 12 y PROFESSIONA
YSL SNAKE, IN MY SOUL, EY
EAR LP
HO
TH T
ANDREW MORRISON, ANNA VLAH,

OG
OF

RA
UK

ER
MOLDOVA

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

STUDENT CATEGORY
I’m constantly amazed at the talent of the current
crop of professional photographers, so when I
looked through the portfolio of the student category
I couldn’t help be impressed and, importantly, be
inspired by them also. The future of photography is in good
hands with these photographers and I encourage them to
continually push their creative talents and stride forward into an
industry that is so very rewarding if the hard graft is put in.
Kevin Mullins, Judge & Wedding Photographer
DOMINIQUE,
JAKE ARMSTRONG,
UK

DIRTY TRIP, RUSTY,

ILYA SIGACHEV, ANDREW FORD,
RUSSIA UK

45
MEDIUM FORMAT CATEGORY TH
EY
EAR
20 12 y PROFESSIONA
LP
HO
T

SPONSORED BY

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

35mm has been so dominant of recent years, however to

leave medium format out of a professional competition
would be remiss. With costs coming down all the time, I do
hope that there is resurgence of the ‘breed’ – and not just for top end
pros and wedding photographers. The images I have chosen here
show that medium format cameras are not just tripod-bound studio
tools; they are much more flexible than this and can be used just as
creatively as the 35mm format. Adam Scorey, Judge & Group Editor

LUCIA,
CLAIRE MORGAN,
AUSTRIA

FREE,
RAYMOND LAU,
SINGAPORE

COASTAL BLUES,
DARREN BIRKIN,
UK

DREAM,
PATRIZIA BURRA,
ITALY

47
NEWS CATEGORY TH
EY
EAR
20 12 y PROFESSIONA
LP
HO
T

SPONSORED BY

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

KICKING UP DUST,
SREEKUMAR EV,
INDIA

Such a wide range of subjects were

entered – I was looking for the decisive
moment and images that left you wanting
to know more about why, where
and when. Kate Hopewell-Smith, Judge & Lifestyle
Portrait Photographer

TORNADOS TO THE RESCUE,

SIMON SMITH,
UK

THE SLEEPING GIANT,

ROBERTO ISOTTI,
ITALY

IS THERE ANYBODY IN THERE,

DEREK CLARK,
UK

FESTIVAL TRADITION,
AMIT VAKIL,
INDIA

ALONE AGAINST ALL,

MOHAMED KAOUCHE,
ALGERIA

49
 20 12 y PROFESSIONA
EAR LP
EY HO
TH T

OG
OF

RA
ER

PHE
APH

R
AL PHOTOGR

OF THE Y R 2012 y P
EA
ESSION
OF THE YEAR 2012

ROF

RO F
yP

ESS
012
2 ION
AR L PH A
OTOG E YE
RAPHER OF TH

FASHION FILM,
PAWEL PIATEK,
UK

MOVIES CATEGORY
SPONSORED BY

The transition from stills to the

moving image is not going to
be for all. However, the
opportunity to add another string to
THE LAST DAY OF SUMMER,
your bow, and further enhance your
MAKSIM DJACKOV,
SWITZERLAND bank balance, is too good to resist for
some. It’s a very different skill from stills,
as generally you are shooting to edit. But
the basics of lighting, composition and
creating a narrative are shared, as is
the pure creativity needed to make a
film/movie work.
Adam Scorey, Judge & Group Editor

BLIND,
CHIARA FERSINI,
ITALY

RAIN THROUGH SHADOW,

DIANA GRIGORE,
ROMANIA

EPISODE 16:
Stills in the future
DAVID HARRIMAN
MATT: Welcome to Simon
Pedersen, art buyer at Leo Burnett
advertising agency, and
advertising photographer David
Harriman. The topic for discussion is the
commercial future of the still photograph.
What comes to my mind is that it’s obviously a
difficult economic time for everyone and it
becomes harder to separate that fact from
other trends in the advertising industry. Which
begs the question, to what extent is the
hardship that photographers currently face a
product of the wider economic downturn and
to what extent does this represent a gradual
move away from the still image as an
advertising medium? I’ll start with David. You
mentioned in a previous conversation about
the tendency for adverts on digital devices to
be moving for the most part…
DAVID: Well actually where I am right now, Las
{INSIDER }
Growing economic uncertainty and the evolution of digital
platforms have led many advertising photographers to
conclude that the still image has little commercial future. Matt
Henry talks to art buyer SIMON PEDERSEN and photographer
DAVID HARRIMAN about what’s really going on at ground level
Vegas, is kind of a real testament to this fact, and MATT: So they were really early adopters?
something I’d already noticed years ago. Vegas is
probably where the printed billboard first DAVID: Definitely. The moving image
disappeared in the world. And it is the land of the seems to pull people in and sell
sign; the sign became part of the vernacular of more rapidly. Go down the escalator
the architecture in Vegas. And I noticed years on the tube and you’ll now see LCD
ago, when I was here on a long term project, that screens. Sit on any form of public transport and
billboards all turned into moving spectacles. And see the number of people watching films on
I thought, there you go… Las Vegas in its garish, something that’s three and a half inches big.
horrible way has actually provided an ode to
the future. MATT: And obviously the LCD screen is the 
53
{INSIDER }
natural home of the moving image whereas
printed media is the natural home of the still
image. Although still images can obviously be
shown on these screens, perhaps it does
encourage a focus on movement when the
ability to show it is there. Simon, can you
comment on the points made by David and
me? As an actual commissioner of advertising
photography you’re obviously better placed
than we are to pinpoint these trends.
SIMON: I’d certainly say that David
has a good point there. With the
advances in technology and digital
display there are so many levels now
that it’s hard to know where to begin. But places
like Las Vegas with the big moving image screens
are top end, showcase environments. They’re
not the norm really. I think there’s still plenty of
room for traditional photography.
MATT: Okay that’s good to know.
SIMON: I’m looking out at nine 48-sheet
billboard posters right now. People obviously
want to take advantage of new technologies and
54
People are realising that while
you’re got to embrace new
things it doesn’t necessarily
mean they’ve replaced what
was there before; they’ve just
become another option. SP
digital has been the buzzword for a fair old
amount of time. But it’s ebbing now. People are
realising that while you’re got to embrace new
things it doesn’t necessarily mean they’ve
replaced what was there before; they’ve just
become another option.
MATT: There is an argument out there that
suggests inventions in communications
technology tend to produce a splinter in usage
rather than a revolution. So television was
thought of as the death knell for radio but
peoples’ cars, workplaces and homes all
suggest otherwise. Sure, it’s not the dominant
medium but it’s over 80 years since the
introduction of television and radio is still
going strong.
SIMON: You can apply the same sentiment to
still life photography and model makers. When
CGI first became prevalent and you had
retouchers dabbling in Maya and all sorts of
things the model makers thought that was the end
of their careers and were quivering in their
boots. But you know, people quickly realised that
one isn’t a replacement for the other and one is
not better than the other; they’re merely tools
to create images.
MATT: So you think there’s still a healthy
future for printed material as well?
SIMON: Absolutely.
MATT: You mentioned the 48-sheet posters
outside your window, but obviously there’s an
economic factor there. Producing LCD or LED
screens at that size or putting together
hundreds of smaller screens is a very costly
exercise, making the printed poster the
preferred alternative. But for how long? How
long before the prices of these screens drop to
such an extent that it becomes economically
viable? And how long before the printed
magazine is replaced entirely by tablets?
SIMON: I don’t think ultimately that it matters
whether it’s printed or digital for the future of
photography. I think it boils down to a simple
decision over whether to use still or moving
imagery. I don’t think that digital technology has
to favour one or the other. I certainly wouldn’t
say that the still image is dead by a long, long
way. It’s not really a case that because it can
move we have to utilise movement but from a
creative point of view we’ve got these options on
the table now and we can include them in the
process of idea generation. Obviously when
the new technologies emerge everyone wants to
be the first to get involved and the media becomes
a tool for the creative idea. But I think that
while the traditional printed still – whether in
magazines or outdoors – has declined somewhat
it’s now on the rise again and it shares an
equal spot, though obviously it does take time for
people to realise this.
MATT: Is the still image popular then for
digital usage?
SIMON: Without doubt. You have to still have
either a print producer or a TV producer. It’s still
a choice between the still image and the moving
image. Whether you’re using print or a digital
medium the still image requires the same level of
production, the same level of skill, regardless
of the resolution that the final thing is going up at.
That’s neither here nor there really.
MATT: Another interesting spin-off from that
fact is obviously the merging of the skillsets
with the arrival of DSLRs that shoot HD video.
And a lot of commercial stills photographers
are now being asked to shoot moving image in
addition to their stills work, and I know that’s
something that David has been involved with.
DAVID: I guess most people are considering the
convergence of the two. I embraced it more
out of a creative interest, I would say, rather than
economic necessity. It just interests me
personally but at the same time the technology
has facilitated that. But I have had to do several
jobs with a bit of film added on the back. And
I have actually gone down the route of getting a
production company to represent me for
commercials but I still think that on a certain
level they are very different beasts. A thirty
second ad for television is something very
different to, say, 15 seconds of footage on the
back of a stills shoot that will only appear on
the internet.
SIMON: It comes down to the idea of the
application doesn’t it?
DAVID: Yes. I was chatting to the head of
television at an ad agency last year and she told
me that to do broadcast television ads you really
need the backing of a production company. There
might be 50 or 60 people working on these
projects, so it’s very different to the production of
a still or low-budget moving image. There is
that big chasm between the two fields. I did three
jobs last year with moving images on the back
of them and we used a crew of about 10 people.
It’s still a very different beast to the full-blown
television commercial.
MATT: Simon can you talk us through your
experience of the separation or convergence of
the two spheres in the ad agency?
SIMON: I think put very simply you’ll never have
a photographer and a Canon 5D shooting this
sort of stuff; there will always be full-blown TV
ads just as there are full-blown print ads. No
matter what the technology is that’s used to
capture either, the overall production values are
not going to be determined by the advances in
technology… not by the equipment alone. I think
the division will remain for a long, long time yet.
MATT: But are there grey areas here?
SIMON: There are grey areas. There will
probably be people who started out as
photographers moving into film and making some
really nice ads out of it but I think for the big
budget, big production ads, you’re always
going to want to use the best people that you can;
people who have spent a long time learning
their craft in the film or television industry.
MATT: There is such a big division of labour in
this industry too. You have your director, your
DP, your focus puller, your gaffer and your
grip, your first assistant director and second
and so on. The photographer is obviously used
to playing all of these roles in one, so it’s not a
setup that he or she can easily walk into. I’m
also sceptical; it’s such a different skillset.
SIMON: There will never be a true convergence
and they’ll always be two separate beasts, but 
55

having this crossover kind of creates a third
little beast if you like. I don’t think one is killing
or replacing the other. It’s just a new thing that
you can take into creative consideration.
MATT: What about the budgets available for
stills versus moving image? Have you seen
any great changes in the past few years?
SIMON: Budgets are not what they used to be
across the board but more important for stills is
the sheer number of photographers that are
out there now. I see this in my job day to day.
There are a staggering number of agents and
photographers so it’s just become a more
competitive world.
MATT: I see. So it’s maybe more down to
saturation than it is a decline in the usage of
still photography?
SIMON: It’s completely down to saturation.
DAVID: Simon do you think there are more
people out there because digital technology
has facilitated the uptake of photography as
a profession?
SIMON: I think that helps of course. It’s a bit like
the music industry when you talk about the death
of the recording studio. Technology helped
people enter the game who wouldn’t otherwise
have entered. It’s probably also down to failed
photographers who teach at colleges convincing
their students what a great career it is and that
there’s still a lot of money in it. I think that’s what
has led to the change on your side rather than the
shift you’re talking about. I commission 50, if not
more, productions every month. That’s what I’ve
done for the last 10 years. I don’t see that
anything’s really changed. The budgets have got
a little bit smaller but the work is still
getting commissioned.
MATT: Be good to hear your views on
this David?
DAVID: Simon’s got the inside track on this but
I love print and it’s been really good to me over
the years; I had a good year last year and, touch
wood, this year will be good. But I do think that
while digitisation might not mean the
disappearance of still images in favour of moving,
The temptation with digital
viewing platforms is to move
images on quickly, perhaps
every few seconds or so, and in
public adverts the viewing
experience is outside of the
viewer’s control. DH
the way in which these images are consumed is
changing. Print allows that lingering look that
gives a real sense of control. You choose when to
look away and you can come back to a picture
whenever you like. The temptation with digital
viewing platforms is to move images on quickly,
perhaps every few seconds or so, and in public
adverts the viewing experience is outside of the
viewer’s control. So maybe this might have an
impact on the power of the still image. I’m
certainly not abandoning the still image by any
means, but I don’t think it’s a bad idea for me to
have those skills to shoot moving imagery. And
getting involved with the production company
gives me this platform. It’s great to hear from
Simon though that there’s no real drop in volume
of stills imagery being commissioned.
MATT: Even if images are cycled on LCD
screens, I think ultimately there is a quality to
{INSIDER }
stillness that will always be coveted in the
commercial world. You can look hard at a
product and ingest the colour and the
composition of the shot; appreciate the
lighting. With moving image you’re following
something that’s essentially fugitive. You don’t
have that mental viewing space around the
subject matter for consideration and that
space is something that I think will always
provide value, particularly to people
selling products.
SIMON: I do think there’s room for everything
these days. There’s no such thing as an original
idea; things get recycled. I’d say the same goes
for the technology. People jumped on the
emerging technologies when they first came out
but now the older mediums are re-asserting
themselves. A lot of arguments have arisen
debunking those initial claims that the digital
platforms are the most effective places to
advertise. You and I both know what happens
when we see those annoying things pop up down
the side of websites; we don’t look at them. And
no matter what the viewing platform, there is
certainly a healthy commercial future for the
still image.
MATT: Great to hear! Thanks to Simon
Pedersen and David Harriman. PP
www.davidharriman.com
www.nosonrien.com
www.leoburnett.co.uk
www.matthenryphoto.com
57
 ‘POLICY PORTFOLIO’
TAILORMADE INSURANCE PACKAGE
FOR THE PROFESSIONAL PHOTOGRAPHER

Including the following benefits for your business:

• EXTRA BENEFITS INCLUDED FOR MORE COMPREHENSIVE COVER
• QUOTES WITHIN MINUTES
• NO FORMS TO COMPLETE
• THEFT FROM UNATTENDED VEHICLES
• PROFESSIONAL INDEMNITY

• 14 DAY MONEY BACK GUARANTEE (IF YOU DECIDE TO CANCEL)

• 24 HOUR FASTTRACK CLAIMS HELPLINE

• NO CLAIMS DISCOUNT
• MONTHLY PREMIUMS
POLICY PORTFOLIO • PHOTOGRAPHERS’ ECONOMY QUOTE AVAILABLE

Morgan Richardson Ltd.

(Established 1994)
Authorised and regulated by the Financial Services Authority

CALL US NOW FREE ON

0800 731 2940
or email quotes@morganrichardson.co.uk
www.morganrichardson.co.uk
(Telephone calls may be monitored and recorded)
 Styling your shoot

Handbags at Dawn
Seasons come and go but
fashion never stays the
same. Jessica Bracey talks
to REBECCA MILLER about
shooting handbag designer
Nica’s year-round range
REBECCA MILLER

59
M eet the Nica girl; she’s a working woman with
a busy lifestyle, well travelled, educated, an individual in her own
right who is relaxed but has a confident style. She’s a consumer who is
sociable and respectful with strong values, and most importantly she
makes considered purchases.
Now if that isn’t a detailed enough brief for a target market we don’t know
what is. Rebecca Miller, fashion and portrait photographer who has shot for the
likes of Mumford and Sons and Paloma Faith, has taken on the challenge with a
pinch of vintage-inspired magic. Her stamp on the Nica brand has been so
successful that they have requested her services season upon season, adjusting to
new looks and developments in the brand. “I have been working with Nica from
the start after shooting with another brand called Ri2K which was part of the
same company. We clicked straight away and I love working with the team,”
says Rebecca. “The brief changes for every shoot depending on the range.
Overall the brand is very young, fresh, quirky and creative but with a lot of
vintage inspiration.” Influenced by the modern culture of magazines, music,
blogs and films, Rebecca also reaches beyond the realities of what’s in front of
her and brings her unbeknown dreams into the still image – her mental
scrapbook must be full of colourful wonders. Moving through each season with
the Nica brand, how is it to partner with them for each new look? “We have so
many similar ideas it’s definitely more of a collaboration. Nica shoots are very
natural to shoot, she’ll come to me with different ideas but I don’t feel like I have
to try to shoot in a certain way, it just comes natural. I feel like there’s a part of
me that still thinks I’m a 17-year-old girl.”
STYLING THE SEASONS
A natural when it comes to shooting handbags for designers – she’s had years of
experience – the goal of the game is to influence Nica girls alike to go all googly
eyed over the prize. “With advertising you are selling a product, so that ends
up being the most important thing. With fashion it’s more open. I love both and
they seem to feed into each other and I get hired to shoot advertising jobs
Behind the Scenes
60
based on some of my fashion work. If I can go in a direction that I like on a
fashion shoot I can then bring it into an advertising job,” Rebecca says about the
advertising vs fashion photography balance. “First I concentrate on the image
and the handbag is second. I feel that the location is so important too, I am
always looking for new places to shoot and JJ Locations is a great source for
finding places, they’re the best! We also do a model casting every season
and I always know who I want straight away,” she continues, speaking of the
process of setting up the shoots. The quirky locations add to their charm and in
tandem with the styling, its brand match is spot on. “Styling is so important.
I used to think that it was all about the image and the styling wasn’t that
important, but I have been working with some pretty amazing stylists the past
few years. For example, the shot of Cecile in the red dress in front of the blue
wallpaper – for me this is the perfect marriage of styling and photography. The
dress is so strong, that shot wouldn’t work with just any outfit.” Outlining the
importance of hunting down a good stylist, it’s the individual elements of styling
from colour matching to print clashes that truly makes Rebecca’s work pop and
adds a lifestyle feel to the brand. “We have been so inspired by mixing prints for
the last few seasons, I feel like this is very English.”
QUINTESSENTIAL STYLE
For someone with a lookbook that jumps out as British through and through with
the taxidermy, vintage tea dresses, heritage themes and English rose models, it’s
surprising to learn that Rebecca hails from the land of Uncle Sam. “I’m so
inspired by English life that I think it’s really easy for me to photograph it, I’m
always so impressed with the way English photographers shoot in the States.
They see things that I would take for granted. It’s not like we set out thinking lets
shoot this wallpaper because it feels English, it’s much more organic than that.
I’m more inspired by colours, textures and location,” she says, steering away
from the intention of representing British fashion. “I was in a coffee shop in
northern California and the women in the room seemed to be matching their
handbags and shoes. People like beige here – I don’t like beige, I like colour and
bold statements. I love people who aren’t afraid to express themselves through
their clothes, and for photography you need to show personality visually. It’s not
like this girl sat on the blue couch is going to talk to you. She needs to talk to you
through her styling, expression and pose. When it all comes together it’s magic.”
The Nica lifestyle within the still image is cleverly presented with playful
poses, the manner in which the model owns the image and that spark of colour
which sets alight all kinds of emotions. “I am not a stylist but I understand
colour, it’s so important to me. I always work closely with one of the most
amazing retouchers, Kasia Kret from Studio Invisible. The shot of the model
eating a yellow macaroon (pictured on previous page) from the Spring/Summer
2013 shoot has been completely transformed by Kasia’s magic wand. We wanted
an almost hand-painted effect for the shot and she managed to take that image to
a whole different level,” prides Rebecca about her post-production guru. “What I
like about her is her understanding of colour and atmosphere. Some retouchers
are great at swapping heads and slimming people down, but I rarely need all that
stuff.” Calling upon her services when the budget allows, Rebecca prefers to
collaborate with others to get the job done, which on this particular assignment
consisted of six to seven people. 
 Styling your shoot

{
{ {
REBECCA’S
TIPS ON STYLING
A SHOOT
< Shoot what comes naturally to you
< Trying to shoot in a specific way
doesn’t always work out
< Find a great retoucher who can
work magic with colour
< Think about the image first and
the product second
< Styling is more important
than you think, finding
{
a good stylist is key

{ }
PITCHING TO A FASHION DESIGNER
A designers’ lookbook is key to marketing their grand designs, and choosing the right photographer to represent their brand is essential, so
when pitching for that client make sure your portfolio shows how your work will complement their brand. Each year consists of two seasons,
Spring/Summer and Autumn/Winter, to reflect the changes in weather, of course, but also to show the newest developments in fashion.
It is the photographer’s job to represent this in the best way possible while keeping the client’s brief and brand ethics in mind. The showcase
of the upcoming season usually falls three months ahead of schedule, so this means shooting six months in advance, resulting in bikinis
in the winter snow and woolly coats in the basking heat. With fashion it’s about being one step ahead of the game.

61
 Styling your shoot

{ I have to say that I don’t think gear

is that important, I think it’s all
about what you do with it. It’s more
about having the right ideas about
what to do with the lights. RM
}
LIGHTING THE MOOD
Combining indoor setups with outdoor locations, the lighting acts as a directing
force to the overall mood of the collection. Working six months in advance until
the fashion week showcase, the seasons match the conditions outside when it’s
showtime. “For the winter lookbook, it was January and it was cold and grey
outside anyway. The bags were richer and darker so it just made sense for the
photographs to feel a bit dark and muted,” she comments about the look that was
achieved. “Alex (the lighting director) and I did a lot of bouncing light off
polyboards, windows and through silks. For the shot of Cecile standing on the
metal box (pictured right) we had the light outside, in the rain with poor Alex.
The window was frosted so it helped to soften the light even more. I’m pretty
sure we used a huge Octa softbox on that shoot too, those things are amazing!”
In contrast, the Spring/Summer shoot was streamed in bright illuminations
that added a glow to the model. The happy-go-lucky look shone with vibrancy,
complementing the hues of pink, orange and turquoise. “Again, the light was
inspired by the outside. I remember that day being really sunny, so there was
a great natural light in that house so we really just added to it with a HMI.”
Shooting 1/125secs at f/5.6, but alternating depending on conditions, Rebecca’s
kit bag stays pretty consistent throughout the shoot but adjusts to the lighting.
“It’s more about what I want to do with the shots. We always have a lot of lights
around, but sometimes we end up just shooting everything with natural light
and some reflectors. Last seasons we just shot with a HMI all day.” Counting
on her Nikon D800, a Phase One and a bunch of
different lenses and Profoto lights for the Nica SHOOT FACTS
collections, Rebecca believes that it’s all about Behind the Scenes
Photographer: Rebecca Miller
what’s in the mind and vision that excels a
www.rebeccamiller.co.uk
shoot, not the gear. “I have to say that I don’t Location: House in Dalston (A/W 2012)
think gear is that important, I think it’s all about and a house in Kilburn (S/S 2013) all
what you do with it. It’s more about having the sourced through JJ Locations
right ideas about what to do with the lights. I Cameras: Phase One and a Nikon D800
work with a very talented lighting director called Lenses: LS Schneider 55mm f/2.8,
Alex Forsey that is always trying new things to 80mm f/2.8 and 110mm f/2.5
Lights: Profoto with 2400 packs
make the light how I like it no matter what gear
we have.” Autumn/Winter 2012
Stylist: Rachel Bakewell
IT’S IN THE BAG Hair and Make-up: Lica Fensome
A demon to every photographers’ workflow is Model: Cecile Sinclair, Union Models
time, but Rebecca manages to produce results by the time the clock strikes, Lighting: Alex Forsey
despite all the behind-the-scenes elements such as styling and hair and make-up Assistant: Alex Cornes
Digital Operator: Barry from Punk Bear
which prolong a shoots agenda. “Time is always the enemy on these shoots, we
Retoucher: Kasia Kret at Studio Invisible
have a lot to get done in a day. Actually on both shoots the last shot was pretty
rushed but sometimes it just works. The shot of Cecile in front of the blue Spring/Summer 2013
wallpaper was taken in about 10 minutes, with the whole crew crammed into a tiny Stylist: Rachel Bakewell
room.” A challenge in itself to work consistently with a brand developing a unique Hair and Make-up: Marco Antonio
look that sells a product season upon season, what advice does Rebecca offer Model: Leila Jay, Select
advertising and fashion photographers looking to follow her path? “I think you just Lighting: Alex Cornes
Assistant: Klaus Blumenrath
have to shoot what comes naturally to you. Trying to shoot in a specific way doesn’t
Digital Operator: Barry from Punk Bear
always work out. I love shooting these Nica campaigns because, ultimately, I wish Retoucher: Kasia Kret at Studio Invisible
I was the girl in these pictures; I feel like I understand her.” PP

63
WE NEED TO TALK
ABOUT KELVIN
When it comes to white balance, the rules of videography differ from the rules of
stills, and there’s no Raw mode to help you, warns TOM MARTIN
Understanding white balance
is a vital part of both
photography and
videography. While its
implementation in both fields
is very similar, understanding the important
differences in how white balance operates in
videography is key to producing great,
accurate-looking videos.
Essentially, white balance is a setting on a
camera which allows it to be adjusted to ensure
that objects which appear white in reality are
accurately reproduced as white objects in your
video, also ensuring that every other colour in the
scene is accurately reproduced.
A more descriptive term would actually be
colour balance, because by ensuring that the
white light is correctly reproduced, all other
colours will be correct as a result. This is
because white light is comprised of all of the
other colours of the spectrum. It is necessary
because unlike our eyes, which are capable of
automatically adjusting our perception of colour,
cameras are not as smart.
AVOIDING UGLY COLOUR CASTS
Different types of light have different colour
temperatures, which ‘colours’ the light differently
depending on where on the spectrum the light
source is. A camera needs to be told the colour
temperature of the light it is shooting under in
order for it to accurately reproduce the colours
64
we perceive. If this is done incorrectly, your video
will have an unpleasant colour cast, with
inaccurate colour rendition and skin tones,
potentially ruining your shot.
To correctly set the white balance, we first
need to understand what the colour
temperatures of light are. Light is measured in
degrees kelvin, often shortened to ‘K’. In essence,
the lower the degrees kelvin the light is, the
‘warmer’ the light is, giving the light a red/orange
cast. As the degrees kelvin increase, the light
becomes ‘cooler’, shifting towards a bluer cast.
So, for example, I commonly light my interview
subjects with lights with tungsten bulbs in, with a
colour temperature of around 3200K. If I didn’t
colour balance correctly, the light would have a
strong red/orange cast, ruining the shot.
Likewise, if I balanced correctly for tungsten
light, but let daylight fall on my subject, they
would have a similarly undesirable blue cast.
This, I’m sure, will all be familiar to you as
professional photographers. However, it is at this
point that the disciplines of photography and
videography diverge somewhat with regards to
the adjustment and setting of white balance.
NO SECOND CHANCE
Photographers have the luxury of being able to
capture images in Raw, allowing many facets of
the photographic process to be tweaked and
adjusted after the photos have been taken,
including white balance. Video, however, is a
This table summarises some common
light colour temperatures as they apply
to photographers:
1000 - 2000 K Candlelight
2500 - 3500 K Tungsten Bulb
3000 - 4000 K Sunrise/Sunset
4000 - 5000 K Fluorescent Lamp
5000 - 6500 K Daylight
6500 - 8000 K Overcast Sky
9000 - 10000 K Shade
compressed format, and much more akin to
shooting JPEG than Raw. This means it is
absolutely vital to get white balance correct
before you begin shooting. If you were to white
balance a shot incorrectly, there is some limited
scope to correct your mistake in post production,
using colour correction tools. However, the
heavily compressed H264 codec that most
DSLRs utilize just doesn’t have the bit depth and
enough colour information to stand up to the kind
of heavy colour correction needed to attempt to
fix an incorrectly balanced shot. Even in more
expensive professional cameras which record to
a higher quality, this kind of correction would
produce limited results at best.
Thus, it’s really important to get the white
balance correct before you hit record. With this in
mind, let’s consider how best to set white
balance for video.

GETTING IT RIGHT
As we’ve touched upon before, automatic white
balance is a complete no-go. Like all automatic
functions, you run the risk of the camera
adjusting the white balance mid shot, ruining the
take. So, manual or custom white balance are
your best options.
Custom white balance works exactly the same
as in photo mode; take a picture of something
white, and tell the camera to adjust its white
balance based upon that picture - simple!
The manual white balance setting in DSLRs is
a great feature, and one I sorely miss when using
my professional video cameras. You can use both
the presets, such as ‘Daylight’, ‘Shade’, etc., but I
really like the ability to dial in a precise white
balance in degrees kelvin. This makes matching
the settings on several cameras really easy, and
is also great for setting and adjusting white
balance accurately or by eye.
The best methodology is to set the white
balance, either using the custom white balance,
or by eye using the manual method, and then
leave it. As long as the lighting remains the
same, e.g., a controlled studio setup, once you’ve
white balanced you’ll be fine for the rest of the
shoot. However, you should always be aware of
the light changing around you; even a subtle
change can make a big difference to the image,
and our eyes are so good at compensating that
we often don’t notice! Thus, a good habit to get
into is to frequently rebalance when changing
locations, or at periods when the light is likely to
change a lot, for example at sunrise or sunset.
It’s very easy to get caught out and forget,
especially on fast-moving shoots, but just try to
be aware of it to save you time and effort later!
KIT AND TECHNIQUE
There are several accessories which can be
bought to aid white balancing. Custom 18 per
cent grey cards can be used to give a good
neutral object to white balance from. In a run and
gun situation it’s also possible to use anything
white or neutral you can find. I personally keep a
couple of sheets of good quality paper or card in
my kit bag as a cheap and effective way of white
balancing quickly.
While it’s important to set white balance as
accurately as possible, once you’ve mastered the
basics you can use it to your advantage to
produce some great creative effects. One
example is to deliberately mix the colour
temperatures of your light sources. On a recent
corporate interview in a very bland hotel setting
I used this technique to add some depth and
interest to an otherwise flat shot. I lit using a
combination of natural daylight from a large
window and several tungsten lights, balanced to
match the daylight using colour temperature
blue gel. I then white balanced the camera to
match the light (around 5500K) and added a
practical lampshade in the rear of shot. This
added a bit of background detail, but also,
MOVIE
DSLR
MAKING
YOUR
ON
because it is a tungsten lamp (around 3200K) it
gave a dramatic, warm orange glow to the wall
as the camera was balanced to daylight.
Another variation on this technique is to use
commercially available warm or cool cards to
balance from. These deliberately misbalance the
camera to add a slight warming or cooling effect
to the image, and are a great tool, especially in
interview situations.
Once you understand the limitations of white
balance in videography, and how to deal with it
properly to ensure you produce great, accurate
looking video, you can begin to turn its limitations
to your advantage, and with a little creativity and
know-how produce some stunning images. PP
www.fastforward-media.co.uk
JARGON BUSTER
KELVIN – Measurement used to describe the
colour temperature of light. Often shortened to K.
WARM – Refers to light towards the lower end
of the colour temperature spectrum. Has a
red/orange cast.
COOL – Refers to light towards the higher end
of the colour temperature spectrum.
Has a blue cast.
MIXED LIGHTING – Mixing two or more lighting
sources with different colour temperatures,
often done for creative effect.
65
 Shoot for a new career
Learn Photography in Central London

Day - Evening - Weekend

Beginners welcome

Portrait
Fashion
Lighting
25%
discount if
Wedding you book
Black+White
early
Still Life
Re-touch advanced

20 new courses now available

www.media-courses.com
0870 62 65 100

DON’T KEEP
ALL YOUR
PANDAS IN
ONE PENGUIN
If you’ve had the SEO rug pulled out from underneath your website by the new Google
algorithms, it’s time to get a more wholesome marketing strategy, says KEVIN MULLINS
In my previous life, I ran a web design and online marketing
agency. I know a bit about search engine optimisation
and all the peripheral marketing strategies that are
associated with it. Whilst I encourage a good, ethical
SEO strategy, I get a little concerned that some people
are over-reliant on it. And this is why….
20 November 2012, the phone rings and I end up speaking to a good
friend of mine who just so happens to be a wedding photographer too.
She sounds pretty desperate. The conversation revolves around the fact
that she has been ‘booted off Google’ (or so she thinks). She has had
zero enquiries via her website for a couple of weeks and the phone has
stopped ringing.
I check her web usage stats and it concurs, there had been a steep
fall-off of traffic to her site around the beginning of November. I ask her
to check her Google account and there she finds an email, from Google,
informing her that she’s been penalised for some bad tactics they think
KEVIN MULLINS
she has employed in the past to increase her search engine rankings. They
suggest fixing those issues and resubmitting her site for re-consideration.
It was bad for her. Very bad. She partook in a lot of SEO in the
THE BUSINESS
PART 15
previous two years, and a lot of it was using techniques known as ‘black hat
SEO’, effectively trying to fool Google into ranking her higher. This obviously
worked, for a bit, until Google caught up with her.
Now, the point here is that because her site had been deprecated by
Google she lost 95 per cent of her client acquisition stream. She had been
doing well on Google, and the business it was driving was enough to
keep her busy. She didn’t think she needed to do much else in terms of
marketing and now she was paying the penalty for that nonchalance.
GET THE BASICS RIGHT
In the volatile economic climate that we find ourselves in, it seems
everyone is putting a lot of effort into their SEO. Of course, they should
too, but not at the detriment of your other marketing vehicles. Being
number one on Google for your given search term is great if:
1. You have outstanding pictures to sell the potential clients
2. You have an outstanding product set to sell
3. You have an outstanding customer service to offer (and add reputation
to your brand)
4. You can stay at #1 
67
 I honestly believe that you must have the top three on that list. With those
three attributes at the core of your business, actually, it may not matter if
you cannot attain number four and remain at number one in the search
engine. I believe with an amazing all-round product and service, your best
client acquisition channel will be your existing clients.
There is an old adage (called the 80/20 rule) that 80 per cent of your
sales should come from 20 per cent of your clients. That can be expanded
a little to an assumption that if you treat 100 per cent of your clients to a
great product and customer experience, you can expect a higher percentage
of referrals from them.
I’m guilty of forgetting this myself, and I wonder how many of us don’t
really utilise the amazing marketing potential that past clients are?
LOOK OUTSIDE OF GOOGLE
In the modern world, there are other elements of online marketing that
reach outside the boundaries of traditional search engine optimisation.
The modern bride, commercial client or potential portrait customer will
probably be using a number of other online social tools to research and
purchase photography.
The most obvious one is Facebook. Having a dynamic,
fresh Facebook business page can of course drive a
lot of traffic to your website and be a conduit for
direct sales. A lot of photographers still shy If you had
away from the Facebook model but as
Google shifts the goal posts so often, it is a budget to advertise in
becoming more of a mainstay in terms a newspaper for example,
of marketing strategies these days.
Next to Google itself; it is the most would you advertise in just one
visited website on the planet. It newspaper – and each week
makes sense to utilise the potential.
As Facebook has recently become rehash the words, changing the
an investor-owned business they are structure, etc? Or would you
putting into place more revenue-
making streams for themselves. This take out multiple adverts in
is a good thing in my opinion as they different newspapers,
will be developing tools and technologies
that they will sell to us, the business even magazines or
customer, to help us directly leverage all TV adverts?
those millions of people that use Facebook on
a day to day basis.
Another favourite in the social marketing world these days
is Pinterest. There was an initial cloud over the legalities of Pinterest but
I’ve fully embraced this as a marketing tool. Whilst I don’t actively have
a Pinterest account myself, I encourage people to ‘pin’ via my website.
Around December last year I noticed a sharp increase in referrals from
Pinterest and this was due, largely, to a single image of mine ‘going viral’
on the network and it subsequently received over 150,000 pins and repins.
I now get more traffic delivered to my website from Pinterest than I do
from Google and whilst it’s not going to be as targeted, I have received
many wedding enquiries as a direct result of a referral from Pinterest.
You can keep an eye on your own pinned content by visiting www.
pinterest.com/source/kevinmullinsphotography.co.uk/ (obviously replacing
my domain name with your own).
Using this, you can get a good idea as to what content is being pinned,
and a good idea about the demographic pinning it.
68
WHAT GOOGLE WANTS
A strong shop-front presence of course, and relationships with other
vendors or partners, is still a very valuable client acquisition exercise and
I believe these days that being on top of your search engine optimisation
is only one part of the online marketing jigsaw – and that part is probably
becoming smaller as we move forward in time.
In the good old days, it was a case of just getting lots of links to your
website. This worked. Now it doesn’t. Now, Google is maturing its
algorithms on an almost daily basis and it’s lending itself much more to
a content-based decision factor. Google wants to see good, authentic,
fresh and dynamic content on the websites. The SEO tactics of old are
being deprecated by Google and many of us photographers are seeing
our websites bounced around the search engines like water in a jar.
Those of us responsible for our online marketing need to harness the
power of quality content and focus on other areas of SEO to prevent
going through the same anguish my friend did at the hands of Google’s
ever-changing algorithm.
For those who employ the services of search engine consultants,
hopefully they will be managing your content and linking your portfolio
accordingly and keeping your website in line, as west they can, with
Google’s mindset.
For me, whilst I rank very well for my chosen key phrases,
I am still at the mercy of the Google God and I’ve noticed
some turbulence recently in my positioning too.
I’m embracing more than ever the other online
marketing tools (Facebook, Twitter, Pinterest and
even LinkedIn). Even though Google is the major
driving factor of traffic at the moment, that
doesn’t mean to say it will be in the long
term future.
DON’T DEPEND ON ONE PLATFORM
I actively encourage photographers who speak to
me about search engine optimisation to embrace
as much non-SEO specific marketing as possible.
Even reiterating the very obvious, such as embracing
your local market and having referral relationships
with other photographers.
Take the analogy of print advertising; if you had a budget
to advertise in a newspaper for example, would you advertise in
just one newspaper – and each week rehash the words, changing the
structure, etc? Or would you take out multiple adverts in different
newspapers, even magazines or TV adverts?
It makes sense if you think about it logically. It really is an issue these
days, people are chasing the utopia of SEO happiness, when in fact it could
end up being to the overall detriment of their business. Just four days
before I wrote this article Google again updated their algorithms and they
estimate 1.3 per cent of all English language searches would have been
affected (either positively or negatively). That’s a lot. That’s a lot of
control Google has over businesses that depend too much on it for
traffic and by inference business.
How would your business cope if the Google rug was pulled out from
underneath you? PP
www.kevinmullinsphotography.co.uk / www.twitter.com/kevin_mullins
 THE BUSINESS

PANDA AND
PENGUIN – CONFUSED?
If you’d like to know just how
the new Google algorithms will
affect your business, turn to
p70 where Paul Tansey
explains how to optimise
your website for search
engines in 2013.

By encouraging visitors to my
website to ‘pin’ my work on
Pinterest, this image went viral
and received over 150,000
pins and repins.

69
 How to Make
Your Friend in
Panda, Penguin… has Google turned into a zoo? PAUL TANSEY guides us through the
jungle of new algorithms and tells us how to tame the new SEO beast
Since my last series of articles Google has
made some significant changes. It pays to
understand the most important of those
changes and what they mean to your business.
My industry has been in a state of turmoil,
shock and even horror as Google’s ongoing
algorithm changes have changed the search
engine landscape for ever.
In reality, Google itself hasn’t changed what it
is trying to achieve; it still wants to do the best
job it can for its users. To be fair, it has found
some great ways to improve how it goes
about delivering us the best possible
content every time we search. Many
of these techniques focus on
eliminating the rubbish that
degraded our experience as users of
the search engine.
If you have a great website, if you
generate engaging, original content,
if you label that content clearly and
if you haven’t tried to manipulate
your search results by using evil or
‘black hat’ search marketing techniques,
chances are your website ranks better
than ever.
So what has all the fuss been about?
70
FIRST CAME THE PANDA….
Google has been improving what you and I see
when we search – by removing what it knows we
hate. It also took a good look at how we engage
with sites we like and it learned from that.
Throughout 2011 the Panda series of updates
focused significantly on 12-13 per cent of US and
UK websites. The update
2013
was the first time Google changed its algorithm
by studying what real humans liked and
incorporating what it learned – with 500 updates
in 2011 alone. Google learned that we:
>> like websites that load quickly
>> like original, expert and enthusiast content
>> share great content with our friends on
social media sites
>> spend time on sites we love and go deeper
by following links to related content.
Google can work out:
>> how long we spend engaging
with a website and how many
links we click on
>> if we find a website
disappointing and quickly hit
the ‘back’ button and conduct
another search for the same thing
(a ‘bounce’).
Given that it owns the most
popular browser (Chrome), the
most popular search engine, the
free analytics package we all use
on our websites and the Google
toolbar used by so many internet

Explorer users, it is not short of information to
work out which sites and which pages we like. It
can work out that if we find a page by typing one
thing into a search engine we like it but if we
type a different search term and find the same
page, we don’t.
In the main, Google’s search results improved
for most of us. Most sites that were hurt were
offering little value. The Panda updates were
merciless to sites that:
>> contained worthless lists of links
(my pet hate)
>> had lots of adverts (especially in the
top half of the page)
>> suffered from broken links
>> had high ‘bounce’ rates.
THEN CAME THE PENGUIN…
In April 2012 a new series of updates began to
emanate from Google, this time codenamed
‘Penguin’. The mission was to eliminate
spam from the search results – those
annoying websites that rank very
highly but offer very little value
when we find them.
This time three per cent or so
of US and UK websites were
about to get hit. It was obvious
to Google that webmasters
had learned to stuff sites with
keywords, use duplicate
content and manipulate
search results with the
creation of inbound links
(something Google loves) on
an industrial scale. Many of
those links just happened to be
on exactly the keyword that
was used repeatedly in the
page and its code (meta data).
You can understand why Google
would take a serious dislike to sites that
worried more about being on page one than
having anything interesting, unique or different to
say once they got there.
‘Over-optimised’ sites were hit hard. Where
Google believed links were manufactured –
usually because too high a percentage were
exactly matching the keyword that page had
been so obviously optimised for – it hit the site
hard too.
DON’T F**K WITH GOOGLE
Google has the most intelligent workforce in
history. There are more PhDs per hundred
employees at Google than any other company on
Earth. There is no doubt in my mind that
Google’s collective intellectual horsepower
would outgun any organisation in history.
Ultimately, if you decide to take them on and
cheat them then that decision will probably cost
you your online business.
Many webmasters found that their online
businesses went bust overnight. Many
businesses serviced by agencies practising
‘black hat’ techniques found their websites went
off the radar in search terms throughout 2011
and 2012.
THERE ARE 200+ VERSIONS
OF GOOGLE
At any time there are more than 200 versions
of Google’s ever-evolving search
algorithm ‘in the wild’. If your
search engine results seem to
vary on a daily basis it’s usually
because they actually do. Not all
updates are used in all places, all
of the time. Google makes on
average more than one algorithm
update a day and the pace shows
no sign of relenting.
Couple this with localisation
(when Google knows where you
are), personalisation (when
Google knows who you are) and an
increasing influence based on its
own social network – Google+ –
then it is little wonder that you
rarely see exactly the same results
every day. PP
Paul Tansey is MD of South Coast
digital agency INTERGAGE and has
spent over a decade in the digital
marketing arena in consulting, sales
and management positions. He has worked
with clients as big as Microsoft, Motorola and
Toshiba but prefers the challenges of working
with growing small and medium-sized
businesses. www.intergage.co.uk
THE BUSINESS
GETTING ON WITH GOOGLE
Okay then, so what are the key factors to
remember if you want to lead the good life,
enjoy a love affair with Google and live
happily ever after?
Here are my top 10 tips for a
Google love-in:
1. Know your audience – understand them
deeply and create content for them – help
them with their problems and feed
their aspirations.
2. Test your website user experience. Gather
feedback and make changes to make it easier
to navigate and use – it matters.
Try www.usertesting.com.
3. Create original, high quality content – even
if this is a critique of popular content created
by others – in multiple formats – pages, text,
images and video. Label your content clearly
and without hyperbole.
4. Ensure web pages link to each other
effectively with clear ‘does what it says on the
tin’ links.
5. Make all your content shareable (add ‘Like’,
‘Recommend’, ‘Share’, ‘Tweet’ and Google’s
own ‘+1’ buttons to every page and every
digital asset you own). How much your
content is shared is the single biggest
predictor of search engine success.
6. Make sure your website loads fast.
7. Share new content widely on the social
networks where your audience hangs out.
8. Be alert to web pages with high ‘bounce’
rates and prune them or improve them fast.
9. Learn to use Google+, Google’s emerging
social network (set up a business and
personal page). This going to be huge in the
medium term. Be there now.
10. Learn to blog and link blog posts to your
Google+ personal profile as well as specific,
relevant pages on your website.
I’ll expand on points 9 and 10 with some
advice. If you haven’t already, get to know
Google+. Google+ deserves its own article
and I’ll be writing that for the May issue of
PP but for now, be aware that Google+ is
joining up all the dots in Google’s extensive
online property portfolio and it will be huge.
I mean, properly huge.
71
 62 Cheap Street,
Cameras
50 High Street, 13 Market Street,
Newbury, RG14 5DH Witney, OX28 6HQ Swindon, SN1 1RZ
01635 528788 01993 702687 01793 523332
newbury@t4cameras.co.uk witney@t4cameras.co.uk swindon@t4cameras.co.uk

LEASE RENT A CANON EOS FULL FRAME CAMERA AND GET TITLE
TO THE EQUIPMENT AT THE END OF THE RENTAL TERM BY
PAYING JUST ONE MORE MONTHLY PAYMENT. NO INITIAL
DEPOSIT IS REQUIRED. PLEASE ENQUIRE FOR FURTHER DETAILS.

EOS 1DX BODY

2 YEAR LEASE RENTAL PER MONTH £196.10
3 YEAR LEASE RENTAL PER MONTH £139.09
EOS 5D MK III c/w EF 24-105MM F4 L IS
2 YEAR LEASE RENTAL PER MONTH £120.48
3 YEAR LEASE RENTAL PER MONTH £85.45
EOS 6D c/w EF 24-105MM F4 L IS
2 YEAR LEASE RENTAL PER MONTH £88.93
3 YEAR LEASE RENTAL PER MONTH £63.08
All figures quoted exclude VAT

PHONE NOW FOR FURTHER DETAILS

01993 702687
www.t4cameras.co.uk
 The
Wright Stuff

Adam Scorey caught

up with Business of
the Year winners
Dom and Zoe
Wright to see how
they built their
award-winning
DOM AND ZOE WRIGHT

wedding business

73
 Crowned winners of the
Business of the Year award
with the SWPP, Aspire
and Professional Photographer,
we find out how Dominic and
Zoe Wright built such a
success and how they feel
now that they’re an award-
winning couple?

AS: So guys, tell us a little about the process of entering and what you
hoped the outcome would be.
ZW: We were mentored by Catherine from Aspire, where we basically paid
her to come and kick our arses. She came and spent the whole day with us
and from that day the business has really changed; we really did notice the
difference. She just kind of wound us up and set us off and we were ready
for it.
We were getting to the point where I’d hit all the targets that we had set
ourselves after that meeting, and I had actually gone over them. I was
thinking well, where are my next load of targets? How am I going to go on
again? And so in my head it was like, I need another Catherine. Catherine
suggested that we enter the SWPP awards and get bespoke and that it was
what we needed now.
AS: You started in 2010 and how long were you doing courses for?
DW: It’s something we always wanted to do, I mean from our first ever ZW: We had some really heavy spells and then we had Olli and he was eight
training course. We got married three years ago in March and had own months old, and we only shot one wedding in that whole year and that was
wedding photography and we thought, although it was okay and a record of the first wedding I’d shot since he’d been born, it was the first time I’d been
the day, perhaps we can do a better than this and offer a lot better service. away from him. But Dom still trained.
So we went to Focus to try and get a feel for what the photography We did some stupid things though; we paid one photographer, when I found
malarkey was about – and we met Catherine. Then we did a course with out that I was pregnant, and it was a lot of money, the most money we had
some awful cameras and kit, proper amateur stuff, and that’s when we got ever paid on a photography course for us to both go on and do the course
speaking to Annabel Williams. with him and shoot real weddings, that was the thing that we needed at
the time.
ZW: Yes and Annabel said: “There’s just something about you two.” And
since that conversation about four or five other people in our career have said AS: So when did you decide to combine the two businesses and
exactly the same words and we thought, well they can’t all be speaking to start taking the photography more seriously?
each other! I think we believe it a little bit more now than we used to. We did ZW: We decided to get really serious after the wedding we shot when
some courses but it was always the cycle of money that stood out and I think Olli was eight months old. That was August 2011.
it was about 12 grand. We thought, we can’t afford that for something we
physically don’t know whether we’ll make enough money from. DW: We didn’t have any bookings in the process or a website, nothing.
The next wedding we got was in February and that was our first year.
DW: If we had just done bespoke immediately we would have had nothing
to gauge it on and I think that now, because we’ve shot quite a few AS: And that was five months between the two and you’re still trying
weddings, we can put things into practise as we’re learning and apply that to run your B&B inbetween those two weddings?
a lot more. In the beginning you don’t take in everything but now we’re ZW: Yes then we got the website done, as well as the branding and by the
ready to put it into context. time we had the wedding in February we were promoting it with a lot more
confidence. Then we did our first wedding fair in March of that year and that’s
ZW: If we were given the programme now we would have said, yes we’ll when we suddenly thought that it had made a difference as people started to
pay for bespoke it’s now the right time to do it. notice us.

74

AS: Tell us a little about your branding; as one of the things we noticed
when we were judging was that the branding side is obviously an
important part of the business.
DW: It was a really difficult thing to do because I’d branded companies
before, but doing myself was just a completely different kettle of fish. How I
see myself in my head is probably a lot more masculine with the type being
a bit chunkier and really in your face. I soon got a kick up the back side from
Zoe saying this is not your target market! We’re aiming it at females, 99 per
cent of the time in the wedding industry.
ZW: We had to approach it as a job and approach it properly. We wanted
a premium brand and we had to take it out of photography too, as we don’t
care what other photographers are doing – it’s about the brides and what
they’re buying. It was still true to us though; we were never going to go really
flouncy and flowery and girly as that’s not us as people. It had to have some
punch and weight to it as we’re very straight talking.
DW: It had to be very graphical to represent us and we used the colour grey
because it needed to be something neutral and nothing too girly like pink. It
was going to be sitting with imagery too and a lot of people are using these
awful colours because they think that’s what people like and it’s not. Our
sort of grey colour doesn’t distract from the imagery.
AS: So why did you decide to go for a premium brand?
ZW: Everything that we’ve ever done has been aspirational and
everything that we’ve always realised as people, we like those things.
Business of the Year
So that’s why we’ll never go down a trashy route with brides looking like
glamour models, charging £3000. We wanted something that was more
timeless – it suited our tastes.
I’ve grown up loving my Mum and Dad’s wedding photos and I sort of
wondered if that was the romantic little girl in me or whether that was my
eye as an artist. When we started to train we got their photos out and they
told us that the photographer was someone who used to display at their local
restaurant. It was the composition and the way he directed them that we still
do now. Wedding photography is forever and it should not be fashion related.
Because we’re married I think we understand that.
DW: We don’t want our clients cringing in twenty years time. We want it to
be timeless and elegant like Zoe’s parents’ photos.
I think vintage photography is great but it’s not just about the process, it’s
about the style. The way they shoot the angles and the subject and it’s all
about capturing the essence of the whole scene and atmosphere.
AS: So you got to the wedding fair stage and up until then you had two
years or so training and doing courses, and then you got to the point
where you thought this was for you.
ZW: Yeah we had some gaps between jobs and you could see that in our
work. We also know that we are still undercharging but it’s really hard
because we get, ‘Oh no sorry, you’re too expensive’. So how do we jump to
the next level where we know we should probably be now? We need to make
some money! That’s why we need Catherine for this, as next year we are
homeless, we have to make this work and live off it.
AS: By March/April 2012 you’d shot two weddings. So what happened
for the rest of 2012?
ZW: It went absolutely mental! I had ultimate belief in this one day and just
phoned people up, and just took the rejection. I phoned up a wedding fair I had
been to when I was looking for our wedding, and it may not have been a high-
end wedding but we spent three grand on our photographers. I thought this
was my aim and I phoned them up and they said: “You’ve phoned on just the
right day; I’m actually about to put the proposal forward for the fair.” I just
said, I’m having that space, because I knew how hard it was to get into a
wedding fair.
That day I was just really on it. Dom said: “We haven’t got an album or any
pictures; we’ve got nothing!” We had just nine weeks to get a stand and
pictures, and we knew it had to be perfect as we don’t do things half
heartedly. My brother drew up some plans for a stand and had a look round
and came back saying he could do something better. He organised all the
steel stands and frames and we came up with a concept to fit it in different
venues and spaces.
DW: I think it helps when you understand your brand completely from the
off set. We spent a lot less than we should have done thanks to Tom.
ZW: I think for the whole stand with the albums we spent about three or four
grand. It was the biggest outlay we’d ever done so we had to believe in it.
DW: I think it was also lucky that we had a good first wedding and it was
a great starting point for us to begin showcasing our work. It was an
inspirational thing to shoot. 
75
Business of the Year
AS: It’s interesting how these subtle turns of events with ideas for your
branding – you being in design and marketing and also an artist – and
have built this LEGO structure around you. So you spent all this money
on the wedding fair and you’re sitting there, so what happened next?
DW: We got loads of emails. Every other photographer had the typical
trestle table with the black cover over it and we just had this space we
had created and it just invited people in. We just looked fresh.
ZW: People said how different we looked and other exhibitors wanted to
stand next to us. I didn’t want us to have leaflets that would go in a bag then
go in the bin; I wanted something that would have to be kept in the hand and
used. So I made heart shaped shortbread cookies and put our business card
on the ribbon. Then we had the vintage style basin with them all in so people
could just take one.
AS: So the visual elements of the branding,
the uniqueness, was important?
DW: We wanted it to follow all the way through,
not just stop as a letterhead. Even our whole
approach to photography and our guests carried
it through. Trust is everything so we spend a lot I don’t think
of time with our clients. we would be the
ZW: They’re the things we love. The first photographers we are
six months of the year we were both doing
consultations that would last three hours! But
now if we hadn’t
we got every booking. We thought we had to be have got married a
more business-like about it and only I do the
consultations now. I will bring him in if I think
few years ago,
it needs the conviction of Dom. because we know
AS: So after the show how many weddings
what people want.
do you think you did?
DW: We got four initially from that fair alone.
The great thing about our stand is that it’s really
versatile and fits into any space and we use it every time. We had a
few fairs and open days and we went from one wedding to about 14!
AS: That’s quite something to go from nothing to 14 in about
nine months.
DW: Yes and I don’t think we would be the photographers we are now
if we hadn’t have got married a few years ago, because we know what
people want.
ZW: But there are so many people who become wedding photographers just
because they got married and it’s just quite clichéd. We really didn’t want to
do that and we needed a little bit of distance from our own wedding to be
able to do that.
AS: So Catherine said you had to go for this business competition?
ZW: She said that we thought we should enter this and that if we won we
would get bespoke. She said we were at exactly the right position in the
business to start bespoke.
Catherine came down and we did the day in June and then I was chatting
76
to her on Facebook in December then she went offline so I didn’t get the
chance to even ask what it was. I Googled it and read what it was on the
SWPP website and thought oh my God, I am a terrible writer and this is a hell
of a lot of copy to write for a creative. So I literally sat down for two hours
and typed the whole thing out from my head. We had to send it special
delivery and we didn’t have time to even proof it! It took us ages to decide
what images to submit too. We missed special delivery and we had to rely on
first class post to get it there the next day, and if it didn’t then that was it.
DW: I ran to the post office and didn’t even have enough money and the
woman said they couldn’t send it. I rang Zoe and said you need
to start walking here with some money!
ZW: I was desperately trying to wrap Olli up!
DW: I said, we don’t normally do this but can you
just mark it and put all the stickers on and just
put it in the post and I promise I will be back in
a few moments with the money? I even left my
phone as security. I got back as they were
shutting the door but we made it!
ZW: Then we heard nothing. But then we had a
phone call a week later saying congratulations
you’re in the final five! We went to the panel
meeting, which was terrifying. We had a job on
and didn’t think we’d even be able to make it. We
decided that we had to put the client first but we
talked to them nicely and they brought it forward
and there we were, stood in front of the panel.
AS: And then you had a month’s wait.
ZW: Yes and we never thought we were going to
win. We didn’t think we’d even make the award
ceremony, I had to change on the train and didn’t
know anyone there, I didn’t even have a seat! As soon as I went to sit down
Catherine said I couldn’t sit on their table, so I sat with her friend on another
table. They awarded it within about five minutes of having sat down. I
couldn’t even tell Dom as it was underground and I had no phone signal!
AS: So what’s this award going to do for you?
ZW: We want to get better. There’s no point in sitting on our laurels
and saying we’re photographers. You want to be better. You aim for
the unachievable. But we definitely won’t let it go to our heads.
AS: And you say you used to read Turning Pro?
DW: We loved reading Turning Pro as it had good marketing advice and
spreads on what to have on your website and improving SEO. I remember
reading some great advice which said that keeping everything simple as far
as processing was important and how to use suppliers, and I remember
thinking that was such great advice and it’s something that we try to do too.
AS: So 2013 weddings, what have we got?
ZW: Twenty odd?
DW: And about eight or nine booked for 2014.
AS: So what advice would you give to someone reading this who is
thinking, I am on the edge of becoming a pro wedding photographer?
DW: I would say that for your first year you’ve got to build up the business
while you’re still working and you’ve got to have that business behind you.
ZW: But you’ve got to be aware of where you want to go from the onset
because we knew for our first wedding we would charge £500 and for our
second we charged a grand; we doubled it from one year to the next. But you
have to because if you’re going to get anywhere we had to carry on going up,
but it was still really scary.
CATHERINE CONNER, ASPIRE PT
“Dominic and Zoe’s unabashed enthusiasm,
passion and total clarity of business vision won
out for them on the day. They have spent time
setting down their business foundations and developing their
experience to allow them to really hit the ground running when
they launched their business. They are now ready to take the
business to the next level and it was felt that they achieved the
ideal balance of being most deserving and would also benefit
most from the prizes on offer.”

DW: I think it’s all about having a vision and understanding whilst being
honest to yourself, trusting you can do it. But it’s also having the confidence
to do it. It’s a big ask!
ZW: Don’t listen to everybody telling you you’re good because they’re always
going to believe you and they’re always going to say you’re good. You actually
have to go out there and seek the critical stuff and you have to pay for it.
DW: I couldn’t have done it without going on courses and just picking up
stuff, being able to select what’s right for you and putting it into your own
approach. I think we’ve been lucky because we’ve been married and were
in the right place at the right time, but we have catapulted ourselves faster
JULIET JONES, SWPP
“When looking for the Business of the Year in
2012 I was looking for passion, enthusiasm, love
for photography and energy – that is one thing
Zoe and Dom have in buckets full. When you’re starting
a business you need focus and I know these two have.
“With what they have won as part of this award these two will
take this prize and take their business to the next step and I look
forward to see this business in the future. I anticipate that they
will be in the group of top wedding photographers in the UK
maybe in the world.
“Well done you too and I look forward MPP SISLP SITTP SINWP SISEP SIFGP
The The
The
The

SI
The

IP The

to see how you grow and what SIC

than the normal person. But that’s just us! PP SW
PP
e
Th
e

you with great eagerness.” Th

www.dominicwright.co.uk

77

Thinking of working from
home? CAROL WRIGHT
from Springfords shows
how to make the most of it
There is a myriad of reasons why
you might wish to work from home.
The comfort and the extra time with
your family are obvious bonuses,
and with the continuing economic downturn,
the money spent on running your business
from commercial premises can probably be
put to use elsewhere. So, what things should
you be considering before taking the plunge?
1.
Your space requirements. Clearly, the
amount of space you need depends on the
speciality you have. You may need a studio or an
office, or perhaps a darkroom, storage space, or
a waiting room. Separating the business part of
your home from the personal living space is
advisable, as it’s all too easy to be drawn into
work with 24/7 access! Check too that your
mortgage provider, your tenancy agreement
and/or your insurance company all allow you
to work from home.
2. Your working schedule. It’s important to be
disciplined, and to structure your working
day as much as possible. Splitting your time
between working hours and relaxation breaks
can be a real challenge, especially if you work
unsociable and irregular hours. You need to let
your family and friends know your work schedule
too, so they know the ropes and don’t interrupt
you with requests for lifts to football or help with
homework, suggestions of rounds of golf, etc.
Consider installing an easy-to-understand
warning light system – red for ‘do not disturb
under any circumstances’ and green for ‘it’s okay
to pop in to see me just now’.
TOP TIP
Beware – if rooms are used exclusively for
business, and not just for a specified period
each day, then you won’t get the full tax relief
if you sell your home. Normally when you sell
your private home the ‘principle private
residence relief’ ensures that you don’t have to
pay tax on the amount you gain by selling. But
if you use certain rooms in your private
residence exclusively for business, the
M E
HO HS U T
TR
3. Distractions. Clearly if you have kids, they
can be a distraction, so make sure that you
schedule in your home appointments or phone
calls during quiet times, e.g. when they are
napping, at school or doing their homework.
Consider having quality time with your kids for an
hour when they come home from school before
you restart work – that way they won’t feel left
out, and may give you a couple of valuable hours
of peace and quiet!
4. Your equipment. Make sure this is secure
and properly insured. If you already own
the equipment before starting up, it can be
introduced into the business at its current market
value and you can claim capital allowances for
tax purposes. For new equipment, consider
leasing or hire purchase – both methods mean
that you’re not using critical initial working
capital to fund capital expenditure.
5. Household costs. If you’re working at home,
you’ll be incurring extra household costs
(by keeping lights and equipment switched on, for
example). A percentage of costs such as
Revenue could argue that these rooms were
not used as part of your home for domestic
purposes, so your principle private residence
relief may be restricted.
For example, if your house was 1000 sq ft
and you used 100 sq ft for 100 per cent
business purposes, you would need to
apportion the gain so that 10 per cent would
be chargeable to capital gains tax – the other
THE BUSINESS
electricity, gas, and cleaning can therefore be
charged to the business. This is done by
apportioning costs on a fair basis, e.g. taking a
proportion of total costs based on the number of
rooms in the house (excluding kitchens and
bathrooms), the rooms used for business, and the
percentage use of those rooms for business
purposes. A proportion of fixed costs such as
rent, council tax and mortgage interest can also
be claimed where rooms are set aside exclusively
for business use for a specified period, e.g.
between 9am and 5pm (or all of the time). Again,
apportionment is on the basis of area and time.
6. Your tax position. If you run your business
through a company, the tax position is a bit
more complicated. Relief should still be possible
for the expenses of working from home, but take
advice on how best to achieve this. PP
Carol Wright is a Partner at Springfords LLP, a
firm of accountants and tax advisers, advising
small and mid-sized businesses and private
clients on tax, auditing and start-up business
issues. www.springfords.com
90 per cent would not be taxed.
To avoid a restriction, it’s important to use
the ‘business’ room for another purpose, and
be able to demonstrate this to the tax man,
perhaps by having a sofa bed in the waiting
room for occasional use by friends and
relations, or by having a TV and an easy chair
in the corner of the office for relaxation when
you’re not working.
79

STRUCTURED
SUCCESS
JOAKIM BORÉN makes a living from architecture and travel, and there’s a lot to learn about
the business of both from a pro who made it two years after study. Matt Henry finds out
he transition from a BA in Photography
T to the professional world of image
making is rarely a smooth one, or even
commonplace. The theoretical approach to the
medium that most degree courses provide
offers little insight into the commercial world,
nor is it designed to (to all the academic
naysayers out there). So an appreciation of the
differing aesthetics of commerce, coupled with
a serious level of ambition, is required to make
this great leap of faith when the last semester
finally winds to a close.
Swedish-born photographer Joakim Borén
appears to have all the go-to traits, assisting and
taking on commissions as early as his second
year at the University of Plymouth, and working
as a full time professional just one year after
course completion.
“My goal was always to make a living from
photography,” says Joakim. “I slowly started
getting commissions in architecture; not enough
to make a living from, but add in some assisting
jobs and some freelance retouching at a local
{WORKING PRO }
portrait studio with a pretty good hourly rate and
it was possible to make ends meet. I think it’s
realistic to expect it to take up to two years
before you’re working as a full-time professional,
and I’d say to all students that this time is vital to
build up your portfolio and establish a client
base. There are no shortcuts here.”
COMMERCIAL STEPS
His first foray into the commercial world was
undertaking commissions for architects, having
developed an interest in the subject via the
topographic work of resident Professor Jem
Southam and the architectural work of his tutor
Dr Simon Standing, “I went to University
wanting to be a fashion photographer, so I guess
it’s lucky that I got interested in other genres
via these guys as architecture is a bit more
straightforward in terms of making a living.”
His first step was to get in front of architects
with his portfolio, and he insists that this
approach is vital throughout the career of any
photographer, “You’ve got to get in front
of people with your work. They might look at it
via an email web link and think oh that’s nice,
but the transition from seeing work to
commissioning someone is a hard step to make
unless you’ve met them in the flesh.
I like to think of myself as someone who gets on
pretty well with most people, so I know that
if I can get in front of them I have a much better
chance of getting commissioned.
“A great example of this is an architecture job
I did for the Royal Horticultural Society. It
actually came from a meeting I’d had with an
architect five years previous! He’d remembered
me and recommended me to someone who was
looking for a photographer. That would never
have happened if I’d simply sent a web link.
Now I’m lucky to be doing some great
architectural jobs with talented architects like
David Sheppard, as well as some work for
Barclaycard, though there are still plenty of
those bread and butter jobs that you wouldn’t
necessarily want to put in your portfolio.”
Joakim approaches architectural companies
81
82
 {WORKING PRO }
JOAKIM BORÉN

directly, although he’ll go via their PR agency

if their website suggests they have one, as was the
case with his last job for Hudson Architects in
London. While his portfolio also contains a lovely
Martin Parr-esque series of images about a
greasy spoon café commissioned by design agency
Taxi Studio, most of his work additional to
architecture comes from the travel industry, which
has now become the greater source of income.

A MOVE TO TRAVEL
“Most of the travel work I’ve shot has actually come
from Swedish companies, via Thomas Cook
Northern Europe,” says Joakim. “Stockholm is bit
like Germany; the travel photography there is of a
very high standard. In my opinion a much higher
standard than the UK with regards to advertising
and marketing. The Thomas Cook UK website could
really do with some improvement; there’s stuff
everywhere. Compare this with the Ving website,
which is the name used by the Swedish version of
Thomas Cook.”
Ving is Joakim’s main client in travel and his
wonderfully clean, graphic imagery regularly
headlines their website. He first approached Ving
after graduating and started doing tiny jobs for
them, building himself up inside the company before
getting more and more important commissions.
He began shooting what can be described as travel
editorial, whipping around destinations with perhaps
two hours or so at each location. When a forward-
thinking agency took over the marketing for Ving,
the whole approach changed and with it the type of
commissions that Joakim would get.

A GREATER CONCEPT
“They really made it clear to Ving that you have to
focus on the imagery to stand out from the crowd.
All charter companies supply the same destinations
– Gran Canaria or Majorca or wherever. So what you
can do to stand out is to focus on how people live
once they’re out there.
“I got a bigger commission to go out to the Canary
Islands for three weeks and worked with a stylist
who brought props to dress the scenes. Rather
than having two hours in each hotel we had a full
day, so each hotel looked as good as it possibly
could. You’d get the rooms on the best side and get
up early for the pool shots so everything looked
peaceful and quiet. This type of work grew and
I started to get a few concept hotels.
“There’s a company in the UK called Sandals
which focuses on grown up holidays for couples.
There’s a similar concept in Sweden and I started
doing work for the company involved. Sometimes
my team and I would have a whole week to focus on
a single hotel. It’s almost like conceptual 

83
{WORKING PRO }
JOAKIM BORÉN

advertising, I had a stylist and could also take an

assistant. I much prefer this sort of work. I like to
make images rather than simply take them. And I
have been able to increase my rates for the
conceptual work.“

A BUSINESS HEAD
Joakim apportions an element of luck to his success
with Ving, who were looking to try out new
photographers at the time of his first approach, but
maintains the importance of personal contact; the
gigs would never have come about had he not
pushed for a meeting with his portfolio. His advice to
photographers starting out is never to work for
free, but to be prepared to cut commission fees, but
only to the point where you can still make a living, if
not a good living.
“There are times when I’m quiet that I’ll still
consider cutting my rates,” says Joakim, who has
now been working as a professional for some seven
years. “You have a minimum in mind and sometimes
that gets you through and sometimes it doesn’t get
you the job, but sometimes it’s more about getting
the experience.”
Joakim shoots most of his travel work for Ving
and Thomas Cook, a fact he concedes is perhaps
one of the problems of the last four or five years. “I
shouldn’t complain as it’s my bread and butter work
but, looking forward, I really want to shoot for more
varied clients so I’m in the process of expanding my
horizons. Every photographer needs one client for
repeat work – that’s very important. I’ve been
lucky with Ving. It’s been great to have cash flow and
buy all the equipment I need. I’ve learned to
photograph their way, I know what they want and
make sure I deliver a product that they find useful.
This work is all about warm, heartfelt images –
perfect blue skies and perfect holidays, but it would
be nice to forget about the beaches and shoot more
editorial imagery more true to life.”
Joakim is currently revamping his website and
portfolio and planning to pitch to more advertising
agencies in London and Europe as well as getting
more editorial work. But he’s also hoping to do more
personal projects. “Photographers need to focus on
their personal work as often this is what art
directors like to see. I wish I would have more time
for this but I have two horses and a dog so I
sometimes struggle to find the time. I’m hoping to
find a better balance between commissions and
personal work in the future.” PP

www.joakimboren.com

84
You have a minimum in
mind and sometimes that
gets you through and
sometimes it doesn’t get
you the job, but
sometimes it’s more
about getting
the experience. JB

JOAKIM ON KIT

>> Joakim uses a Canon

DSLR system comprised
of 5D Mk IIs and Mk IIIs for
his travel work, combined
with 24-70mm f/2.8L and
a 70-200m f/2.8L lenses.

>> He also has a

Mamiya RZ67 kit and a
5x4 monorail camera
for architecture which is
an option for clients, as
well as a range of
tilt-and-shift lenses.

>> Joakim mainly uses

natural light but
occasionally makes
use of a Hensel Porty
flash system and
Sunbounce reflectors.

85
 {THE BIG INTERVIEW }
BRIAN GRIFFIN
BRIAN GRIFFIN

Donald Sutherland,

MODERN
Savoy Hotel, London 1986.

MASTER 87
 {THE BIG INTERVIEW }
BRIAN GRIFFIN

BRIAN GRIFFIN is widely regarded as the most It is a phrase he has coined to describe the
famous actors, politicians, captains of
influential – and unpredictable – British portrait industry and other leaders who have posed
in front of his camera during a career
photographer of the last 30 years. Keith Wilson stretching back more than 40 years. “Great

tracked him down on the eve of his latest people, the really powerful or the super
talented, are uber-confident,” he affirms.

exhibition and release of a new book to find out “The big important people – the prime
ministers and presidents, film stars – they’re
if he really deserves his reputation… just putty in your hands. They feel nothing
can possibly interfere with their fame and
Brian Griffin is feeling pleased with himself. He’s not being smug; it’s simply that glory.” This is not a glib remark. It is borne
he is very proud of his new exhibition, Still Waters, at the Format Festival in Derby. out of numerous encounters with celebrity,
It’s a wintry wet February day when we meet at one of his favourite haunts, next and knowing that for a few minutes even a
door to the National Gallery in London. Format is just four weeks away and Brian sitter such as the prime minister is
is outwardly calm, yet excited as he tries to anticipate the public reaction to his answerable to the photographer.
new show. “It’s probably the most technically competent body of work I have ever
done in my life,” he proclaims. “I don’t expect people to like it. In the past I’ve had DANCING WITH THATCHER
people look at my finest work and say that’s a pile of crap! But to this they would Brian has photographed only one British
have to say, ‘Yes, technically, that’s incredible’. So it’s a great depiction of my prime minister but, unsurprisingly perhaps,
technical virtuosity.” it just had to be Margaret Thatcher. It was
Still Waters is the result of a commission to capture the business leaders, innovators and 1986, when the Iron Lady was at the peak of
entrepreneurs who have influenced the shape of Derby’s cultural, economic and industrial her power. It proved to be a memorable
landscape, or as Brian calls them: “The movers and shakers.” The resulting 38 portraits, now shoot, but Brian admits he had no plan other
on show at the city’s QUAD centre and museum and art gallery, demonstrate the subtle than ensuring the PM wore a white hard hat
nuances of studio lighting that he believes photography could not render in the pre-digital instead of the blue, red or chrome
age. “Because it’s digital, I can refine all the lights and the camera by a minutiae of stops,” alternatives on offer. He recalls: “It was the
he explains. He then proceeds to extend his arms in different directions as if making time of the Broadgate development near
adjustments to an arsenal of lights. “Here, I can go two tenths down, one tenth on there, Liverpool Street Station and she was going
another tenth on that, four tenths down on that, two tenths down on that, bring that light down to open one of the phases, so I had to be at
a little bit further. It’s like an orchestra going on.” No. 10 to do the photograph. We set up our
Clearly, he’s very proud of what he has achieved, but what I don’t expect is the extreme lights and brought a selection of hard hats:
confidence of his next remark: “I’ll be quite honest with you. I think this is the most red, white, blue and chrome. She comes in.
technically competent body of work ever produced in this country by any photographer that’s I never liked colour photography but I had
ever been alive.” I wonder if he really means it and asks if he wants me to quote him. “You to photograph her in colour because that
can if you like. I don’t mind actually because it’s a big statement.” It sure is, but Brian is was the commission. But I wanted her in
comfortable with the claim. In his own words he is an “uber-confident photographer.” black and white for my personal portfolio,
so when I saw the hats I wanted her in white.
She had a patterned dress on.
“I said: ‘Prime Minister, we’d like you to
wear a hard hat. Please would you choose
one?’ I knew what she was going to choose,
it was obvious, the blue one for Conservative.
So she puts the blue hat on and I don’t want
her to put the blue hat on! I said: ‘Prime
Minister, please Prime Minister. Your dress
and the blue hat, honestly Prime Minister,
just don’t go together!’ And she went: ‘Oh,
right’. Well, she wasn’t going to put the red
one on because of the Labour Party and she
knew chrome would be too reflective, so
she put the white one on.”
Having got his way over the choice of
Derek Norton, Robert Catesby, hard hat, Brian requested the world’s most
William Humble Ward III
Boro Foundry, Lye, 2010. powerful woman of the time to adopt a pose
that no one, not even her aides, could have

88
 Do you remember
Isadora Duncan,
Prime Minister?
Margaret Thatcher PM,
10 Downing Street, 1986.
predicted to happen next. Brian recalls: “I
don’t know how I thought of it. Maybe I was
thinking of strangling her, I don’t know, but
I said to her: ‘Do you remember Isadora
Duncan, Prime Minister? The famous dancer
who got strangled by her scarf getting caught
in the back wheel of her open top car? I
would like you to look as if you’re dancing
like Isadora Duncan!’
“She was great. She didn’t question me
one bit at all. That’s how confident she was.
She was really lovely actually.” The resulting
image is now part of the National Portrait
Gallery collection.
That same year, he photographed the actor
Donald Sutherland at the Savoy Hotel for
the Sunday Telegraph magazine. Again his
unpredictability paid off, this time in
The famous dancer who
got strangled by her scarf
getting caught in the back
wheel of her open top car?
I would like you to look
as if you’re dancing like
Isadora Duncan! BG
response to the superstitious actor turning down Brian’s initial request to pose with an open
umbrella in his hotel suite.
“He said: ‘Oh, no! No way. I’m not opening the umbrella. Think of something else’. So I
said: ‘Well, you can have the pillow or the chair’. He said: ‘I’ll take the chair’. Whenever I
photograph actors they always want to know pretty fast what you want them to do. They want
to be directed. They are the best people to photograph because they can also improvise. So,
while he was being interviewed, I practiced the shot with my assistant. I had the lights set up.
Donald came back and said: ‘Okay, where do you want me?’ I asked him to stand by the door
and my assistant at the time held the chair above his head. Donald put his hand through his
hair and that was his input.”
The finished portrait, with the chair legs rising like horns above Sutherland’s penetrating
stare, depicted the Hollywood star in an almost demonic guise – an unorthodox portrait, but
utterly unforgettable.
DOORS AND EXPRESSIONISM
Brian credits this maverick style of portraiture to the close working relationship he forged
with Roland Schenk, the acclaimed Swiss-born design director of Haymarket, publisher of
Campaign, Management Today, Marketing Week and other business titles. In a 20-year 
89

The Arkwright Society,
Cromford Mills,
Derbyshire 2012.
BRIAN’S LIGHTS
Renowned for creating subtly lit scenes
with studio lighting, Brian has an obsessive
eye for detail. Modern digital lighting
systems mean he can now make the extra
fine adjustments to exposure and output to
match his vision…
“The lighting systems I use now are
Elinchrom, mixed with Profoto. Basically
whatever I can get free! All my projects are
arty projects and there’s no budget for
hiring. I use Elinchroms because they work
all the time. They’re really robust. I use
battery packs as much as possible and I
use Profoto if the cookie crumbles that
way, and their battery packs. I use a lot of
packs; always Pocket Wizard and slaves,
and a lot of light shaping tools. Lots of
body cones, softboxes, honeycombs,
beauty dishes, top lights, booms. We’ve got
Pocket Wizards everywhere; we’ve got a
computer to view the work, to check
sharpness, the exposure; all in Capture
One software. We’ve got seven or nine
flash packs and about fifteen heads. You
know, I can’t remember taking a portrait
without lights since the 1970s!”
{THE BIG INTERVIEW }
BRIAN GRIFFIN
association that began soon after he completed his diploma in photography from Manchester
Polytechnic, Brian developed a style of corporate portraiture that was heavily influenced by
Schenk’s love of European expressionist cinema. Schenk also had a notorious temper.
“He was such a difficult man to work with. He was ferocious. He was so demanding and
so blunt, he was tearing me to ribbons, telling me how bad I was; there were all these
embarrassing moments: ‘No, that’s rubbish! Get out there and do it again’. And yet he was
brilliant, one of the great magazine designers of his time. He was really beating me into
shape. He was a Swiss German so he introduced me to German expressionism and a way for
me to go about photographing all these managers for Management Today. I learnt about
symbolism in silent expressionist cinema, various symbols: staircases, shadows, open doors.
Of course, there were a lot of doors in my pictures because they were all in offices and I
couldn’t find any clear spaces in offices unless it was near a door!”
Brian rationalised that if he looked at the work of other photographers he would end up
cloning their style and continue to photograph businessmen in the already familiar style of
sitting at their desks, on the phone, a yucca in the corner. So he submitted to Schenk’s
insistence for arresting images and sought inspiration from German and French new-wave
cinema and modern European art. He also began making regular visits to the National Gallery
to view the works of Rembrandt, still a favourite outing to this day. “By looking at paintings
it gave me a greater opportunity to develop my own style,” he stresses.
Schenk may have behaved like a bully towards the boy from the Black Country, but he
also gave his protégé direction and hope. Brian recalls: “He said to me one day: ‘I think
you’re the new Robert Frank. You are the Robert Frank for this country’. He knew Robert
Frank. He was Swiss and Robert Frank was Swiss and they had worked together.”
And yet, Brian Griffin’s pursuit of photography as a young man was not driven by an
insatiable desire to be a famous photographer – he chose photography as a means to escape
his roots.
A DESPERATE ACT
Brian was born in Birmingham in 1948 and grew up in Lye in the Black Country. Both 
91
 {THE BIG INTERVIEW }
BRIAN GRIFFIN

Mothers Pride 1986.

his parents were factory workers and a similar future beckoned once he left school and went
to work for the British Steel Corporation. “I was a trainee working on cooling water pipe
work for nuclear power stations. I was in love with a woman in the accounts section. I was
on the eighth floor of Lloyd House in the centre of Birmingham, she was on the seventh floor.
Then she left me and I felt there was nothing to keep me there.
“I just chose photography out of desperation. I was in the local camera club, Hagley, and
just thought ‘how can I get out of here?’ I said to Mum and Dad: ‘I’m going to be more
famous than David Bailey!’ They both laughed. They both knew who he was. This was the
end of the ‘60s and I was 21. I didn’t think I was a good photographer. I didn’t think I was
talented. I just couldn’t think of anything else to run away from home to do. I came from a
very ordinary working-class family, two-up two-
down terraced house behind the factories. I got a
camera, I was developing stuff in my Mum’s front
room, blacking the curtains out. So I went for it,
but I felt if I’m going to do something, I’ve got to
make it work, I couldn’t fail.”
Brian’s latest book, The Black Kingdom, has
also launched at Format. It is an autobiographical
recreation of his early life in the ‘50s and ‘60s.
The book’s title is a misnomer, the result of a 

93

BRIAN ON SHOOTING ‘80S
RECORD ALBUMS
During the early 1980s, Brian’s
interest in post-punk and new
wave music led to a meeting
with Stiff Records in the hope of
photographing Elvis Costello and
the Attractions. After showing his
portfolio, he was informed that Elvis
had left for rival label Radar Records.
But all was not lost…
“They said: ‘Sorry, but Elvis
doesn’t work with us any more but
we’ll give you an album cover to do:
Graham Parker and the Rumour,
The Parkerilla’. It was a double
live album.”
Other album covers followed for
‘80s bands including Depeche Mode
and Echo and the Bunnymen, as well
as solo artists Joe Jackson, Kate
Bush and Iggy Pop. In a special issue
in 1991, Rolling Stone chose its 100
Greatest Covers of all Time. “I’ve got
three album covers in the Top 100,”
says Brian. “Depeche Mode in the
cornfield (A Broken Frame), The
Parkerilla and Joe Jackson with his
white winkle pickers (Look Sharp).
Once I’d done Graham Parker and the
Rumour, I did Iggy Pop’s Soldier, once
I’d done Joe Jackson’s Look Sharp,
I remember being kissed in the
streets of New York by a women
who said: ‘You’re the photographer
that did Look Sharp!’ That really
was amazing. I was just flooded
with band requests after that all
through the early ‘80s.
“I didn’t like photographing bands
at all back then. I would now, but
I wasn’t very good at it then. I think
I did a load of crap work then with
bands. I’ve got really good with
groups now, but I couldn’t handle
them then, I didn’t know what to do
with them.”
Derby Cathedral 2012.
94
mix up in translation when the exhibition it was taken from, The Black Country, travelled to Beijing after
opening at Paris in 2010. “When it went to Beijing, the Chinese rechristened it The Black Kingdom. They
couldn’t get their mind around the term Black Country, so they called it The Black Kingdom, and that’s
how I got the name for the book.
“Essentially, it is about various aspects of my life. It takes my Mother, it takes my Father, it takes what
we ate, it takes the house in the street where we lived, it takes the church where I was a choir boy; it is
essentially an autobiography and I write a little bit about life there in the ‘50s and ‘60s. And there are
snapshots of my Aunts and Uncles, me as a baby boy, my Mother, my Father; so it’s like a documentation
of that period.”
The combination of old family snapshots with his own recreation of the scenes and characters of the
period resulted in Brian employing the services of a casting director to find a suitable model to play his
Mother. When it came to casting his Father, the job was far simpler. “My Aunt and Uncle say I look just
like my Dad, so I played my Father in the book and we found an actress in Leamington Spa who looked
like my Mother when she was in her 30s, so she’s my Mother in the book.”
LIGHTS, CAMERAS AND LENSES
These images along with the new Still Waters exhibition provide ample evidence of Brian’s mastery of
digital imaging and lighting – an extraordinary achievement for someone who made his name using
black and white film and gave up photography for ten years between 1991 and 2001, deciding to
concentrate on making films and screen advertising. Now 65, he is one of the greatest advocates of the
digital age, exuding a passion and enthusiasm for the medium and its creative opportunities of someone
half his age.
“I’d like to be 10 years younger,” he exclaims. “The precision of digital is so refined. It’s all about
tenths of stops, the printing is all so crisp, the rendition of the images is so sharp. I think it’s wonderful.
Because exposures can be so finely adjusted now on the camera and on the lighting, I can make
adjustments on a figure that is just like a…” finishing his sentence he blows a series of light breaths as
if about to polish the brass. “I can do that instead of clunk, a half stop that way, clunk another. Now, I
can get nearer to painting.”
Although Brian’s collection of cameras is as eclectic as his photographic interests (he still uses an
Olympus OM4 as well as a Canon EOS 5D Mark II), getting nearer to painting means using the highest
megapixel camera he can lay his hands on. For these latest works that means a Phase One P65+ and a
handful of Mamiya lenses. “I adore Mamiya lenses,” he says, “I’ve always had them. They’re not as
abrasive as the Zeiss lenses on the Hasselblad. They’re more rounded and lovely to use.”
He is also a great believer in zooms, preferring their versatility and thereby scaling back the number
of lenses needed for any job.
 {THE BIG INTERVIEW }
BRIAN GRIFFIN

...it is essentially an
autobiography and I write
a little bit about life there
in the ‘50s and ‘60s. And
there are snapshots of my
Aunts and Uncles, me as a
baby boy, my Mother, my
Father; so it’s like a
documentation of that
period. BG

“I’ve never owned more than three lenses

at any one time,” he says. “Everyone talks
about primes, but I love zooms. When I was
filming, I’d use big Panavision zooms a lot of
the time. Now, I try to use my Mamiya 105-
210mm zoom for every shot. I love squeezing
the frame and the compression qualities of the
lens. I shoot telephoto 90 per cent of the time.
It’s something I got into by looking at the
juxtaposition of elements between the
foreground and background. I like to try to
get maximum depth-of-field from the
telephoto so you get the feeling they’re
standard lenses. I’ll use f/16 to pull in a lot of
information and always use ISO 100.”
It is still drizzling when we walk back
outside and take one last look at the National
Gallery on our way to Charing Cross. Brian
continues to be a frequent visitor to its maze
of halls adorned with priceless works of arts
documenting history. “I’m constantly here in
Room 14, the Rembrandt room. I love it all,
the Italian Renaissance, the Dutch School,
Spanish School, Velasquez. I’ve studied them
all and I can approach them now. I’m not
saying I’m as good as Rembrandt, but digital
means I can get in there, I can now make
those subtle changes to the lighting that I
never could before. Digital has brought
subtlety into photography.”
That painterly quality of his commissioned
William Humble Ward III with James
portraiture with its subtle nuances of light and Henry Griffin , Boro Foundry, Lye, 2010.
tone is now in Derby for all to see – on show,
in print and online. In the new digital age Still Waters is on show at the QUAD and Derby Museum & Art
Brian Griffin has surely proven his standing Gallery for the duration of the Format International Photography
as a modern master. PP Festival until April 7, and continues at the Derby Museum and
Art Gallery until 2 June. Brian Griffin’s new book The Black
www.briangriffin.co.uk Kingdom is published by Dewi Lewis, released 1 May. RRP £35.

95
Post-production and Advanced
Editing Storage and Backup
Using storage and backup for post-production and advanced editing is a crucial part of a
pro’s workflow. We’ve asked the experts at G-Technology how to best secure your work
A
lthough there’s no one-size-fits-all
storage strategy as every project
and workflow is different, the
essential steps are important to
consider no matter what type of
environment you work in, what your work
style is or what type of photography you’re doing.
You should always transfer your images from
your camera onto a storage device straight
away, ensure you have appropriate storage
performance for your editing process, and then
back up all of your work in a reliable storage
solution.
There are crucial elements that should be
addressed when you have invested huge amounts
of time in planning the shoot and editing images
for a particular project. This is easier said than
done for post-production and advanced editing.
Post-production is driven by deadlines and
deliverables for the client and when you’re
working toward a final, perfect image from your
most creative and unique work, you need reliable
and high-performance storage.
THE ESSENTIAL STEPS
The same process we have highlighted in this
storage workflow series over the past few
months is even more important during the editing
stage. It is essential to consider these three rules:
1 There must always be one set of untouched,
unedited versions of your images. It’s your
last resort if all your work is lost or damaged
during editing.
2 You must ensure that no matter what, you
have at least two separate copies of your
images at all times. As soon as you’ve copied
your photos from your camera and onto your
96
computer, you have two versions. However,
before you delete your images from your camera
card it’s vital to ensure that you save another
version onto an external hard drive, e.g. the
G-Drive Mobile, so you always have two versions.
Then at any point during your editing or
post-production activity you have two versions
of your photos.
3 It’s also recommended that you store your
copies of your files in two separate
locations. One could be stored on-site, while the
other could be stored off-site such as at a
separate office location or home office. This will the field, you can use small lightweight external
help protect your work in case of theft or natural hard drives such as the new G-Drive mini.
disaster. Storing a copy off-site ideally should be It is a bus-powered portable hard drive for Mac
done with your original RAW files and then and PC, which packs 1TB of storage into a
once you have finalised your editing and compact, 7200 revolutions per minute, hard
post-production work and the project is complete drive-based solution. Delivering up to 136MB/s
you should update your backup. Depending on transfer rates, its perfect for use in fast-paced or
the length of the project and level of work rugged environments.
required in this stage, it may mean an additional Storage for editing, retouching, colour
backup is still required. You need to make a enhancement, layering and countless other
sensible choice as to how often you copy and techniques also requires a high-performance
store to a second drive. It all depends on if/when storage solution. Storage solutions in this stage
you can afford to start from scratch again and of the workflow must be readily available
risk disappointing and potentially losing a client, and fast because time is money, and slow storage
should an unfortunate incident occur. solutions can have an impact on productivity
and consequently, profitability.
STORAGE AS PART OF YOUR
EDITING PROCESS
There are many desktop and
mobile storage solutions that you
can use for editing and backup
throughout your workflow, but it
is essential to get the right
solution that fits your performance
and capacity needs.
For quickly storing and editing in

USB 3.0 and Thunderbolt-based storage
solutions can help with this, so ensuring the
device you choose has one of these interfaces
will be a bonus. Devices like the G-Raid with
Thunderbolt in RAID 0 (performance mode) are
perfect for this type of environment. Thunderbolt
provides double the data transfer rates of
USB 3.0 and is over 12 times faster than FireWire
800, addressing the need for high performance,
reliability and speed. The four-bay and whisper
quiet G-Speed Q features four hot-swappable
Ultrastar enterprise-class 7200rpm 3Gbit
SATA hard drives, delivering up to 16GB of
storage. The G-Speed Q is an affordable, fail-safe
desktop RAID storage solution designed
specifically for high-end post production.
Whatever process you use for editing and no
matter how small the edits are, there must be a
backup factor included in this process as you will
be saving versions of the edits along the way. If
you make a mistake on any of the edits
you’ve made, you have the option to go back to
previous versions quickly and work from there.
With this in mind, it’s also useful to back up at
certain points to ensure you have a copy of
those folders, which also makes the storage and
backup process much easier.
BACK UP. BACK UP. BACK UP
When you’ve finished a project and have invested
huge amounts of time and effort into a piece of
work or portfolio, you have to be able to rely on
WIN Show us what ‘three’ means to you
for the chance to win a G-Drive Mini
COMPETITION
To us 3 means more than 300,000 photos
capturing your most precious work and with
this in mind we’re running a series of
competitions with one of G-Technology’s new
USB 3.0 drives up for grabs each month.
G-Technology’s G-Drive Mini provides up to
1TB in capacity in a compact, aluminium unit,
which enables you to store over 300,000
photos on the go so you don’t need to stop
until you’ve captured that perfect shot. The
drive delivers USB 3.0 connectivity, allowing
you to transfer your shots in super-quick time.
So, for us at G-Technology, the number 3
represents the qualities we value in storage –
huge capacity and lightning-fast speed.
To be in with a chance of getting your hands
on a G-Drive Mini, just send us a photograph of
what the number 3 represents for you, from a
shot that took you 3 days to capture to a
masterclass
part 3
your storage device to protect that investment.
There are a huge number of storage solutions
available and equally as many pieces of advice to
convince you to buy every solution. Look for
drives that feature all aluminium enclosure as
the aluminium acts as a heat sink keeping your
hard drives cool. Some also include an added
heat sink or fan for added reliability. Also, find
solutions with more than a one-year warranty.
This sentiment is something Mike Jones
emphasises in his workstyle and choice of
storage solutions. Mike is a top yachting and
marine photographer. He travels all over the
globe to shoot luxury yachts, powerboats and
high-profile regattas for the likes of Yamaha,
Oyster, Beneteau, Fairline, Suzuki, G L Watson,
Sony, IPC Media and RYA as well as many private
clients. To keep his shots secure while on
location, Mike uses the G-Drive Mini and more
recently the ultra-slim G-Drive Mobile. These
products have been tested to the extremes with
his travelling, all of which takes its toll on the
equipment. But Mike swears by his G-Technology
drives, which have never let him down. PP
This is the last in our series of
Masterclasses from G-Technology,
exploring the world of storage in the
studio, on location and in post-
production. If you’re curious to learn
more, visit www.g-technology.eu/
recommended-drives/photography
treasured photo of your three children. Don’t
forget, the best overall entry over the course
of the 3 months will then also bag the big
prize – a G-Raid with Thunderbolt unit. Good
luck, good luck, good luck!
To enter, just upload your photo to
www.professionalphotographer.co.uk/
Portfolio/G-Technology-competition
by 10 April 2013.
97
 DB: Hello Kathrine.

KA: Hello David, how are you today?

DB: Same as every day?

KA: And how’s that?

DB: A day older!

KA: Tell me about your exhibition, East

End Faces.
DB: It’s quite small, it’s about 60s East End.
It’s part of a book that’s coming up this year, or
three books actually, about the 60s, 80s and now.

KA: How has the East End changed between

then and now?
DB: Depends on where you are. Some places
haven’t changed that much, others have changed
drastically. The East End has been pushed
back, places like Brick Lane and Hackney has
become something else. The East End really
starts at Stratford – East Ham, Forest Gate,
that’s where the East End has been pushed
back to. The rest has improved, I guess.

KA: Do the pictures make you nostalgic?

Do you miss the 60s?
DB: No no, of course not!

KA: Why do you say that?

DB: I’m not nostalgic, I’m just interested in the
now. What went on in the past has been and
gone, it’s okay to look at it sometimes but I’m
East End, 1961. not nostalgic about it in any way. And I didn’t
actually live in the East End in the 60s, I lived
in Primrose Hill. Things move on.
Bethnal Green.

KA: What do you think of fashion editorial

imagery nowadays?
DB: I think it’s a bit like window dressing. They
make a set in a mental home or among martians
or whatever, and put some bedding in the
background and a girl in the middle. The girl
is always the same girl, except the window
dressing changes. I don’t really do fashion
anymore but if I do, it’s more about the girl.
Fashion is for kids these days. I’m sure they’re
having a lot of fun though, which is good.

KA: If you got appointed as the editor of Vogue

© DAVID BAILEY

today, who would be the first photographer

you’d commission?

98
 DAVID
BAILEY

Kathrine Anker catches up with DAVID BAILEY and finds

out why he has turned his back on fashion, what inspires
him and why he has qualms with Vogue
When you think of David Bailey you think 1960s Beatles images, right? Or portraits
on white backgrounds? Or simply Jean Shrimpton? I’m guessing I’ve covered a
good percentage of readers with those three options, and with good reason – who
wouldn’t remember the icons of Swinging London as portrayed by the icon of
fashion photography himself? But the beauty of revisiting the work of the grand
master is that you’re reminded of the many facets that make up an artist. David
Bailey’s East End Faces is a collection of pictures that show a different side of the
Swinging 60s, away from the limelight. The Kray Twins and an intimate photo of
Jean Shrimpton in Bailey’s family home hang side by side with portraits of punters
in east London pubs and street snaps from a time before Brick Lane got gentrified.
It’s a different world, and one that is fast disappearing as London’s Guardian-
reading middle classes are expanding their frontiers to Walthamstow. But David
is not nostalgic. Nor is he too busy or self-important to speak to a journalist, and
I didn’t need a chastity belt as I’d been warned (“I don’t care if it’s on the phone,
protect your ears, then” was the full extent of that warning). David was friendly,
open and funny, laughing and joking as he went about answering my questions
with the wisdom of a photographer who’s captured it all and is still hungry.

DB: Oh, I wouldn’t take the job! [laughs].
I couldn’t handle all those meetings with
boring advertising people, and they have to
go to all these shows! Oh my God, and the shows
are always running late and full of hysterical
people trying to get a seat on the front row.
No, I definitely wouldn’t take that job. I admire
them for doing it but it’s not for me. And it’s
nowhere near as glamorous as it seems.
KA: Would you say that the film about you,
We’ll Take Manhattan, is close to depicting
what your life was actually like in the 60s?
Was Vogue as conservative as they make out?
DB: I think they put it all into one woman, Clare
Rendlesham or whatever she was called,
the editor of Vogue. But they were monsters
these people, fashion editors. I’m quite difficult to
work with because I just want to do what I want
to do. For me, the girl was the most important
thing and if I didn’t have the right girl then I
didn’t want to do the pictures. Fashion images
are almost like portraits of girls in fashion and
I always liked peculiar girls such as Shrimpton
at the time. Nobody wanted to work with her and
Penelope Tree or Anjelica Huston but I liked the
girls who had their own look. I hated the ‘model’
type – fluffy hair and a gobby mouth. But that
was a long time ago. I had some fun, though.
KA: Were you as provocative as you were seen
to be in the film?
DB: I always had problems with British Vogue,
I never had problems with Italian Vogue or French
Vogue or American Vogue. British Vogue was
always a bit square. You know, they say they
made me but if anything, the photographers
made British Vogue in the 60s. It’s a bit like the
Beatles, they say the Beatles made the 60s
but it wasn’t like that, London made the Beatles.
The chains of history aren’t always the way
people say, when the Beatles first came out they
were just a boy band for quite some time.
Whereas the Stones went straight in there. It
depends on who writes the history. Another thing,
in films they always take the worst fashion from
the period and you think everybody looked like
that. I would never have worn white boots
[laughs]. They always do a caricature of the
period, it’s not a true reflection. I think the mass
culture has gone back to everything that we
fought against in the 60s. Things changed and
now it’s gone back. It’s a bit dull and fashion has
been taken over by very boring publishers.
KA: So would you say that British fashion
editors are still a bit square compared to
those in other countries?
DB: Oh no, we’ve got great things like ID and
AnOther magazine. It’s still there but it’s not
happening at Vogue, it’s elsewhere. I think Love
is quite good but it’s too desperate to be trendy.
You can’t be what you’re not. Somehow Love has
commercialised what ID was and again it’s the
British Conde Nast, I’m not very fond of them.
The others are alright, and Italian and French
Vogue are fantastic. They appreciate
photographers more.
KA: In what sense, with better commissions
or more space to good photography?
DB: No, just with their attitude. British Vogue is
really run by businessmen. It’s got no charm.
KA: Do you have a favourite photographer?
DB: What, living or dead? I prefer the dead ones…
That was a joke. There’s loads, there are so many
talented people out there. Bruce Weber and Don
McCullin, and there are some fashion
photographers I like such as Paolo Roversi.
It’s difficult because there are so many different
ways of doing photography, there’s portraiture, 

99
there’s fashion, landscapes, art – I’m not sure
why some photography is called art photography,
you don’t call paintings ‘art paintings’.
KA: Have you met Don McCullin and
Bruce Weber?
DB: Yes they’re my only two mates who are
also photographers, at least of the ones you’d
know of. I’ve known Don for 50 years, I guess.
And Bruce for about 35 or something like that.
I like people who stick to what they do, Bruce
and Don both have a kind of integrity.
KA: What’s the most important thing you’ve
learnt from another photographer?
DB: Hahaha, the most important things I’ve
learnt have not been from a photographer, it’s
been from painters. Probably Picasso, I realised
when I was about 17 that there are no rules, and
I learnt that from Picasso.
KA: Can you describe the mental process that
happens when you get an idea?
DB: I simplify it. Everything I do I try to simplify
down. It starts complicated and then I take it
back. I think when you look at something you
should get the message straight away, it
shouldn’t be too coded.
KA: Is that why you like white backgrounds?
DB: Yeah, because if I’m photographing someone
like Damien Hirst for example, I can’t see what
something in the background would add to it.
I can’t see what would bring more character
to the person because you could only show so
much and it wouldn’t be enough to show the
character of the person anyway. I think if
you’ve got Kate Moss you don’t need a palm
tree in the background.
KA: What do you think of today’s supermodels
compared to Jean Shrimpton or Twiggy?
[
BECOMING PICASSO
Picasso taught Bailey to break rules,
and just like East End Faces which
were captured in the early days of
Bailey’s career, Picasso’s early work is
currently on display until 26 May at
[ DB: The problem with most British photography
the Courtauld Gallery, Somerset
House, London WC2R 0RN.
100
Pablo Picasso
(1881-1973)
Harlequin and
Companion, 1901
Oil on canvas, 73 x
60 cm.
DB: Well, the two greatest models in my life
were Kate Moss and Jean Shrimpton. They just
had magic that you can’t really explain. It’s got
nothing to do with anything really, the camera
just loved them.
I haven’t really done fashion for ages, I did too
much of it before and got fed up. In 1971 I did
over 800 pages for Conde Nast, and that was
enough, that was the turning point when I
thought, I can’t do this anymore.
KA: So do you prefer film projects now?
DB: Oh no, I do all sorts of things. I do paintings
and sculptures when I’ve got time. And I love
doing books. They’ve become an art form in
themselves, and I’m not talking about glossy
fashion books, I’m talking about the serious
ones that Steidl or Taschen sometimes do.
The Germans understand photography more
than we do in England.
KA: What makes you say that?
is that it’s celebrity-led, isn’t it? Which I suppose
I might have been a bit responsible for in 1964
with my box of pin-ups [laughs].
KA: Is there a photography opportunity
you’ve missed and will forever regret not
having taken?
DB: Not really. I did want to photograph Picasso
because he’s such a hero. French Vogue asked
me to do it twice and part of me regrets not
© THE STATE PUSHKIN MUSEUM, MOSCOW
having done it but another part doesn’t because
they say you should never meet your heroes.
KA: Having said that, who would you say is the
most inspirational artist you’ve met?
DB: I can’t say one because there’s loads. People
like Helmut Newton and Avedon and Bruce in the
world we’re talking about, and then there’s all
sorts of other photographers who do other
things, Cartier-Bresson I think was a second
influence on me.
KA: In what way?
DB: I saw this picture by him of three or four
girls, Indian ladies looking over the Himalayas
when I was about 17 or 18, and it threw me.
I didn’t like him as a man but I don’t let that get in
the way of liking people for what they do. He was
a real petty bourgeois as a man, I didn’t find him
very pleasant, whereas Brasssai was a really nice
man, I knew him as well. He was completely
different, he was charming. Cartier-Besson
wasn’t, but he was certainly a fantastic
photographer. You must never let people’s
personalities get in the way of appreciating
what they do. Caravaggio killed a man but we
still love his work.
KA: Tell me one thing that most people don’t
know about you?
DB: There was a French poet on his deathbed
who said: “Nobody understood me”. I think that
applies to all of us in a way. People really don’t

know what you do. My problem was being so
successful in the 60s because I got stuck with
the Rolling Stones and the Beatles kind of thing.
I’ve done different things since then but people
will always remember you for one thing in your
life. I’m not comparing myself to Michelangelo
but he’s remembered for his ceilings and he
wasn’t a painter, he was a sculptor! He just got
blackmailed into painting those ceilings.
KA: Do you have any advise for
emerging photographers?
DB: I think young photographers should
be careful of copyright. Never sign away
your copyright.
KA: Did you always keep your copyright?
DB: No I had problems with British Vogue.
Nobody else.
KA: It’s always the British Vogue…
DB: It’s always them, there’s something about
the British… I do like the creative people at British
Vogue, but not the business people.
KA: How does it feel to be regarded as a
photographic icon?
DB: I don’t think about that, it’s just part of
something you do in life. I’m driven by curiosity,
like all artists.
KA: Do you ever feel uninspired?
DB: Sometimes I feel overburdened with stuff
Rio Club, 1968.
that is going on. I’ve never actually been busier
than I am at the moment, you think as you get
older you’ll be less busy but it’s not the case. I’m
under pressure to do things – I mean, it’s because
I like doing things, but you still have to do them.
I’ve got about [counts] three, four, five, six…
seven books on the brew at the moment.
KA: Oh wow, what sort of timeframe have you
got for that?
DB: I don’t know, I’ll make it quick because I’m
not getting any younger. My lawyer is talking
with the reaper at the moment. I’m quite old.
KA: So what does a typical working day
consist of for you?
DB: I’ve never got one. I had the show for my
exhibition last night so my guys were a bit slow
this morning but this afternoon we’re doing
something for Valentino. Not fashion, we’re doing
a feature on the creative directors. Portraits.
KA: Do you still take a lot of commissions?
DB: Only if I get freedom. I haven’t really done
much photography for advertising, I’ve probably
directed more commercials and in advertising
I never quite understood still photography.
They always want to tell you exactly what to
do. With commercials they give you an idea and
then you can make your own storyboard so you
can bring something to it. I’ve avoided
commercial stills whenever I could. That is to
say, I’ve done lots of catalogues for the likes
DAVID
BAILEY
of Valentino – the Italian and French guys give
you more freedom so it’s not like working for
an agency that has already sold the idea to the
client before they commissioned you.
KA: Have you got a favourite of your
own pictures?
DB: No, not really. I quite like snaps because
they bring back memories. I think that’s quite
important to people.
KA: What’s your favourite camera?
DB: Probably the 2,8 Rolleiflex. If I could only
have one camera I’d have that. I shoot with
anything from 11x14 to digital, it depends. It’s a
bit like cars, you wouldn’t drive a Ferrari across
the Sahara, it’s about having the right tool for the
job. I prefer film but I do digital, when I did
Afghanistan that was mainly digital. But if I have
a choice I do film, because films have a kind of
attitude in themselves. There’s no attitude with
digital cameras in the same way. Film cameras
are kind of eccentric because they’re all so
different. A Leica couldn’t be more different
from a Rolleiflex, but they both work.
KA: Do you have anything else you want to
tell me?
DB: Not really, no. You’ve told your story so many
times when you get to my age. To me my story
sounds uninteresting but for someone who hasn’t
heard it it’s probably interesting. That’s the
success of youth, really, to be slightly
uninformed. Because you go places that you
wouldn’t go if you were more informed.
KA: That’s a nice note to end on. Thank you
so much for your time David!
DB: Okay, kid. Thank you for your time. Back to
Valentino now… PP
[
EAST END FACES
David Bailey’s exhibition, East End
Faces, is a collection of the
characters, faces and streetscapes he
encountered in the East End during
the 1960s. It will be on display until 26
[
May 2013 at the William Morris
Gallery, Forest Road, London E17 4PP.
101
 CLASSIFIED
CANVAS PRINTERS STUDIO HIRE

The Best Value Premium Grade Canvases in the UK

6 Years supplying the Trade

with Quality and Service
01395 233266 www.procanvas.co.uk

INSURANCE

FRAMING

CARTERSMOUNTS.CO.UK

TO ADVERTISE CALL 01242 264775

Specialist Folder and Strut Makers
Web: www.cartersmounts.co.uk
EM: info@cartersmounts.co.uk
PRINTERS
T: 015395 32815 The Studio
FULLY EQUIPPED STUDIO
Project List can be found on: WITH EDITING ROOM,
KITCHEN AND SHOWER
uk.linkedin.com/pub/david-carter/34/b99/20a Near Stevenage - Call for more details - Low hire rates
01438 - 821090
 Professional Photographer is published every four
weeks by Archant Specialist, Archant House, Oriel
Road, Cheltenham, Gloucestershire, GL50 1BB.

GROUP EDITOR - Adam Scorey

adam.scorey@archant.co.uk
!   
          FEATURES EDITOR - Kathrine Anker
kathrine.anker@archant.co.uk
    
 # $%&   ART EDITOR - Rebecca Stead
rebecca.stead@archant.co.uk


          FEATURES WRITER - Jessica Bracey
jessica.bracey@archant.co.uk
'  
  
'  !
   MULTIMEDIA WRITER - Jade Price
jade.price@archant.co.uk

REPROGRAPHICS MANAGER - Neil Puttnam

neil.puttnam@archant.co.uk

GROUP SALES MANAGER - Eleanor Godwin

01242 216085, eleanor.godwin@archant.co.uk
MULTIMEDIA SALES EXECUTIVE - David Lennox
01242 216054, david.lennox@archant.co.uk
MEDIA SALES EXECUTIVE - Yasmin Lockey
01242 264775, yasmin.lockey@archant.co.uk

MD, ARCHANT SPECIALIST - Mark Wright

MD, ARCHANT LIFESTYLE - Miller Hogg

PUBLISHING PRODUCTION MANAGER

Kevin Shelcott, 01603 772165
PRODUCTION TEAM LEADER

SPRING Mikey Godden, 01603 772876

2013
SUBSCRIPTIONS/BACK ISSUES
Customer care 01858 438832
Order hotline 01858 438840

ISSUE Visit www.subscriptionsave.co.uk

Email professionalphotographer@subscription.co.uk

OUT 31ST HEAD OF DIRECT CUSTOMER MARKETING

MAY
Fiona Penton-Voak, 01242 265894
SUBSCRIPTIONS MARKETING MANAGER
Lisa Flint-Elkins, 01242 264751,
lisa.flint-elkins@archant.co.uk
WHOLESALE AND RETAIL DISTRIBUTION

.4
If you have difficulty obtaining Professional Photographer,
contact Seymour, 86 Newman Street,
London W1T 3EX Telephone 020 7396 8000

=
= www.professionalphotographer.co.uk
feedback@professionalphotographer.co.uk
01242 264767
<    
   <   
    @prophotomag Pro Photo Mag
     
 © Archant Specialist. Archant Specialist is part of

<       
  
    
 Archant Community Media Ltd.
N 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 responsible for 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 publication in 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 part the 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: N The closing date for competitions/
giveaways is displayed alongside the competition/giveaway online. N
Employees of Archant Specialist, and those professionally connected

#$ % $&' with the competition/giveaway, for example, employees of the sponsor
company, are not eligible to enter. N Unless otherwise stated,
competitions/giveaways are only open to UK residents. N Prizes are as
described and no alternatives can be offered. N The editor’s decision is
 ()*+* *),((* % - !./.0  final and no correspondence will be entered into. N 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
1 %  $ - 2 #
 " $% 22% 3  45 6
 ! %%7  8/ *95 " $% : 5  
5 
 %25 04( );;
sending your entry 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.

106