iain poole - master craftsman clive hall - master craftsman
imelda bell - master craftsman
mark lynham - master craftsman lisa sumner - master craftsman craftsman panels
glyn dewis - realistic sun flare ed burrows - birds in flight rob hill - pricing
GURU SHOTS - WINNERS
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Steve & Lesley Thirsk The Guild of Photographers
Welcome to this Spring edition of Creative Light which is, as ever packed with interesting articles and inspirational images! What makes this edition extra special is that it’s the 30 th Edition which means this fabulous magazine is celebrating its 5th birthday and Julie Oswin has done a great job as the Editor throughout that time. Also, believe it or not, the 30 editions of Creative Light have genuinely been viewed literally millions of times over this period. Speaking of 5 years ago, we recently ran a poll on one of our group pages asking members about which camera they used to compare with one we ran in 2014. Several hundred members commented on the poll and the outcome was as follows (with the difference between now and 5 years ago in brackets – Canon DSLR .. 42% (-9%) Nikon DSLR .. 31% (-5%) Sony Mirrorless .. 9% (+7%) Fuji Mirrorless.. 8% (+3%) Olympus Mirrorless .. 6% (+2%) Others .. 4% (+2%) It’s interesting to see how Canon remains the market leader and DSLR’s remain the primary body for about 73% of members. This is, however, down 14% as the use of Mirrorless cameras as a primary body has more than doubled in 5 years eating into their numbers. They are now used by 23% of members, with Sony showing the greatest growth amongst members rising from just 2% in 2014 to 9% now. The Guild has grown massively in the last 5 years and continues to grow. We recently attended the Photography Show, the UK’s largest photographic event held at the NEC and we were delighted towelcome well over 100 new members to our community! We had a fabulous, if not hectic, few days there. Many of our Judges and Mentors were on our stand giving free critiques to those wanting them, and many members came to say ‘Hi’ and catch-up with us. In short, our stand had a great ‘vibe’ throughout. Speaking of our community, we launched member led regional groups in late 2018. These are now growing and developing with a wide variety of photographic and social related events taking place on a local basis. Recent events have included a day of seminars about ‘Excellence’ in Glasgow, a Photographic quiz and social event in Llandudno, and a lighting training session, mentoring and a social opportunity at a farm in Devon. A lot is pending too, including a photowalk and social in York, a lab visit and session about printing, a meet at a Leonardo di Vinci exhibition, a visit to Marwell Zoo and a lighting training session to name but a few things. The Guild’s an international body but the regions are equally important, so we would encourage all members to participate in theirs. We involved in several training days and events in the near future too. In April our Wedding, Qualification and Business training days are sold out. There are however, still a couple of tickets left for a days training on the art on Intentional Camera Movement run by Charlotte Bellamy from the Netherlands if interested. The Guild will also be attending several events in the near future including the Newborn and Portrait Photography Show on 13th and 14th May, the Northern Photography and Video Show near Penrith on 18 th and 19 th May as well as the Click Conference in Milton Keynes on the 3rd and 4th June so we hope to see you at least one of them. Meanwhile, enjoy your read of the 30th edition of Creative Light… - Steve & Lesley Issue 30 - Creative Light Magazine :
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Front Cover Rob Hill This image was created a while ago in my studio with the intent of exploring the simplicity of shape and form. In this image the model is wearing a simple black body cocoon made from nylon and the lighting is arranged to create a semi-silhouette while still picking her out from the background. The silhouette allows the black boots and cocoon to merge, giving the appearance of a single form. Through careful posing the model has achieved a pleasing and elegant, yet very simple shape. This style of model photography is something I return to from time to time as, with different light placement, the creative possibilities are almost limitless. For me, it is the essence of what photography is about; shape, form and light. In fact, my very first IOM entry in December 2013 was a ‘cocoon’ image with backlighting that could be considered similar, yet has a very different look and feel to this image.
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Contents 12
Ed Burrows Wings are not only for Birds
38 24
Guru Shots “Winners - Your Best Magazine Shot�
48 64 72
Glyn Dewis Creating Realistic Sun Flare
Clive Hall Master Craftsman
Imelda Bell Master Craftsman Rob Hill Too busy running your business to grow it?
78 80
Gold Awards January
86 94
Mark Lynham Master Craftsman
106
Yasser Alaa Mobarak Egyptian Photographer
Lisa Sumner Master Craftsman
Iain Poole Master Craftsman
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Editor
Julie Oswin
“Don’t pack up your camera until you’ve left the location.” - Joe McNally
“It seems like five minutes ago since I was commissioned by Steve & Lesley Thirsk to launch the first Guild of Photographers magazine, Creative Light, and, now here we are, five years later, publishing the thirtieth edition. What a great journey it has been showcasing the excellent photography of the Guild members, watching and documenting their success through the Guild’s Image of the Month competition, the annual awards and not forgetting the qualifications. Each edition, the magazine reaches thousands of people interested in the craft of photography, and, since the launch in April 2014 all of the published editions have been read over a million times! I thank you all for not only enjoying the magazine but sharing the articles on your blogs and social media. It has been a privilege to create and produce the magazine during the last five years, and I look forward to showcasing your photography and your progress over the next five years!
Kaikoura, New Zealand. “The earthquake in the South Island started near Culverden at 12.02am on 14th November 2016. In the next two minutes at least 21 faults ruptured leaving a trail of destruction and moving the South Island five metres closer to the North Island. It was the second largest earthquake ever recorded in New Zealand”. This land mass in the foreground of the photograph was once part of the seabed before the earthquake.
“Kia mau te rongo ki nga iwi katoa o te ao” Let peace reign on all the people of the world 6
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Editors Choice Henry Ransby
Awarded Silver - January 2019
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https://youtu.be/gH1Hf4fWT3E
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Ed Burrows Wings are not only for Birds...
“In the depth a light will grow, A silver shine no shadows know, Like wings unfolding in the sky, That circle ‘round a gleaming eye, Turning darkness all away, Even depths will know their day, For every shadow has its end, In light! Life will return again!” ― Robert Fanney
Ed Burrows has been messing around with cameras since he was about 10. His first camera was an old Zenit EM 35mm SLR, then he moved onto a Ricoh and finally a Canon EOS50E. An early adopter of digital, Ed purchased a Canon D60 when they first came out and has stayed with Canon DSLR’s eversince. However, he does enjoy using the Fuji X cameras for his landscape work, using an X-T1 and an IR-converted X-E1.
Photography has always been a hobby to Ed having spent 23 years serving in the Royal Air Force as a fast jet pilot. Unfortunately, Ed developed a chronic illness due to service and was forced into retirement a few years ago. Since his retirement, he has become a very keen photographer. Photography gives Ed a positive focus and the time that he spent with his camera very therapeutic, especially when out and about shooting wildlife.
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Q: Shooting from the ground what do you look for regarding position?
Aviation photography is little different to all the other genres, so background and light direction are essential and will come into consideration. Wind direction will dictate the take-off and landing direction. Fortunately, airports produce very detailed weather forecasts that can be very helpful in planning your day, and there are lots of photography apps to help with planning sun direction. Avoiding shooting directly towards the sun is important unless there is significant cloud cover, and the sun direction will also make a big difference in how visible the propeller disk is on photos of older aircraft. Generally, aircraft displays are focused towards the centre of the crowd line that in turn leads to the biggest crowds there or more exclusive crowd enclosures, so I’ll often accept being someway off centre to find a less busy more comfortable area.
Q: What is your favourite gear to use for aviation photography?
I shoot with a Canon 5D Mk4 and have an older 7D Mk2 as a second body. Both have fantastic AF and are highly customizable to suit how I like to shoot.
Q: Your preferred lens of choice? Almost all my images are shot with the Canon 400mm f/4 DO Mk2 lens, most often with a 1.4xTC attached. It was a significant investment, but I love the photos that I get with it, both aircraft and birds. A Tamron 100-400, or Canon 70-200, goes onto the second body to use for formation displays.
Q: Gadgets! Something that you wish you hadn’t bought and why?
A cheaper gimbal head that I bought a few years ago as it just didn’t allow me to follow subjects smoothly.
Q: Panning? Advice on getting it right for aviation photography?
Stand square to where you intend to take the final image, brace your elbows into the body and twist the shoulders round to where you want to start tracking, then unwind with the target. Put your focus point at a suitable point in the frame and then place it on the cockpit. Start tracking the subject early and keep tracking it and continue following through once you’ve finished taking images. Technically called ‘panning’. I used to shoot clay pigeon a lot, and the technique is very similar.
Q: Prefered planes, modern jets or vintage planes? I love watching both but probably prefer the older aircraft. My favourite airfield to visit is Old Warden in Bedfordshire where The Shuttleworth Collection is based. They maintain and fly aircraft from as far back as 1909! It’s great to see the older aircraft perform and I served with quite a few of the pilots flying them.
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Q: How far do you travel for the Air Shows? Poor health does restrict me a fair bit. I need to rest after longer journeys so visiting an airshow generally involves hotel stays for me both before and afterwards, as I am based in Somerset, Bedfordshire is just about my limit. What post-processing tools do you use for your workflow? I process my RAW files in Lightroom and then finish them in Photoshop, which for me includes any noise reduction and sharpening. I enjoy producing composited images, and a number of my Craftsman images contained skies shot from my bedroom window in Somerset. Images are stored and organised in Lightroom, and I often print my pictures on my own Canon Pixma Pro-100.
Q: Whose work has influenced you the most?
I spent a long time living in various Officer’s Messes during my RAF career with walls covered with paintings. So my aviation images are probably most influenced by painters. Gerald Coulson and Mike Rondot are probably my favourite aviation artists, and I have some of their prints on my walls. On the wildlife side, I was fortunate to watch a talk by Ben Hall a while back and was blown away by the colours in his images. I think his work has had a significant influence on how I approach tone in my more recent wildlife shots. Philosophically and from a photographic perspective, David DuChemin who is based in Nanoose Bay, British Columbia makes so much sense to me. His books or blogs are worth your time.
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Q: Favourite settings to get the shot and why? For exposure, I’ll use manual, aperture and shutter priority modes depending on the circumstances (weather, subject and even how well I’m feeling). My shutter speed for propeller-driven aircraft will often depend on how I feel, and whether I am shooting with the camera on a gimbal or not. If I’m feeling ‘on it’ I’ll drop right down to 1/60th second, but move up to 1/160th or even 1/250th if I’m struggling that day. For focus, I use the focus limiter switch on the lens, back-button focus in AI Servo, and have tuned my AF settings to suit me. I shoot a lot of birds in flight, so aircraft are fairly easy in comparison. I’ll normally use a single AF point, place it where I want in the frame and try to track the cockpit. Once the camera is set up, it’s worth just watching the first display with the camera down will allow you to see where the light is best on the aircraft, and where the display lines are, allowing This then allows you to anticipate what shots might work best, and where during the display you’ll get them.
Q: How do you educate yourself to take better photographs?
For a long time, I used to read lots of magazines, written by ‘professionals’ for ‘amateurs’, to learn the technicalities of photography but that is no longer the case. There are now so many resources available online that it is fairly easy to learn any particular technical aspect that you need to understand, and I’m come to realise that the technical aspects of photography are the easiest. Now I enjoy buying portfolio books and spending time identifying the images that I like, and working out why I like them. They influence my work, not to make it ‘better’ but to make it truer and more refined to my tastes. ‘Better’ can be such a subjective thing anyway. Another essential aspect to me is working with a group of buddies to enter the IoM competition. Critiquing other people’s images has allowed me to develop my ability to look much more objectively at my images. I’m much better now at understanding what I want an image to say, and how to go about telling it in a way that the observer can read. I am very thankful for the help of all my buddies, and to the Guild for providing IoM as the means to focus on the development of my images.
Q: Out of all the photographs you have taken, which one is your favourite and why?
On the aviation side, it is probably the image of a pair of spitfires breaking. To me, it has a beautiful romantic feeling of flight that I was trying to convey and looks great when printed on canvas. Of my wildlife images, the black and white photograph of a great white egret stands out. It was a chance encounter as I was walking off the local nature reserve and the bird burst out from the treeline in front of me, beautifully backlit. I managed to grab 5 or so frames before it was gone. It is an image that I had been hoping to take for some time (I’m a sucker for a backlight in nature images).
Q: What is one thing you wish you had known when you first started in photography?
Allow for negative space, and use the focus limiter switch on a telephoto lens.
Q: A favourite gadget that you have bought and why? The Gitzo fluid gimbal head that I bought last year to replace the cheap one I bought the first time around. It’s a great piece of kit and makes tracking birds or planes in the air so much easier.
Q: Favourite place in the world and why? The Falkland Islands. I was posted there many times when I was flying the Tornado F3 where we held Quick Reaction Alert, and then later spent a year working in the Headquarters there. They are such beautiful, rugged islands, with good honest people, and a wonderfully rich range of wildlife that isn’t scared of humans. I would love to return with the photography gear and knowledge that I have now and spend contemplative time watching the animals. While there are plenty of photo tours that go there these days, it’s a place that rewards spending the time to get the measure and feel of the place. Unfortunately, it’s probably unlikely that I’ll be able to return as it’s just so expensive.
Q: Where next with your photography?
Last year I concentrated heavily on producing the aviation images for my Craftsman panel. Given my theme and the fact that it was the 100th Anniversary of the Royal Air Force, it was an especially satisfying thing to accomplish, and I am immensely proud of what I was able to produce. This year I would like to get back to spending more time on the local wildlife reserves (though I’ve just booked my first airshow for the summer), and I’ll see if I feel inspired to consider a Master Craftsman panel. I’ll continue to enjoy working with my Buddy Group and entering IoM (probably in two categories for 2019). At some stage, I’ll also like to summon up the courage to start selling limited edition prints of my images, so they begin to end up on other people’s walls as well as on my own. Lastly, I hope that the new regional Guild groups take off and that I get to meet and know more local Guild members.
Q: Favourite food? A good balti.
Q: List three words that describe you? I struggled with this question, so I asked my IoM buddy group who gave me some excellent suggestions. So I’ll leave it at, “Love my buddies”. Thank you Ed for sharing an insight into your photography with the readers of Creative Light Magazine - Julie Oswin
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: Creative Light Magazine - Issue 30
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“
I’ve
spent 30 years as a front-line operational firefighter. Not many people will actually see close up leave alone to be able to photograph in this very hostile environment. Here I’m literary shooting on the edge, extreme temperatures an unbreathable toxic atmosphere, visibility close to zero. Leave alone myself but my photographic equipment was also on the edge of its operating capacity in this immense heat. Very few people have the knowledge and technical skills in fire behaviour and photography to enter this alien world and capture it on camera in this way. In my experience, a lot is made in the media of the drama relating to the work of the Fire and Rescue Service and quite rightly so because the scenes and machines are highly visible, bright, colourful and certainly very dramatic. But you’ll see this panel is entirely different to that. Its personal, it’s about the people behind the “fire kit and breathing apparatus”, and it gives you the opportunity (emotionally at least) to “walk in their footsteps.” What have they seen? What have they done? Was a life saved – or was a life lost? Firefighters risk their own lives in a highly calculated way to save a saveable life, but what was the risk they took? How close to the line was it? What are the thoughts and feelings they might have at the time and what might they take with them and live with when they go home to their families? To do this effectively took me out of my comfort zone, which for me is normally portraiture. In this panel there is no posing or direction, no positioning lighting and using different techniques to get the best results. This panel is purely “documentary” because as you see it, this is as it happened. Not only was this panel challenging to me in terms of its concept, it was also challenging technically. During my 30 years operational service I gained lots of valuable knowledge relating to firefighting techniques and also to the chemistry and behaviour of fire in different situations. I had to use all that experience to be able to shoot this panel. I was fortunate that due to my background I was given permission to access to what I needed, taking into account my own safety and the safety of others. I had to physically position myself in places that I thought something would be likely to happen whilst being mindful of the condition of the smoke levels and the very high heat levels being radiated.
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Clive Hall
Master Craftsman February 2019 Issue 30 - Creative Light Magazine :
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The most difficult technical challenge was of course the lighting. Because this was a live fire situation, I couldn’t get in the way or direct the crews in any shape or form, their job was to save life and protect the property and the last thing they wanted was me using flash or asking for possess. Smoke is also very dense and artificial lighting is largely ineffective as it will bounce of the surface of the smoke layers. Other things I had to think about was focusing issues, would the camera focus through very high temperatures (approx. 800 degree) would you get distortion in the recorded picture and would that have an effect on the quality of the image, of course the smoke layers were an issue preventing focusing accurately. I had to use all my knowledge of fire behaviour to judge the fall of natural light against internal operations and how that would be affected by the impact of smoke conditions. I did this by trying to predict where crews would appear and making good use of any available light source to effectively light the firefighters as they were working. The lighting was therefore a very dynamic issue and was constantly changing both as the fire developed and also as it was extinguished. To me, of equal importance to what I wanted in this panel, is what I didn’t want. This panel isn’t intended to be personal to the casualties or the owners of the premises. Any fire is always a very personal disaster for them and their loved ones and I don’t believe it is right to use that in any form. This is about the firefighters as people and that’s why the images are more close ups rather than full scenes of building and fire appliances. It’s important to consider the environmental and physical conditions in which the firefighters were working. Typically, a domestic fire can reach temperature up to 1000 degrees F rising to over 1400 degrees if a flashover occurs. Highly toxic smoke is produced often including chemicals such as hydrogen cyanides which are deadly. Death can occur in only 2 breaths. The generic atmosphere of most fires will not sustain human life. So, try and place yourself in their shoes. You as a Firefighter enter an unfamiliar burning building, its heavily smoke logged and you can’t see. You and your team mate immediately make your way by touch and feel to the point of greatest danger and then work back, looking for casualties as you go. The atmosphere will fill with super-heated black dense smoke making visibility NIL. You will search, sometimes on hands and knees feeling your way around rooms. You still cannot see and have no knowledge of the layout. Information will come to you by radio – “persons reported” (still trapped inside) or perhaps “all persons accounted for”. Persons reported? You as the firefighter know you have GOT TO FIND THEM. 24
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Perhaps then at that very point you become aware the structure of the building has become compromised by the fire, there are signs, sounds and symptoms of impending structural collapse but there’s a room still left to search. People are still missing; the evacuation signal is sounding for you to leave but you know someone is still trapped in there. You know that if you can’t get to that person, then no one else is coming, Under that pressure, you make your decisions and take your highly calculated risks. So, WHAT DO YOU DO AND HOW DOES IT END? So now, when you look at those images…what are you seeing? What is that firefighter trying to wash away – sweat, dirt and grime….or sights , sounds and memories? What are they listening for…the sounds of impending structural collapse or the faint cry of a child? What are they waiting for with flames behind them Water? Equipment? Or are they listening for sounds of life? Who is behind that mask? Is the firefighter male or female? Does it make a difference? Are you safe with them? Are they safe? • Is the person being carried in the firefighters arms already dead? •
Is there a pulse?
• Are they breathing? • Can they be saved? • What happens next? • Why is that firefighter kneeling alone? • Where has he crawled from? • What is he about to say? • What are they getting ready for? • What have they just seen or heard? • What will they find when they step through the door into the burning building? • Are they hurting? Emotionally, physically, both? Those firefighters you are looking at and, in whose footsteps, you’re walking…. consider what’s behind the fire kit and the breathing apparatus masks…. the people…. those men and women are just like you…. just like me…. - Clive Hall
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Š Sal Cincotta
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The world is my studio Profoto A1
We created the Profoto A1 with a round head that delivers light that’s both natural and beautiful both on camera and off. It’s also incredibly easy and to use, with superfast recycling and a longlasting battery, so you’ll never miss a shot. It might be the smallest light we’ve ever made, but the creative possibilities are enormous. Discover the world’s smallest studio light at profoto.com Issue 30 - Creative Light Magazine :
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Jayne Bond
Awarded Craftsman February 2019 30
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David Huggett
Awarded Craftsman February 2019 34
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Winning Images “Your Best Magazine Shot”
Ewa Kurzawska - “Mr”
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Andy Fowlie
Bajkó Tamás
~ Purple Reine ~
~ Sunset in the City ~
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Zahidu
~ Dra
Gerrit Hoogmartens - “Naranja”
ur Rahman
Balaji Sankaran
Emil Athanasiou
agon Fly ~
~ Indian Roller ~
~ Sunrise over Strymonas River ~
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Gary Hunter
George Kossieris
~ A Cold Sunrise ~
~ Sunset Delight ~
Kovari Rudolf
Martin Namesny
~ Pittsburgh at Blue Hour ~
~ Ice ~
Phil Green
Robert Andrew Makowiecki
~ Still ~
~ A Writers Arsenal ~
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Gunnar Haug
Harald FĂĽkvam
~ A Night at the Opera ~
~ Luktvatn ~
Nitin Chandra
PĂŠter Brantzen
~ I C ZU ~
~ Blue Hour at Monument Valley ~
Roland Hank
Simon Colbing
~ Barn Owl ~
~ Bridge to the Midnight Sun ~
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congratulations Teresa Gregory QGPP
Qualified Guild Photographer February 2019
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Creativity Backgrounds has just launched it’s new Translucient Backdrop, a beautiful flexiglass option used to
transform light. Use it to diffuse light in commercial and portrait photography, or as a backlit background. It can also be used as a tabletop backdrop, it offers a fine 75% light transmittance. https://www.photography-backgrounds.co.uk/Diffusion-and-Reflector/150012-Flexiglass.html
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© Sian Lewis Photography
NEW!
“I knew right away that I wanted to use it for backlit parent shots during newborn sessions. I’ve tried this two different ways in the past; lighting a pale grey backdrop which required a bit of faffing with light placement right and quite a bit of editing, and then standing the parents in front of my big octoabox. This works well but requires a close crop due to the size of the octa so it can be rather limiting. By putting the luminescence in front of the octa, it gave me a much larger working space and made the light that bit softer, perfect! I’ve also been wanting to replicate window light in the studio for ages and have tried various ways to achieve it, none of which worked. I'd previously tried putting layers of net curtains in front of the light but the light stand was still visible and it looked messy. The Luminescence was ideal and it was so quick and easy to set up and though it lets lots of light through, you can't see the light stand through it. I added some net curtains in front of it to make it more window like and the final result was pretty much exactly what I wanted to achieve. I think with a little more tweaking to the set up, it will be perfect. There are so many more things I want to try with it, including making a scrim for outdoor sessions on bright days and one for the studio so I can be moved around easily without needing to move light stands. I would definitely recommend this to other photographers, if you like backlit shots, it makes shooting them an absolute breeze.”
Sian Lewis
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Debbie Longmore Awarded Craftsman February 2019 Issue 30 - Creative Light Magazine :
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TIP SHEET #2 Creating Realistic Sun Flare
Glyn Dewis shows how to add realistic sun flares in your pictures by the simple use of a Brush, Adjustment Layer and the Fill Slider. Step 1: Blank Layer Add a new blank layer to the top of the layer stack, and then with a white foreground colour and a normal soft edged brush at 100% opacity, click on top of your picture to add a white circle. Rename this new layer ‘Sun’ and change the blend mode to Linear Dodge. 48
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Step 2: Duplicate Layer Create a copy of this layer by holding down the Command/CTRL key and pressing J and rename this layer ‘Glow’. Go to ‘Free Transform’ and increase the size of it considerably (as this is to be the outer glow coming from the sun). Turn off the Glow Layer and click on the Sun layer to make it active. Click to add a Hue/ Saturation Adjustment Layer.
Step 3: Adjustment Layer Within the Hue/Saturation Adjustment Layer properties, click on the Clipping Mask icon, then add a Yellow/Orange Hue, increase Saturation to 100 and Lightness to -45. Use the Lightness the slider and the Fill for the desired look.
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Step 4: Group the Layers Turn on the ‘Glow’ layer and repeat the process adding a Hue/Saturation Adjustment Layer with Clipping Mask and the same settings as the previous step. Create a new group containing all the sun and glow layers, rename it ‘Sun Flare’ and with the Move Tool drag into position. Refine the finished look by adjusting the Hue/ Saturation and Fill, to taste. Also, check out the accompanying video; Episode 66 on my YouTube Channel Weekly Show
BEFORE
AFTER
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Social Media /glyndewis
congratulations Marketa Zvelebil QGPP
Qualified Guild Photographer February 2019
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Colour management can be easy As a photographer, you are likely familiar with colour management. However, a recent survey conducted by Datacolor revealed that only 15% of the 400 photographers quizzed felt they had a good knowledge of colour management. To help photographers master the art of colour management technology, Datacolor have produced an extensive colour management guide. ‘Spyder5 eBook: Color management can be easy’ is a free six-chapter guide providing practical advice to help any photographer or videographer understand colour management, from the basics to the advanced. Here’s a taster from the first chapter.
Why use color management equipment? High-quality color management that is time and cost-efficient is almost impossible to achieve without color management equipment. Anyone who has ever set up their printer for fine art prints and has ended up using an entire ink cartridge on high-quality paper for mere test prints will have plenty to say about this. The concept of color management involves coordinating systems so that once taken, the image on the output side (monitor, printer or other output medium) appears as close to the original as possible. This also includes deliberate changes made to image content. In other words, photographic processing needs to be reproduced on the output side as it was carried out on the monitor. Why? Depending on the make and model, digital cameras have different color characteristics that can be corrected using a color calibration tool. What’s more, lenses can also introduce color traits, while low-quality lenses even create clearly visible color casts and light falloffs. These can be almost impossible to modify. We can, however, influence the appearance of the digital image on the display. Without settings, we also see an interpretation of the image that may not be representative of its true colors. This is determined by the electronic components of the display and its age. It gets trickier when it comes to printing images on paper. When we convert the light colors, which have determined the process so far, into printing inks, it can cause distortions.
The competence of the eye is not enough In short, we are moving between physical worlds of color. We can work with several devices, which each individually interpret the colors for us. If you rely solely on the expertise of the naked eye and make adjustments according to your vision, you will very quickly reach your limits. Every additional device included in a color workflow will heighten the complexity. To add to this, color deviations don’t behave in a linear fashion, but vary according to color saturation level and the nature of the colors themselves. Finally, it is important to keep in mind the color constancy phenomenon. You’ll notice how fast your eye compensates color casts, when you change the color profile on your monitor. Regardless of whether the colors are right or wrong, our brain hides slight color casts within minutes. This phenomenon is called color constancy. This is similar to situations in which we quickly become accustomed to the brightness or darkness of our surroundings. Sign up at www.datacolor.com/ebema-tg to receive your copy of ‘Spyder5 eBook: Color management can be easy’. Chapters will be released in three-week intervals.
30 - Creative Light Magazine : 53 © 2018 Datacolor Inc. All rights reserved. DatacolorIssue and Spyder are registered trademarks of Datacolor.
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congratulations Debbie Longmore QGWP Qualified Guild Photographer February 2019
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Claire Osborne
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Qualified Guild Photographer February 2019 Issue 30 - Creative Light Magazine :
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Master Craftsman
Imelda Bell “In December 2017, I was diagnosed with stage 3 Breast Cancer and my world was turned upside down. Due to intensive surgery and treatment, I had to temporarily suspend my newborn and children’s portraiture business, as contact with young children was not advised during chemotherapy due to the risk of infection with my low immune system I’ve tried to maintain a positive attitude throughout my treatment, which will continue for at least 3 years, and one thing that really struck me was how often people expect cancer patients to retreat into a miserable haze . Yes, there are dark days, but the emotions that accompany this journey are varied. I decided to keep going with the photography that I could, and found it very therapeutic taking self-portraits depicting the emotions and side effects I was experiencing. I then started taking photos of other people and “Faces of Cancer” was born. The idea of “Faces of Cancer” is to break stereotypical opinions about people with cancer. There are so many ups and downs when going through treatment, as people try to cope physically emotionally with the diagnosis, treament and side effects. The drugs effect everyone differently, so every person has a unique story to tell. This panel of images shows varying emotions and feelings associated with dealing with a cancer diagnosis and treatment. It features 20 indivuals, all of whom are either currently undergoing or have had treatment for cancer. The images are all cropped square to create order in the panel in contrast with the turbulant chaos of cancer. Being in black & white gives a timeless feel to the images and the gritty, edgy post production gives a raw and emotional feel to the faces and a sense of truth and reality, very different from many of today’s retouched and “perfected” images. The idea is to show the subjects as they are, not as an idealised version of themselves, in order to raise awareness of the emotions, both positive and negative, of cancer sufferers. A variety of lighting techniques have been used in the images, depending on the style I felt best suited the subject. Several images deliberately break rules in terms of cropping and posing in order to cause discomfort for the viewer”. Issue 30 - Creative Light Magazine :
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Even though I have received a Fellowship with two other organisations with this panel, it was still nervewracking submitting my panel for Master Craftsman with the Guild. A pass was not guaranteed, so I was still very worried that I would fail! The Guild was where my journey into professional photography started several years back, when Steve and Lesley and the gang warmly welcomed me, so any achievement with the Guild is very important to me. I have received so much support, advice and friendship from so many Guild members since those early days when I didn’t know my ISO from my elbow! My photography improved, and friendships blossomed and I now consider the Guild both my photography home and family. Achieving my Master Craftsman with the Guild means the world to me, as do the people who make up the Guild. I hope that my panel of images inspires and helps those whose lives are touched by cancer and allows them to see that it is not all bad, but has ups as well as downs. I also hope that other photographers will see that you can carry on and achieve your dreams, even in difficult circumstances. One of the worst years of my life, was also the best, so wherever you are in your journey, keep going and don’t give up!”
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Rob Hill Rob Hill is a life-long photography enthusiast with a product / commercial photography business – MarketingShotz as well as a successful technology marketing consultancy. He qualified as a Master Craftsman with the Guild of Photographers and is also a member of their judging panel. His commercial work can be seen at www.marketingshotz.com and his personal work is found at www.robhillphoto.com
Too busy running your business to grow it? Most small business owners realise the value of planning, yet relatively few manage to do it, very few do it well and even fewer actually execute those plans. But, if we recognize the value of planning, why does it always seem to fall to the wayside?
The world of a modern business owner is busy with many tasks to do. Each morning as you open your computer there are emails to respond to, social media to attend to and a myriad of other things to do – calibrating your monitor, charging batteries – not to mention actually doing the work that pays the bills, whether that is going out and photographing or perhaps a paid training session. Yet, all of these small tasks are seemingly urgent – but are they the most important things to be doing? They are all good in the sense that they keep the business ticking over but they are all very tactical and affect short term revenue, but won’t change your business for the better. Each of us should have a ‘vision’ for how our business will develop – what we want it to look like next year, in three years, maybe in five years. Some may achieve these visions exactly but even if you don’t they are invaluable in making our day-to-day decisions. Make the decisions in a way that takes you closer to these goals – every business journey is the combination of many of these small steps. We know we have to do things to promote our business to grow it – advertising, attending networking events, making and cultivating contacts, writing a press release – any one of a hundred things that we need to do. However, without a proper business plan it is all-tooeasy to deal with that short-term issue and forget about the important tasks that relate to growing.
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This is why business plans are so important. Clearly there will always be urgent issues to deal with; a customer complaint, a supplier messing something up, a faulty camera. These have to be dealt with – and it is right that less urgent (but more important) tasks are delayed – having a proper plan means that these are only delayed and not forgotten. Many businesses, especially larger ones, have formal planning cycles. As a small business owner you can decide how complex or sophisticated your plan is to be. At the simplest level, it could be writing key things on a calendar, right through to a fully written plan with descriptions of each task – or somewhere in between. The process of planning should start with the ‘vision’ mentioned earlier. This will outline how want your business to change – maybe it is to be bigger in the same format, maybe you want to diversify into different genres or market sectors or something else. The next steps are to identify the things you want or need to do to move the business towards achieving those goals. This is most likely to be a combination of things including finding more or new customers, marketing tasks (advertising, PR, website, social media), training, seeking new business partners, upgrading or buying equipment. Each of these tasks can be entered in the plan with as much detail as you wish – but each one will have a date / timeline – and this is the most important aspect. By giving each plan item a date, it becomes harder for them to be continually ‘shuffled’ along as you deal with the day-to-day tasks. Even finding the time to plan can be a task in itself. In larger companies they may take key executives ‘off-site’ for a couple of days, so that they can focus on the planning activity. The team would be cut off from email and phones for most of the time to ensure minimal interruptions. Small businesses can take a similar approach – why not book a weekend away somewhere and take a trusted family member to help you work on the plan? You could even go with another photographer friend and use the time to both build your marketing plan. Running your business and managing the day-today is important, but it is arguably more important for you to have a clear plan of where you want the business to go and how to get there. In the same way as writing down personal goals makes them easier to achieve and more likely to happen, businesses with a defined plan are more likely to be successful.
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... AND TIME “Shuttertax have a very straight forward and efficient way of working which requires very little effort from me.” We wanted to tell you what a fantastic online accounting service we provide for photographers but we decided to let Guild members tell you for themselves.
“The process of switching was painless and it has made me more productive, saves time and costs far less.”
INVALUABLE “I’ve found Paul's knowledge of tax issues invaluable, and he responds quickly to any questions I've asked. I've absolutely no regrets signing up with Shuttertax.”
NO ‘ACCOUNTANT JARGON’ “Any questions I had were answered fully without the use of 'accountant jargon'.” “He goes out of his way to explain things to me in a way that I will understand and answers my questions quickly.”
UNDERSTAND MY BUSINESS “They both completely understand my business, having "been there, done that!" themselves.” “Paul and his wife know the business too which he tends to keep quiet! They were excellent togs so know what hurdles we all face with running our business.”
Shuttertax
PASSIONATE TO HELP “Paul is a brilliant guy, extremely helpful, understanding, and within minutes you will realise that you've found someone who's passionate to help other photographers.”
SAVED ME MONEY “Shuttertax has definitely saved me money in my first year and with Paul's help, I am sure my business will grow and grow.” “Paul took most of the tedium of accounting off my hands, and in completing two tax assessments for me so far, has certainly saved me more money than74I've: Creative paid Shuttertax.” Light Magazine - Issue 30
NO QUESTION IS TOO STUPID “No question is too stupid, communication is excellent and my tax returns have been painless now for two years.” “Paul patiently and expertly answered every single 'daft question' I threw at him and due to his expertise and patience my self assessment return has now been filed in record time and with the minimum of stress on my part.”
TOP NOTCH SERVICE “Their customer service and professionalism is top notch too, after only a couple of months of working with Shuttertax I can see it has been a great decision and I can highly recommend them.” “Their professionalism and customer service speaks volumes about how they view you as a client.”
FRIENDLY “It felt like talking to a knowledgeable friend who's keen to help, rather than an accountancy firm who only see me as a commercial opportunity.”
UP TO DATE INFORMATION “Paul assured me that I would have up to date account information at my fingertips but without all the hard work getting there.”
ACCOUNTANT WAS CHARGING ME A FORTUNE “I recently switched from a High Street accountant who was charging me a fortune and had me typing up spreadsheets and labelling invoices every month - time consuming and tedious!”
EXTREMELY REASONABLE FEES “They have simplified how information is recorded through the use of QuickBooks Online, providing access to information and reports I didn't previously have.”
“As if their friendly, professional service wasn't enough, I think their fees are extremely reasonable with no hidden costs which have resulted in reducing my accountancy fees by more than two thirds.”
TRANSFERRING IS SEAMLESS “The process of transferring my accounts to Shuttertax has been seamless. I cannot thank him enough and hope he won't regret all the extra transactions I get in as I have more time to focus on the business!”
WOW! “Wow, I wish I’d found Shuttertax years ago!” “I am definitely a customer for life!!”
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Abi Moore
Awarded Craftsman February 2019 76
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January 2019
© Emma Whittenbury
Heather Burns
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Master Craftsman
Lisa Sumner “
I am completely and utterly overwhelmed to have passed my Craftsman qualification and to have my panel upgraded to Master Craftsman - it was completely beyond my wildest dreams! I am now proud to be the third newborn photographer in the UK to have earned this prestigious accolade. My time with the Guild in the last 3 years has been excellent. I’ve felt completely accepted and supported throughout and my work has grown so rapidly to a place where I’m so proud of it and my customers adore it. Thank you so much to my awesome mentor Kevin Pengelly who has been a great help throughout this process. I hope my panel encourages other newborn photographers to seek mentoring and enter for qualification of any level, it’s a fantastic experience.” Lisa Sumner www.littleprimrosephotography.com
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Master Craftsman
Mark Lynham “
I started my photography journey rather late in life. Yes, I’d used point and shoot cameras for memories, but it wasn’t until I took an intensive three-month Open University course on photography in 2011 that I got well and truly hooked and it was that course that ignited a real passion for learning as much as I could about photography. Since then I have tried most genres of photography and have attended a large number of workshops and training courses to give me as much knowledge of the subject as I can get. As time has gone by I, seem to have narrowed my main passions down to modern military aviation and wildlife, both of which use similar skill sets, from static subjects to fast moving, and in lighting conditions that you cannot control. I am incredibly passionate about aviation photography, and towards the end of 2015, I set goals on developing my skills. Different environments’ and aircraft, all requiring a variety of styles of shooting. From fast exposures to freezing the action. Slow shutter speeds to capture the propeller blur and panning to gain a sense of movement. Night time shooting with long exposures. I also wanted to develop my post-processing skills to bring even more impact to the images rather than the ‘usual’ type of aviation images that are seen. This is an area that I have worked hard on over the last 18 months. My Master Craftsman panel of 20 images represents my latest style of work, and I class this as ‘Aviation Art’. Not something that is liked by many ‘pure’ aviation people but this is the beauty of art. I do this for me. I wanted to process the images in a way that would make the photographs more appealing displayed on someone’s wall. It is incredibly satisfying to discover that one of the pilots in this panel has one of my photographs of him displayed at his home. The panel shows modern fast jets displaying tight turns and passes with dark and dramatic processing, making full use of clouds, smoke and vapour to create an overall image of power and impact. The panel is set out to draw you in from either side to the final four central vertical images. I purposely cropped the four outer photos in a 16” by 9” format, then going to the next four images either side to 6” by 4” and then finally making the central four images a 5” by 7” crop. As I don’t typically print, cropping to specific ratios to balance the overall feel was new for me, I usually only crop for Image Of the Month so its never at a particular fixed ratio. The images are all shot at UK airshows, and I shoot with Canon 1DXii and a 5Div with a 500mm F4 prime lens. Sometimes I shoot with a 1.4 teleconverter if the aircraft are displaying at a distance which is becoming more of the trend dues to UK regulations. I’ll also use a 70-200mm for display teams or and landing shots if I can get near the crowd line. - Mark Lynham MCrGP Issue 30 - Creative Light Magazine :
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Iain Poole
Master Craftsman February 2019
“We all wish we had superpowers: We all wish we could do more than we can do”
“
Stan Lee 1922 - 2018 This statement by Stan Lee has always rung true with me. I have always enjoyed the escapism comics have brought me. To this day Stan Lee is one of the driving forces behind why I continue to shoot cosplay, I truly enjoy bringing characters from my child hood to life in my own way and giving the people I work with a break from normal life. After finding this genre last year I have met some truly amazing creative people, who do not only dress up as their favourite characters, but they also embody the character and bring joy to children through their charity work. After the success with my Craftsman panel, I really had to think about how I could take this to the next level, after much consideration I decided to create my panel around Hero’s after they have stopped Being hero’s looking at what they may be doing in their downtime, yet I still wanted to get part’s of the characters into the images which sometimes is more than just a look, it’s a mannerism, I then planned to put them in simple situations which you would expect normal people to be in but not their characters, I would then showcase how these characters would deal with these situations that we all have to deal with all the time. This panel, is made up of a selection of marvel, DC and Disney characters, ranging from their introduction to children and adults alike in 1941 right up to 2003. Each character was picked as they have been in my life for quite some time, or they have made an impression on me, but even after this I wanted to make these images more about my connection to the town I live in and my family. My family came to area during world war 2, my grandfather was a desert rat with Montgomery, while my grandma was left at home to look after a large family, during the blitz grandma was evacuated to Atwick, which is very close to Hornsea as Hull suffered quite a bit at the hands of the Luftwaffe. After the war my grandfather returned home and the family decided to stay in the area and some went to work for the local Pottery, with this in mind I started my hunt for a complete Hornsea pottery coffee set , I manged to find a complete set at a local car boot, not long after I had completed my craftsman panel, and knew what I wanted to do with it. You will see I have used a collection of props which link together in order to bring my ideas for this panel to life, some of these are used in numerous images and are there for the characters to be using to relax or sober them up. I also wanted to give a nod to my local free paper, as sometimes they ask to use my images for stories, which I enjoy giving something back to the community. I have always tried to have a nod to the character’s back story, which forms a massive part of any comic book, you always need a good back story. This could be with the use of colour / expression of even their actions, some characters are very hot headed and even when they are relaxing they would find themselves in situations which would still wind them up, I imagine some of the characters would probably not change despite being off the clock.. and would probably still be drunk. You will also notice in some of my images subtle connections which link to other characters, this again is a nod to how the characters have interacted over the many years in the comic books and is done as homage to Stan lee. I hope you enjoy viewing my panel as much as I have enjoyed creating it, and maybe you just might go and pick up a comic book. I hope you enjoy viewing my panel as much as I have enjoyed creating it, and maybe you just might go and pick up a comic book. - Iain Poole
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Find out more -atIssue www.hahnemuehle.co.uk : Creative Light Magazine 30
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A UNIQUE T WO DAY RETREAT FEATURING UNMISSABLE MASTERCL ASSES BY SOME OF
THE BIGGEST NAMES IN THE PHOTOGRAPHIC INDUSTRY july 2nd - july 3rd 2019
After the success of last years event Digitalab are proud to announce the 2nd Residency of the North for July 2019! Once more we have brought together the very best educational and inspirational Photographic speakers and influencers in the country to provide a series of workshops, talks, shoot sessions and practical demos. The aim is to offer a truly unique experience that will provide you with all the tools you need to both improve your photography and your business. Tickets are available at a reduced rate for Guild Members, only ÂŁ445.00 inc VAT! Ticket price includes six masterclass sessions of your choice over the two days, welcome party on the night of the 1st, breakfast and lunch on the 2nd & 3rd and a 3 course meal on the evening of the 2nd!
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to book tickets and view the full the full itinerary visit www.digitalab.co.uk/residency-of-the-north Or get in touch via: TEL: 0191 2323558 EMAIL: info@digitalab.co.uk sponsored by
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Yasser Alaa Mobarak Egyptian Photographer “I am not obsessed by kit as my camera is just a tool; it is like a brush I use to paint”.
Egyptian award-winning photographer Yasser Alaa Mobarak is 25-year-old and has won photography awards from National Geographic Traveler India, National Geographic Egypt, International Federation of Photographic Art, Photographic Society of America and Prix De La Photographie Paris. His photography has been featured in Geographic Magyarország, National Geographic Srbija, Digital Camera World Magazine, Amateur Photographer Magazine, Photographer’s Forum Magazine, N-Photo Magazine, Smart Photography Magazine, Silvershotz Magazine, Adobe Blog, PBS NewsHour and Xinhua News Agency. Awarded the distinction of AFIAP by the International Federation of Photographic Art and received an Associateship from Image Colleague Society International. And has Judged at the Adobe Youth Voices Awards, Romania’s National Creativity Contest and The Photographic Angle. He is visiting Faculty at Delhi College of Photography and Author at Digital Photography School. Yassa began his photography journey in 2011 during the Egyptian revolution when he decided to start documenting events taking place in his homeland. He was 18 years old at the time. He believes that photography experience is not measured by years; it is measured by efforts. Yassa mainly focusses on portraits, travel and abstract images. His portraiture focusses on expression and body language and his travel imagery he gets the viewer to travel visually to his image. He shares his work with Creative Light Magazine. Equipment: Nikon D3100, Nikkor 18-55m and Nikkor 50mm.
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UNLEASH YOUR CREATIVE POTENTIAL WITH LOUPEDECK+
OUT OF THE COMFORT ZONE WITH PEP WILLIAMS Pep Williams is a California based photographer best known for capturing the most grotesque scenes – from gritty inner-cities to the California prisons. Williams typically shoots people and places that often go undocumented, due to their dangerous and challenging nature. His critically acclaimed photographic work has been described as the “freshest kind of raw”.
I said I was a photographer! They were shocked and asked to see my portfolio. Thinking fast, I said that we didn’t have time for that because we were on a deadline. They agreed and wrote me the check! The rest is history. I was hooked. Looking at your work, words and expressions like ‘fearless’, ‘unflinching’, ‘gritty’ and ‘uncompromising’ spring to mind. Would you concur with these terms as being a true reflection of both your style and craft… as well as a reflection of the central
Here Williams describes his methods, what motivates and inspires his work, and his editing experience with Loupedeck+. Can you describe the moment when your future career in photography suddenly came into focus? When I first realized I wanted to be a photographer it was actually my very first shoot. I modeled for years doing runway. One day, I was modeling for a designer and overheard that he needed a photographer, because the one hired was booked on a different, 110
so he was really desperate t. When I found out it paid $6,000 (USD),
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protagonists themselves? I love shooting things or people most other people either avoid or think is impossible to shoot. It’s what drives me. Putting yourself in an environment where there is always a sign of danger, or that it seems impossible – like shooting on a prison yard with inmates serving life sentences – is what I like. I just love shooting things that are extremely hard to get permission fort. From a prison to a gang to a royal palace. Love it all!
DISCOVER WHY LOUPEDECK+ NEVER LEAVES WILLIAMS’ SIDE
Does having a Loupedeck+ mean you find yourself taking more raw images during a photoshoot (knowing you can arrange, analyze and process
What were your very first impressions of
them much more quickly and efficiently) Or, less raw
Loupedeck+?
images?
When I first saw the Loupedeck+ console, I had to know more about it. It looked super cool! After I received Loupedeck in the mail, I quickly realized it was more than looks. It truly performs! You recently did a major a major photoshoot “Out of Bounds”, in a California State prison. What was the ambition on taking this assignment? It goes back to shooting something people don’t even think about or think is impossible to shoot. It took me four years, until I was granted full access to shoot in a California state prison. How many raw images did you accumulate during the prison shoot, for example? One thing I’m known for is shooting very fast. I don’t shoot tons of images. At the prison, I shot around 600 images, so that’s about 30
I’ve always shot raw. So, having the Loupedeck+ console just added to the natural flow. Has Loupedeck+ changed your post-shoot workflow? Loupedeck + actually makes me want to get more in detail with my images. With Loupedeck+, because it makes it so easy, I now spend time editing more! Finally, now that you have become very familiar with Loupedeck+, what are your favorite features and how has it fit into your daily workflow? For me, what I love about it, is that it goes everywhere I go. It’s super lightweight and fits perfectly in my bag. It’s easy to use and it’s fast. hank you for making a killer product!
images each hour. That’s about right for me!
...HAVING LOUPEDECK+ EDITING CONSOLE JUST ADDED TO THE NATURAL FLOW.
Loupedeck+ is available for purchase on Loupedeck.com,
Be sure to check out Pep Williams’ personal website and
Wex Photo Video, Amazon.co.uk
portfolio at: Pepwiliams.com
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PROFESSIONAL FRAMING SERVICE HANDMADE PROFESSIONAL FRAMES Every incredible image deserves to be printed and displayed, so ensure your best photography takes pride of place with our bespoke professional printing and framing service. Highlight your favourite space or dress your studio with our incredible choice of traditional frame mouldings and contemporary stylish wall art. Here at Sim Frame, we provide you with the ultimate professional photo framing products you need to showcase your clients’ valuable photography and imagery.
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BESPOKE & CONTEMPORARY WALL ART As well as a range of traditional frame mouldings, you can also choose from 9 different collections of custom photo wall art ranging from contemporary to classic. Our professional wall art products include our stunning floating picture frames, brilliantly modern circular metal prints and acrylic prints as well as traditional high quality canvas prints and wedding or event signing boards. Our unrivalled professional service allows photographers to offer Framed prints to customers during their in-person sales with confidence knowing their client will love their new incredible wall display. We offer an extensive range of standard sizes but a selection of our products are available in a completely bespoke finish, so if you can’t see what you need online, simply get in touch.
PACKAGED BY HAND Sim Frame offers a fully finished framing service from order to delivery. Once you’ve uploaded your image online and selected your perfect moulding options, we will begin working on your new handcrafted frame. With a turn around of only 5 working days, in a little over a week you’ll receive your stunning new framed photograph, complete with hangers mounted to the rear so it’s ready to display straight on the wall. Supplied in an individually made to measure box and wrapped in protective film, we take extra care with each and every order from printing to packaging.
info@simframe.co.uk
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PRE-PAYMENTS
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S MADE SIMPLE
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THE GUILD OF PHOTOGRAPHERS “No other photographic body offers what the Guild does... get an incredible package of business support, training and mentoring by some of the most respected names in the industry, insurance, legal protection and the rights to use our respected membership logos”
Professional Membership costs £126 and Regular Membership costs £96
Let the Guild help you with your photographic journey like it has done for many others! The Guild is suitable for those in business, contemplating a career in photography, undertaking photography related courses, or even those who simply love using their camera.
EMAIL: info@photoguild.co.uk CALL: 01782 970323 / 07982 613 985 118
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