Creative Light - Issue 9 by Guild of Photographers

WEDDINGS - PAUL CALLAGHAN ISLE OF MAN TT - DAVE SILVESTER ADVERTISING - GEORGE FAIRBAIRN PORTRAITS - DAVID P MACDONALD DIGITAL MARKETING - LAURA HAMPTON PHOTOSHOP - GLYN DEWIS

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Discover more: anewperspective.olympus.co.uk

Contents features 10

Paul Callaghan Wedding Photography

Dave Silvester Isle of Man TT Races 2015

George Fairbairn Advertising Portraiture

David P MacDonald Portrait Photography

Laura Hampton Digital Marketing

Glyn Dewis Photoshop Expert

Issue 9 - Creative Light Magazine :

The Guild of Photographers W

e can’t believe another couple of months have passed, though it’s got to be said that they were an exciting couple of months, which meant they have flown.

steve & lesley thirsk

We’ve been working very hard in the background to create ‘PhotoHubs’, and are now delighted to say that the concept is about to become a reality. A hub is defined as a centre, and what we wanted to create were regional centres for all photographers, hence the name.

Lesley Thirsk

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PhotoHubs will be centres for high quality training also providing meet the trade opportunities, fun socials and exciting print competitions with some incredible prizes… and at the same time we wanted to make them great value ‘All-Inclusive’ events with no unexpected costs. The team behind them have many years’ experience, both in the photographic industry and as event organisers. To give things a different dynamic and introduce competition print prizes that money can’t buy we have even linked in with Festival organisers. We’re just in the process of finalising the speakers who will range from the wellknown and inspirational through to rising stars, and at each PhotoHub event will be a ‘Boot Camp’ with 2 days dedicated input on a particular theme or genre. These should prove hugely beneficial! The first one of these exciting 2 day events is to be held in Leicestershire on 13th/14th November, and the next will be just prior to the Guild’s fantastic awards night in a spectacular Jacobean mansion in Cheshire on 5th/6th February next year.

Going hand in hand with the above has been the introduction of Trade Partner links between the Guild and key photographic industry suppliers. Wilkinson’s Cameras, Colorworld, Newborn Posing Ltd., Lightblue and One Vision Imaging are amongst the latest great companies to join others such as 3XM, GraphiStudio, InFocus Insurance, Pro-Image

month’s edition of Creative Light – One is about Guild Master Craftsman, Fellowship and multi-award-winning Paul Callaghan from Ireland who is also a respected judge and mentor. We are delighted to announce that Paul is joining our team on the Guild’s Panel! He will be an exciting addition and he’s one of life’s really nice guys! Enjoy the read!

Steve Thirsk Editors and Engage Live as Guild partners. We’ll be working closely with these companies in the coming months to offer increasing benefits and opportunities to members and many will be at the PhotoHub events. Whilst continuing to attend Photovision in the coming months, we will also be attending some of our partner’s events including the hugely popular ‘Digital Splash’ run by Wilkinson’s Cameras in Preston on Sunday 11th October. Our friends from Aspire will be there along with many, many great brands including Olympus, Canon, Nikon, Sony & Fuji. Sounds like a great day!

“

Want to join The Guild of Photographers? - follow the link and get in touch with us today”. http://www.photoguild.co.uk/member-benefits

Speaking of benefits, one of the great advantages of being a professional member of the Guild is the great business support that comes with being a member. As well as free access to both a legal and PR helpline 24/7, a free debt recovery service, contract dispute cover, and of course the fact that you have a legal team to represent you totally free of charge in many different situations. There are currently pending or ongoing legal cases ranging from those which are photography related through to one where we are representing a member making a personal injury claim following a road accident. In all these cases the members in question will be represented free of charge, in some cases saving the £1000’s, showing the value of our membership! As usual there are some great articles in this Issue 9 - Creative Light Magazine :

front cover “

I am humbled and overwhelmed, to say the least, that this image has won a Gold award. I would never have dreamt of achieving a gold with a newborn image so soon as there are so many other newborn photographers, who I admire and who are so much more experienced than me.

kati fichtelmann

Having started my business about three years ago, I continually strive for improvement and push myself to the next level with workshops, mentoring and other forms of training. I believe providing the best quality I can produce is what I owe to my clients. And of course there is always this element of perfectionism that keeps driving many of us. I met Tony at a pregnancy yoga class, and as soon as I saw her, I wanted to photograph her. We did a maternity shoot outside and then a studio session later with little Ruby; isn’t she just the cutest”.

www.katiphotography.co.uk

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THE

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ü Your photos at your client’s fingertips ü Text them a link to give them instant access ü Increase sales by allowing them to purchase professional products from any device ü Expand your brand awareness when your client shares on social media Issue 9 - Creative Light Magazine :

Editor

Where has the time gone? It only seems five minutes since we launched Creative Light and now here we are 18 months later publishing the ninth edition. The magazine now reaches over 40,000 people per edition and it is thanks to you all, for not only enjoying the magazine, but simply sharing the articles on your blogs and newsletters. In this edition of Creative Light Glyn Dewis shares a great tutorial on how to change colour in your images with a step by step Photoshop guide. Dave Silvester, a photographer based on the Isle of Man shares with us his passion for capturing the annual famous Isle of Man T.T. Races that are held on the island each June and explains what it takes to get the shots. David P MacDonald who runs a very successful Portrait Studio based in Hertfordshire talks about his portrait photography and shares his portraiture. Finally, we welcome Paul Callaghan our new Panel Member and introduce his wedding photography.

â&#x20AC;&#x153;

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.

julie oswin

George Eastman

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ÂŠ Julie Oswin www.julieoswinphotography.co.uk

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New Panel Member Working over 20 years exclusively as a wedding photographer, Paul is still at the top of his profession and is very much in demand across Ireland and overseas for his distinctive creative modern wedding photography. Paul’s speaking engagements and workshops have taken him across the length and breadth of Ireland and the UK, along with workshops in Italy, Germany,Norway and Photo Training Overseas (PTO ) in recent years. He is an active Qualifications Judge and one to one mentor and trainer in Ireland. Paul is an active member of the Guild and now a member of The Panel.

Q: Describe your thought processes around

paul callaghan

wedding photography. What ‘type’ of wedding photographer are you?

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With regards to my process thoughts around weddings I would say first is conduct yourself in a professional manner at all times, with regards to the type of photography I work in I would say more of the classical and contemporary style. In general when I have all the “essentials” done I like to work “outside “ the box, I need that challenge at every wedding to push myself.

Q: Can you tell us which lighting equipment you prefer to use on location and why?

I’m happy to work with any type of light as long as I can control the direction, colour temp and the contrast, I generally work with soft “loop lighting” so if it’s with window light, off camera flash,bounce flash, reflectors, or LED lights as long as the quality and direction of light is there that’s fine by me.. I have started to use the new Westcott IceLight 2 designed by Jerry Ghionis, this is an outstanding light in every way and one of the best investments I’ve made and would

ÂŠ Paul Callaghan Issue 9 - Creative Light Magazine :

highly recommend it to any photographer out there.

Q: What have you found the most

challenging about being self employed? I would have to say, cashflow/income is one of the most challenging problems. With the downturn in the economy the ‘wedding cake’ is not getting any bigger and there are more people looking to get a slice of it.

Q: What have you found the most

challenging about running a Wedding Photography Business? I’m working for a lot less these days because there is a over-saturated market ...the bottom line is price with 80 / 90% of couples.

Q: How many weddings do you personally photograph per year? Do you work alone?

I do about 35 to 40 weddings each year, I don’t do high volume .

At weddings, what is one of your pet hates? Mobile phones sticking out of the aisle, people

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walking out in front of you with their cameras.

What tips or advice would you give anyone wishing to enter into Professional Photography, especially weddings? Learn your craft and continue to refine it,understand how all your equipment works, it’s settings and so on,along with its capabilities and limitations. Have the proper equipment regardless the make, not forgetting backup equipment. It’s equally important not to overlook the day to day business side of things.

What tips or advice would you give anyone wishing to become a full time pro? Becoming a full time pro these days can be quite an ordeal. I see a lot of wedding photographers coming into the market stating they are different or they are going to fill a “gap in the market” but the real question for anyone out there thinking of going Pro.... Is there a ‘market in the gap”?

What would you do differently in your business if you could start again? I don’t think I would change a lot, I don’t do the “What if” or I wish I did something different, I’m where I am thanks to other photographers

his work is jaw dropping and beautiful.

Q: Apart from sheer hard work, what

would you say is the main ingredient of your success? I am an easygoing person, there is life to enjoy outside photography and not forgetting my wife for tagging along with me.

Q: What do you feel has helped you to succeed where others have failed in this industry?

Not cutting corners, failure was never an option, photographers who are put down on their knees and refused to get up again, well you all know the story... God knows I’ve been there several times myself over the years so I know what I’m talking about. sharing their skills with me, my wife Margaret and family not forgetting all those couples who I had the privilege of working with over the years

Q: If you could choose one lens as your favourite, which one and why?

24 / 70mm f2.8 is a good all round lens giving portrait quality at 70mm end.

Q: How important is Photoshop in your final images?

Photoshop is my Darkroom, each and every image will have a hand quality finish to it as if it was done under an enlarger,

How did you begin to build your brand?

Branding as a wedding photographer wasn’t something I pushed too much over the years. That been said, it’s never too late ...

Q: Who inspires you? Currently there is a guy in New York called Michael O’Neill, ( he must have Irish heritage). His

Do you travel very far to cover weddings? I travel Nationwide for weddings, I’ve also photographed a few in mainland UK.

Website? How important is your website to your business? My website is simple and easy to navigate and works quite well on mobile devices. It is important to change images and keep your website active. I work hard to keep my rankings high where possible.

Q: Advertising? Where, when and how often do you advertise your Wedding Photography?

Advertising nowadays is mainly done on Facebook where you can target your market for little or no cost. Issue 9 - Creative Light Magazine :

ÂŠ Paul Callaghan

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What was your working background before becoming a photographer? I was an Electrician working alongside with my brother Sean. We worked for Gypsum Industries. During the 80’s recession I was made redundant along with 30 other workers (some say it was a blessing)!

Q: How would you describe your style and approach to photography?

I am a pro-active rather than an active photographer.

Q: Interesting three facts about you? 1: I am the only photographer in the South of Ireland with a Fellowship in Weddings, International Photographic Judge and Trainer. 2. I play drums with the legendary Paddy Goodwin’s Holy Ghosts! 3. I’m a granddad.

Q: What books would you recommend to members of the Guild to further their photography training/education? Captured by the light, by David Ziser. It is, for me, the essential guide to creating extraordinary wedding photography.

Q: How important is training to the journey of the photographer?

Training is a must. For me, training is at the forefront of my personal development. I enjoy going to see my colleagues and upcoming photographers, it’s a must to keep fresh and current in today’s marketplace.

Q: Do you show unedited files to your clients?

I never show unedited work to a client.

Favourite place in Ireland and why?

County Cork, friendly people, Breathtaking seascapes, great restaurants .

Q: Where next? That’s a good question. Well as long as the Lord lets me, I am going to keep going and as long as couples are prepared to book me. Plus, enjoy my Guild membership and give back to others what was passed on to me. Cheers and thanks Paul. - Julie Oswin

Paul’s Website: www.paulcallaghan.com Issue 9 - Creative Light Magazine :

ÂŠ Paul Callaghan

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Guild Announces PhotoHubs The

he definition of a hub is “the effective centre of an activity, region, or network”...

The Guild has commissioned ‘Photohubs’ to be that centre for photographers! The Guild regularly hears from photographers that they want high quality, yet affordable, localised training, ranging from genre specific ‘Bootcamps’ to varied and insightful seminars. We also know that it can be difficult to speak constructively to suppliers at larger national trade shows as opposed to local ones, and 121 opportunities with suppliers whilst ideal, can be difficult to arrange. It also goes without saying that photographers also love the social side of things! Imagine if it was possible to blend all this and make these ‘open to all’ events ‘All-Inclusive’ (from training, to food, drinks, alcohol and entertainment, plus accommodation) at an affordable price. Then, just to make them even more exciting, we add regional print competitions with incredible prizes - some that money can’t buy...That’s a ‘PhotoHub’

PHOTOHUB TRAINING On offer at the PhotoHubs will be high quality training and seminar opportunities covering photography, post-production and business skills. Some will be free, some to be paid for. The trainers will include Guild Panel Members, other respected and inspirational names (including some from overseas), rising stars and trade specialists. As well as inspiring seminars there will also be a themed dedicated 2 day ‘Boot Camp’ at each event. The Boot Camps will cover anything from Newborn Photography to through to Business skills.

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PHOTOHUBS AND THE TRADE

PHOTOHUBS COSTS

Trade attendance is ‘by invitation’ only as we only want those with great products, services and reputations to attend. Many of our friends in the Trade such as InFocus Insurance and 3XM will be there as well as some you don’t often see on the road such as Wilkinson’s Cameras!

Many aspects will be totally free and those paid for, including the ‘All-Inclusive’ element will be great value as we want these to be events everyone can attend and enjoy!

On day one of our events the Trade will be offering dedicated ‘YOU TIME’, as you can actually book 121 slots with them. This could be an opportunity to speak to a supplier as you are considering using their products or services OR it could be an opportunity to sit down with an existing supplier to see if you are making best use of what they offer.

We will be launching a PhotoHubs website very soon which will have all the details on it, from who is speaking, what the ‘BootCamp’ is at each location, which Trade you can book 121’s with, through to how to book. The link is www. photohubs.co.uk

THE PHOTOHUB PRINT COMPETITIONS

HOW DO I FIND OUT MORE?

PhotoHubs - Steve & Lesley Thirsk

At each event there will be a regional print Local photographic Trade Shows and Seminars with a difference! competition with both regional and national titles, as well as valuable prizes ‘up for grabs’, including some money simply can’t buy such as such as a weekend on a £50 million yacht in Ibiza with celebrities!

PHOTOHUB SOCIAL’S As each event will run over 2 days there will be a relaxed social gathering on the night in between. There will food, drinks and entertainment, which will be a little ‘out of the box’ rather than DJ’s so expect them to be great fun!

‘ALL-INCLUSIVE’ PHOTOHUBS We want to take all the hassle away for you at these events so we have arranged optional ‘AllInclusive’ packages for you. Included is all your daytime food and drink including a quality buffet lunch, the evening meal, entertainment and even a complimentary drinks package on the night in between as well your accommodation and breakfast of course.

WHEN AND WHERE ARE THE PHOTOHUBS? SAVE THE DATES... The first one is scheduled for 13th & 14th November at Hinkley Island Hotel in Leicestershire which is currently undergoing a £multi-million refurbishment. Also confirmed is one on the 5th and 6th February 2016 leading up to the Guild’s awards night at the fabulous Crewe Hall in Cheshire. Others are currently being scheduled around the A Hub - “The effective centre of an activity, region or network” UK and Ireland.

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dave silvester

Isle of Man TT Races 2015

ave Silvester owns and operates one of the most successful photographic studios on the Isle of Man. For two weeks every June, the shutters come down on his studio, and he ‘goes out to play’ His full time business covers all aspects of social photography, but motorsport is his ‘escape’. The early 1970s and the then RAC Rally, allowed David a few days holiday and the chance to record some fabulous images, whilst following the event up and down the country.

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What would you describe as “The Greatest Show on Earth” and why ? I challenge you to visit the Isle of Man during the TT Festival, and not return home beaming to all and sundry that you have just witnessed, the greatest show on earth. Around late May and early June, the island’s 80,000+ population swells by at least 50% as the trucks, vans and bikes embark upon their annual two week pilgrimage, and to take part in (or witness) the phenomena that we know as the Tourist Trophy Races. First witnessed in 1904, an excitable group of car racing enthusiasts left the prohibitive United Kingdom shores, to race upon the open roads of the Isle of Man. 1907 was the birth of the motorcycle races proper, and the course has evolved over those years into the thirty seven and three quarter mile circuit we see today. A total of 264 corners and bends maintain concentration levels on each lap ! Towns and villages, long fast straights, hedges and lampposts, open countryside, and even a ‘climb’ up a mountain all make up this huge, combined test of stamina, nerve, strength and mechanical endurance. The larger bikes with a capacity of up to 1000cc take on six laps of what is commonly known as The Mountain Course. A distance equivalent to a journey from Skipton to London, however these girls and boys will complete the trip in just over an hour and a half. Each competitor will set off at ten second intervals, creating more of a time trial scenario, as opposed to the mass start we see at events elsewhere. Riders will experience just two very brief pit stops, where a new rear tyre, a full tank of fuel, a bug free helmet visor, and of course a few welcome slugs of a cold drink, are all taken on board. The TT Race festival and the Isle of Man in general are a photographer’s dream. But you have to be quick, as the average speed for a fast lap is well in excess of 130mph. To witness bike and rider as they pass at speeds sometimes in excess of 200mph, is quite breathtaking, trust me, and all within just a few feet! Recent increases in safety levels, limit the number of roadside areas open to the general public however, as you can see the possibilty to be amazingly close to the action in ‘controlled’ areas is totally unique. I’m one of the lucky ones. My business allows me into the inner sanctum at the TT Festival.

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Media accreditation is granted only to the select few who work within the news, publishing or journalism sectors. Planning started early as with any photographic portfolio submission. My general, year round photography duties take me around this gorgeous Island, so i need no encouragement to take to the TT course. It’s during these times that I look and search and visualise what I may see during race periods. Often pulling up (safely) to record reference shots with the iPhone. The first week of the festival consists of (weather permitting) practice laps, so a good chance to record a few action shots. On to the second (race) week, and then things really hot up. Huge crowds, incredible bikes and riders, and maybe the prospect of fine weather. Time to capture the ambience of the whole experience. I have tried to do exactly that by placing myself in the position of the reader. And as with any commercial project, I ask myself, “How could i possibly relate this whole story to an audience of talented photographers who have probably never set foot on our Island and maybe not even motorcycle fans”. - Dave Silvester

Isle of Man Website: www.thestudiocolby.com/

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Announcing our latest Trade Partners NEWBORN BABY POSING LTD Every now and then you come across a company you want to work with for many reasons. It could be their products, their marketing, their attitude, their desire, their passion, their customer reviews or the really nice people behind the business. Having all the above in abundance, we are excited to announce that Newborn Baby Posing Ltd has become a Guild Partner. Based in Cheshire, the owners, Guild members Sandra and Sarah have combined their design, sourcing, purchasing and photography skills to offer photographers some of the finest and most unique posing products available in the UK that can only enhance and style your photography! They have backdrops, Baby Shushers, newborn posing beanbags, beanbag frames, and much more - in fact everything you could ever need to refresh or kick start your newborn baby photography business. They even host newborn photography training workshops in their spacious newborn studio (the next one being on 19th September with Russ Jackson).. More details about all this can be found at their website.

WILKINSON CAMERAS

We are delighted to announce that we’ve also joined forces with Wilkinson Cameras as our official retail partner for The Guild. The award winning team at Wilkinson will be joining us at many of our upcoming events – as well as being on hand to answer your technical questions and offer support and advice when buying new kit, upgrading or simply adding to your existing equipment.

We’re proud to be working with the Wilki Team and will be working hard to support members, as well as enjoying a number of exclusive retail offers, available only to Guild members. Wilkinson Cameras operates from 10 retail stores in the North West of England and also offers nationwide mail order and online purchasing online at www.wilkinson.co.uk. David Parkinson, MD at Wilkinson added: ‘We pride ourselves on first class customer service and value for money – offering full support to our customers before, during and following their purchase. You can pop into any of our ten stores, or simply pick up the phone – and speak to a real, knowledgeable person – safe in the knowledge that all product is genuine UK stock, with full support and UK based guarantee. We’re very pleased to be working in partnership with The Guild and look forward to meeting members at the events and ‘virtually’ via the social media groups and discussions!’ From cameras and lenses, camera bags, tripods, accessories, pre-owned equipment and an extensive range of photography training courses – Wilkinson Cameras is with you every step of the way! Wilkinson Cameras – voted Best Multiple Retailer, 2006, 2007, 2008, 2012 & 2013.

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COLOURWORLD IMAGING LTD Colorworld Imaging are an award winning 2nd Generation family business based in the North East. They are a business built on a guaranteed 100% satisfaction for service, quality and colour reproduction, so it is not surprising that they have maintained their position as a leading professional laboratory for almost 50 years now! In short, their reputation goes before them, hence we take great pleasure in announcing that they have joined us as a Trade Partner. As a business Colorworld can be your one stop photographic solutions supplier as they print and manufacture every product option that your photography business should be offering to clients (from individual prints to framed prints and contemporary fine art Giclee prints), and all available to order very easily online. A full range of albums are also available (from photobooks to digital or matted albums) and they are simple to create and order using their bespoke software. For more information, please go to their website.

LIGHTBLUE When we ask photographers in our industry to recommend tried and tested photographic organisation software, one response is on everyone’s lips: “Light Blue!”. That’s why we’re delighted that the team behind Light Blue Software have joined us as a Partner. Photographers across the UK will tell you how this fantastic software has transformed their businesses – helping them get organised, making finances simple, and being a single place to find everything about their business (rather than all the different spreadsheets, post-it notes, and bits of paper!). Written for Mac, PC, iPhone and iPad, Light Blue will help you spend less time on admin and more time out shooting and being creative. Their customer service, friendly approach and quality of the product parallels the Guild’s own ethics, and as you know we’ve worked closely with them over recent years. For all types of photographers, whether you’re working from home on your own, in a partnership with another photographer, or running a busy high street studio with lots of staff, we have absolutely no hesitation in recommending you give Light Blue serious consideration – it’ll make admin so much simpler, and help you keep on top of your business. To find out more visit their website.

ONEVISION Based in the West Midlands, for over 40 years the multi-award winning One Vision has been a key influence in the professional photo solutions market by introducing new products and offering knowledge based customer care, service and advice across the social, wedding, portrait and school sectors. Made by master craftsman in the Coventry-based lab, anything from presentation & wedding albums, wall art, lay flat books, pro-level photo and fine art printing, hundreds of frames and unique photographic products are all available to order either direct from their website or by downloading their free-of-charge, industry recognised album and book creation software. One Vision Imaging has supported the Guild for some time now by sponsoring the Image of the Month competition and more, so we are excited to announce that they are now going to work even closer with us as a Trade Partner. To find out more about One Vision Imaging, and how they can make a difference to your business, including their unique White Label service, please go to their website.

JOHNSONS PHOTOPIA DISTRIBUTION JP Distribution have worked closely with the Guild for some time, even providing a £1000 prize in our Image of the Month competition and now want to get more involved. With a company history dating back to the 18th Century, it is no wonder that they are one of the most trusted and respected imaging accessory distributors in the UK. From their facilities in Newcastle-under-Lyme JP Distribution supply many of the UK and Irelands photographic dealers and have built up a reputation to bring innovation, trusted brands and stock availability to your preferred supplier. Brands such as BlackRapid, Peli Cases, PocketWizard, Sekonic, Westcott and Billingham all trust JP Distribution to be the backbone of their brands so we are delighted that we will now be working with them even closer. The brands they represent and promote to be some of the ideal tools, solutions and accessories that every photographic business should not be without. To find out more about the full range of brands represented visit their website. Issue 9 - Creative Light Magazine :

#DigitalSplash15

THE BIGGEST SPECIALIST PHOTO SHOW AND SEMINAR PRESENTATIONS IN THE NORTH OF ENGLAND!

www.wilkinson.co.uk/digitalsplash

SUNDAY 11.10.15 10am-5pm

FREE ENTRY FREE PARKING

University of Central Lancashire (UCLAN)

Foster Building, Fylde Road, Preston PR1 2HE

FOR THE LATEST SPLASH NEWS VISIT www.wilkinson.co.uk/digitalsplash Digital Splash is the biggest specialist photography show and seminar presentations in the North of England. It has grown steadily over the last 5 years from a small show, to the huge event that it is today; featuring stands from all the big brands, including Canon, Nikon, Panasonic, Olympus, Fujifilm, Pentax & Ricoh, Sony, Sigma, Tamron, Lowepro, Manfrotto and many, many more... and seminars from leading professional photographers to inspire, teach and guide you in your photography.

CONFIRMED EXHIBITORS AT THE SHOW 28 : Creative Light Magazine - Issue 9

This year we have confirmed 7 different seminars from 5 leading photographic professionals covering a range of subjects. Book now to secure your seat - they are selling out fast!

www.wilkinson.co.uk/digitalsplash/who.html All presentations scheduled duration is one hour. Jonathan Chritchley Headlining this year’s show is one of the foremost ocean photographers in the world today. His instantly recognisable, minimalist square format monochrome work is exhibited around the world. Jonathan will be presenting two different talks: Forging Silver - From the first influences to the first book – how it all began for ocean photographer Jonathan Chritchley Every Cloud... - Following on from ‘Forging Silver’, ‘Every Cloud...’ focuses first on his work in 2014, when he visited 4 continents in 6 months and worked with 3 of his photographic heroes, and goes to on to reveal some exciting future projects.

“Forging Silver” 10.30am £6.00 “Every Cloud” 2pm £6.00

Damien Lovegrove Professional portrait photographer and hugely successful wedding photographer, Damien learned his skills as a cameraman and lighting director during 14 years at the BBC. Damien will be presenting two different talks: Prime Time - Using 50 of his pictures to illustrate the strategies and formulas that he uses, Damien will discuss how and why we use prime lenses to create magical portraits. He will discuss the Fuji EF 14mm, 23mm, 35mm and 56mm lenses and how they all play equally important roles in his photography. Mirrorless Adventures - From route 66 to the mountains of Cambodia. Damien’s journey with the Fuji X system. An inspirational talk on travel photography & portraiture across many continents.

“Prime Time” 12.15pm £6.00 “Mirrorless Adventures” 3.30pm £6.00

Kerry Hendry Kerry is an award-winning fine art equestrian and portrait photographer and the first female to be named as a Fuji ‘X’ Photographer. Join Kerry as she presents “Horses for Courses” and find out how she incorporates working on the Fujifilm X system alongside traditional Nikon DSLR. Whether it’s portraits, fine art equestrian work, or beautiful boudoir - Kerry will talk you through how to choose the best camera for the job and unleash your inner creative!

“Horses for Courses” 11.15am & 2.15pm £6.00 each

Adam Duckworth Adam Duckworth is an experienced award-winning photographer, lecturer and author with almost 30 years professional experience. Adam’s Digital Splash Talk “Action Stations!” will cover the editorial side of action photography as well as revealing lots of the tips and techniques used to get stunning images of moving subjects. He’ll be talking about how to make cars or bikes look like they’re doing 100mph when they’re barely moving, creating motion blur using remote-control cameras, panning, high and low-speed flash sync plus which camera settings and controls are vital to master for dramatic images.

“Action Stations” 11.30am & 2.30pm £6.00 each

Paul Rogers Paul Rogers is the owner of Pellier Photography and is regarded as the leading light within the event photographer community.

Practical Session “Low Key Lighting”

During his masterclass he will perform practical lighting demonstrations highlighting his unique approach to this genre including simple lighting techniques. This is a hands-on workshop, so bring your camera and memory card along!

11am, 1.30pm & 3.30pm £20.00 each

FOR THE LATEST SPLASH NEWS VISIT www.wilkinson.co.uk/digitalsplash Issue 9 - Creative Light Magazine :

End of Year One! Simon Newbury is a portrait artist and photographer living in Bexhill in Sunny Sussex. He has drawn and painted since he was old enough to hold a pencil and as a portrait artist often used his camera for reference material. Although he still paints the majority of his portraiture is now photography based. He is a full time father of two, squeezing in as much work as he can around looking after his young children Benjamin, 6, and Scarlett, 3. They also provide him with captive, if not always willing, subjects for personal projects, ideas and practice shoots. In this article written for Creative Light, Simon outlines the effort and intention that goes into creating Guild Gold Bar Award winning shot. “The ‘End Of Year One’ class photo shoot came about after one of the Mums of another child in my son Benjamin’s class saw some photos I’d taken of him in a suit and trilby with Noir style lighting. The Mum loved the pictures so much she suggested an end of year shoot with a few of her son’s friends in a similar style. “I’ve always liked the idea of photographing kids in totally adult situations, taking the roleplaying children do but to a new level”. So, without hesitation I happily agreed.

simon newbury

We had planned to have five of them sitting around a table in a seedy bar playing cards and drinking. As word spread more Mum’s wanted their children to be a part of the project. Eventually it got to the point where it was just plain rude not to invite everyone. A sign was posted on the classroom window and very quickly I was suddenly left with the daunting task of creating a single stylised image with no less than twenty-one excitable six year old children. With so many children the issue became how and where I was going to shoot it. I had intended use a white backdrop and superimpose them on a background, but with so many subjects it was simply going to be too much of a struggle to be consistent with perspective and lighting. So a venue was sought and we were lucky enough to be offered the Manor Barn in Bexhill. I visited the barn a couple of nights before the shoot to scope out the room and take some reference shots that I used to sketch out my idea for the final image. I confess I was very pleased just how faithful to the sketch the final image was - this kind of shoot definitely needs to be very carefully pre-planned. Having shot many weddings and events, I can confidently say that morning was the single most stressful shoot I have ever undertaken. However I do feel it would have been easier had my own children not been involved. I could not have done it without the aid of my wife and part-time second-shooter, Abi, who did a grand job of corralling both the children and their interested mothers whist I set up between shots. The whole shoot took about two and a half hours, which was frankly too long. In hindsight, there are many things I could do differently next time to make my life easier, along with those of the kids. There was so much more I still wanted to do, more little details to include, but towards the end of the shoot the kids were so fractious it was simply a matter of making sure I got the shot rather than honing it to exactly what I wanted. The crown jewel however was their teacher agreeing to participate. Unfortunately she couldn’t join us on the day so I shot her against a white background several days later. Creating the final image was a walk in the park compared to the shoot itself! It is made up of six different scenarios. Each individual shot was

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separately with just two lights – a couple of Elinchrom BRX250s, the key in a 60cm gridded beauty dish on a boom arm above the subject to mimic the non-existent ceiling lights and the second in a 135cm Rotalux for fill. Each scenario consisted of three to five individual photos composited together and these six composites were then layered together with extra lights, smoke and effects over the top to create atmosphere. See the video on the next page to get an idea of the process. - Simon Newbury

“

Simon is delighted with the recognition this original image has received, not least including acquiring a Gold Bar from the Guild and winning the overall Image of the Month for July. He’s already had a lot of interest from classes from his son’s and other schools wanting their own unique and totally different school photo and is brimming with fresh ideas he can’t wait to try out” For more examples of Simon’s work or to commission one for your own child’s school visit www.simonsart.co.uk Issue 9 - Creative Light Magazine :

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Issue 9 - Creative Light Magazine :

infocus photography Insurance

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“ “

While I was in Iceland I had a disaster while shooting near Jökulsárlón. I had been on the beach for about half an hour and the sea was calm when a massive wave came out the blue and flattened me like the icy hand of god. My camera was swept out my hands and my bag was flipped and filled with sea water. All told I lost £7500 worth of gear. Infocus have been fantastic from the start, they have been swift to respond, given me a dedicated handler and settled the claim yesterday. If you are looking to renew your content cover I can whole hearted recommend them. Also Iceland is amazing but be careful with your camera. A local photographer told me that “camera manufactures love Iceland, it is the graveyard of gear.” Adrian Spencer 28.2.2014 Hi Gill - Bernice and Crew Just a line to thank you all for the most professional way you handled my claim. I was delighted with the attitude of yourself and your staff and was grateful for the advice given regarding the procedure and particularly the speed and efficient way you handled the whole thing and kept me informed throughout.”

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gold award Congratulations Gavin Prest June 2015

Issue 9 - Creative Light Magazine :

Specialising in Advertising Portraiture George was born outside of Chicago, is obsessed with all things science, and moved to the UK for his love of proper football, a full English breakfast, and Yorkshire puddings. George turned down a scholarship for photography to the Art Institute of Seattle after High School because he didn’t want to move away from Chicago….two years later he was stationed in England in the US Air Force! Since coming out of the service, George has turned his attention back to photography and is now a well respected advertising and editorial portrait photographer. George is known his powerful, story telling portraits. Specialising in advertising portraiture George has had the privilege of shooting advertising campaigns as well as promotional and commercial portraits for bands, musicians, and celebrities. Currently residing outside of Cambridge, George still thinks the English weather isn’t all that bad and has hopes of Cambridge United one day make it into the Premier League.

Q: How did you get into photographing

george fairbairn

bands?

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Once upon a time I was a musician and played in a few different bands. When I was in the military though, keeping a band together proved to be a nearly impossible task so I put my guitar to the side. It was when I got out of the military and picked up my camera again that I started going to places that felt natural for me to photograph…gigs. I would just head into Cambridge and take photos of different gigs and talk to the bands about taking promotional photos for them. Eventually it got to a point where bands were approaching me for photos and I realised that there was something there and I started focusing my attention on bands a bit more.

Q: What is your favourite choice of lens for

gigs?

For gigs, especially smaller gigs with poor lighting rigs, fast is more essential than anything else. I

What George Photographs Advertising Portraits | Editorial Portraits | Bands and Musicians | Fashion

Issue 9 - Creative Light Magazine :

primarily use my 50mm 1.8 prime or my Sigma 18-55 2.8. This will depend on the gig though. Larger gigs with good lighting you can get away with a slower lens. But sometimes you are further from the “action” and need a little more reach as well. Small gigs in a pub you are literally on top of the band and can get some very creative shots with a nice wide lens.

Lighting, do you prefer studio or available light for your photography? I always add light and it’s very rare when I purely use available light. I have a massive Peli case that I bring on my shoots now and it has three Elinchrom Quadra’s and batteries in it. This allows me to bring high quality lighting with me to any location. It’s only recently that I started using the Quadra’s though, for a long time I used Speedlights and modifiers with those…and they did a tremendous job. Now that I shoot more high profile jobs and musicians I needed something that was more reliable and powerful.

What have you found the most challenging about your photography? Trying to avoid cliche’s!! Honestly when photographing bands and musicians there are a LOT of cliche’s that people associate with it. I try my hardest to avoid those and come up with new ideas. Trying to constantly come up with something new is tough, but it’s also one of the things I love about it the most as well.

Q: What are your pet hates about being self employed?

Honestly I don’t have any hates. There are things that you sometimes wish were a little different. Working by yourself all the time being one of those. Days that I am not shooting I am usually completely by myself in my home office… just me and the dog and the cat…and they don’t make for great conversation!

Tips and advice for anyone wanting to venture into photographing bands and the music industry? Get out there and make yourself known. Unsigned bands are always playing small shows that you can walk into and take photos of. From there you need to introduce yourself to them and make a name for yourself. This is a great way to build your portfolio as well, make mistakes and learn here while you can. You can’t afford to be learning on the job when you are shooting for a magazine, so get out there and experiment and develop your style and network!

Q: Who inspires you? This is always evolving for me as I am constantly finding new photographers that amaze and

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inspire me. For a long, long time Joey Lawrence was my biggest inspiration. He still is, but I keep finding new photographers that I love. There is a guy in American names Caleb Kuhl that I am currently obsessed with.

Q: Apart from sheer hard work and graft,

what would you say is the ingredient to your successful photography business? Hands down it’s your marketing. Marketing is different for me than it is for a wedding photographer, but knowing how to market yourself and get your work seen by the people that will hire or commission you is the single most important aspect of your business. You can be producing the best work in the world, but if the people that would hire you don’t see it then it doesn’t matter. It took me a little while to figure out exactly how to get my work in front of those people, but I have a system now.

Q: Website? How important is it to your business?

This is another one that will vary depending on who your customer is. For a long time I had a website full of pages about my services and pricing. I then met with a photo agent that opened my eyes to what my website should be. For my customers, they don’t want or care about all the words…at all. So I changed my website to a portfolio, a small about me page and a contact page. I still have a blog on there as that is what brings the hits from Google, but now my website is all about my work visually and not about what I do and how I do it.

How do you advertise and promote your business? This is something I struggled with for a long time. I was advertising and marketing myself in the wrong way. I was approaching marketing in the same way a family portrait or wedding photographer would and I would sit here and wonder why it wasn’t working. I then realised that my target market isn’t the same and they don’t find photographers the same way. It was then that I changed my approach to a far more direct, sales approach and the difference has been night and day. For me the answer is now simple…pick up the phone and call the people you want to shoot for.

Do you travel very far for commissions?

I do, but I haven’t travelled too far just yet. Currently I would say I travel further for portfolio showings that I do for shoots! I live outside Cambridge so most of my travel is into London for shoots…almost all of my shoots are in London now. But, I travel the length and width of the country to show my portfolio to different people.

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Q: What was your background professionally before becoming a full time professional or have you always been involved with photography?

Before becoming a full time professional the majority of my “working life” was spent in the US Air Force. Photography was something I did prior to joining the Air Force, but I didn’t take seriously as a potential job…mostly due to others at the time telling me it wasn’t possible. After I left the Air Force I went into a sales and marketing job which I was very good at. But, when I started realising that I could actually make money photographing bands and musicians I started planning and making ways for that to be my job instead.

Q: Three words that describe you? Oh man this is tricky. How do you say things without sounding pretentious! :D “Honestly I would say Energetic, Tenacious, and Awesome!”

Q: Your favourite food? Pizza! Easy! I am originally from Chicago where we have the best pizza in the world so I am always making my own pizza.

Q: How would you describe your approach to photography?

I approach every shoot with the attitude that it is going to be my best work yet. If I am ever going into a shoot and thinking that I cannot get any better then it’s time for me to hang up my camera as I think you can always do more, do better, do bigger.

Three interesting facts about you?

I had a period in my life after High School in the states and prior to joining the Air Force where I was basically homeless. This was down to me not being able to put my life in order, and hence why I made the decision to join the Air Force and get my life together. Ironically, since I was in the Air Force, I have developed a fear of flying…I really need to get over that one! I drive like a grandma as well. Anyone that has ever driven with me will attest to this! I stick to the speed limit and I can’t be a passenger in a car with someone that speeds…basically I am a massive scaredy cat about things I am not in control of! :D

why?

Favourite place in the United Kingdom and

Tricky one. Most of my wife family live down in Devon, and I really love it down there. But, I also love Wales. Being from a large city in the states that resides in a state that is completely flat I find myself loving the areas of green hills and mountains as I never had any of that.

Q: Favourite shoot, location or band? This has to be my Twenty One Pilots shoot. Not only because it was my first cover shoot for Rocksound, but the shoot itself was a lot of fun and extremely challenging. We had smoke bombs and distress flares for the shoot and the resulting images are awesome…and trying to balance flash with a distress flare proved to be a challenge, but one that I conquered! :D

Have you a funny tale or story to share? (photography related) Yes! A couple of years ago I was photographing a DJ in shoreditch in London. We were shooting on a little bridge that went over the Overground line through Shoreditch. This was when I was using speedlights and I had my a speedlight on a stand with a Westcott softball around it. I hadn’t really noticed that it was a little windy until the wind knocked my light stand over….over the side of the bridge and directly into the area for the overground line. Thankfully it didn’t land on the tracks, but it landed in an area that there was no getting it back from.

Where next?

Bigger and bigger jobs! My short term goal currently is to get busy enough that I need an agent and to get picked up by an agent. Longer terms goals…there are loads of them! But, generally it’s to shoot for bigger and bigger magazines and to shoot bigger and bigger ad campaigns. - Julie Oswin

Do you use a tripod and if so, how important is it to your job? I do about 50% of the time. Mostly the tripod is for when I am doing composite work, and when I am doing composite work the tripod is absolutely essential.

http://gfphoto.co.uk Issue 9 - Creative Light Magazine :

www.datacolor.com

Future Proofing your colours

We all want to be able to show our images off to the best effect and a key part of this is the need to have a colour correct screen to not only display our images but also to retouch on if required. Whether you intend your images to be viewed in print, online, on a curved cinema TV or even ‘in App’ in this article Richard West runs through the latest colour management tools and techniques required for getting your colours correct today and tomorrow... I’m sitting on a train, writing this article and trying to place images on an InDesign page that I can hardly see, let alone get the colours right on. Now, whilst this is in no way the recommended way to work in a colour accurate environment (which would involve being in a darkened room and sitting square on to the display amongst other elements) it is indicative of how most of us need and even like to work nowadays i.e. mobile. I present at a large number of photo, video and graphics shows every year and like me, the recurring feedback I get from attendees at these events is that the days of the average photographer or videographer working on a nice desktop machine in a controlled studio environment are rare at best and a distant memory or even never experienced fable for most. But heh this is progress! I can now mock up designs and even manage basic retouching whilst on trains, planes, ferries and far too frequently, in well know coffee shop chains (perhaps a colour managed printer next to the cutlery and napkins stand wouldn’t be such a bad idea Mr Nero??) Taking this change in working practices into account the guys and girls of Datacolor’s research departments have now updated their range of Spyder screen calibration devices to the latest version 5 model, incorporating as they do so, a major redesign to the physical unit to make it an ideal mobile tool. Aside from The Spyder5 has a built in lens cap to protect the Sensors and act as a counter balance for positioning sporting an upgraded sensor array for even more accurate colour fidelity on screen the new Spyder5 comes built as a far more robust unit featuring this array encapsulated in a protective casing built to withstand the knocks and bashes of the modern day photographer on the move. There’s even a new lens cap incorporated into the design to protect the optics when not in use. This also acts as the counter balance on the USB cable for positioning the Spyder in the correct place whilst calibrating the screen. Following another trend to present our images and videos on larger TV screens and projectors, another redesign for the Spyder5 is the addition of a tripod mount to allow the device to be easily positioned for use in calibrating the bigger displays if the standard hanging of the device via its USB cable isn’t possible. The shape of the new Spyder has also been enhanced to optimise its use in calibrating the emerging array of curved displays from various manufacturers. The Optics array itself is now upgraded to enable calibration of 4K and 5K screens and features a new honeycomb filter to aid calibration of lower quality displays susceptible to light scatter and leaks which can seriously lower colour accuracy. Even the graphic designers stalwart, the beautifully designed Apple iMac can fall foul of these issues, as the thick glass front found on certain models can allow large amounts of light to

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creep into the display from its sides if not used in the aforementioned, classically recommended, colour controlled environment of a darkened studio. The honeycomb filter on the sensor, originally designed for the Spyder4 to alleviate this problem, has now been further perfected to reduce any issues here. Consisting of a mesh of parallel tubes fixed at 90 degrees to the sensor array, this honeycomb has now been made deeper and finer in its layout to focus light more accurately onto the sensor array and hence further cut down stray light from falling on the sensor. As such Datacolor are now seeing improvements of up to 55% in calibration compared to other devices, particularly on older or less colour accurate (expensive) displays. Perhaps this breathes new (calibrated) light into older kit for those of us trying to get longer life from our displays. Calibrating a display with the Spyder is simplicity itself. Simply download and run the accompanying Spyder The Honeycomb baffle on the Optics Software (Mac or Windows) on the relevant computer that is driving the screen to be calibrated. Once started this software array helps focus light runs a range of known colour swatches in front of the sensor array on the Spyder. The Spyder then reads how these swatches removing stray unwanted are displayed by the screen and compares the readings with the software’s look-up tables to see what colour range the screen light and improving colour calibration is capable of (i.e. its gamut or effectively its colour profile) and how far out from the ICC (International Colour Consortium) standard the display is. The ICC (A body consisting of most computer hardware and software manufacturers) produced this standard allowing displays, printers and other colour outputs to be measured against a uniform ‘yardstick’ of how colours should appear and corrected if not displaying correctly. Fortunately we don’t have to understand the maths behind it, just run the Spyder Calibration and as soon as you hit the ‘Save’ button at the end of the process, your display is corrected so you can now trust what you’re seeing. The only question remaining now is, “How will my images and videos look on something else?” i.e. if you are wanting to print out your still images or display stills or video via a different medium (e.g. a projector or TV), how can we check, and if needs be correct, how they will appear? We are all probably aware that the same image in a glossy magazine can look vastly different in a poor quality newspaper, but how do we get to see this and check the end result prior to output? Fortunately softwares such as Adobe Lightroom enable this with the greatest of ease. In Lightroom there is a large button in the Develop module. Once ‘Ticked’ if you have the relevant output profile for your intended output (i.e. the ICC description file for what colours the printer or output device can produce) you can simply apply this and ‘Softproof’ the images for the relevant output. Once you can see how the images will appear on a particular output you can then make adjustments in the develop module tools pallet to improve the image if needs be. Generic profiles for most print devices, paper and other types of output are widely available and some even come with most operating systems. Of course a vital prerequisite here is to make sure that the screen you are softproofing on is calibrated into the ICC standard otherwise you might be correcting a fault of the screen rather than the true representation of what effect the output will have. When it comes to softproofing your various outputs though, if using generic profiles for the different outputs aren’t good enough for you - for instance if this is your living or you enter a lot of competitions, then you can always create your own output profiles for whatever you want to show your work on. If you are simply showing your images or video via a different display style device (e.g. a TV or Projector), you can always use your Spyder5 to generate the specific Profile for your intended output. If you are going to print you images though, where a different type of paper or ink on the same printer can cause a major difference in appearance let alone if you have multiple printers, then perhaps getting the sister device to the Spyder5, the SpyderPRINT to calibrate your different printers and papers would enable accurate softproofing of print devices. However important this last stage is to you, the key thing throughout is to get your images onto a calibrated screen so go get a Spyder5 and show your true colours. To learn more about improving your images or find out about the entire Datacolor Spyder Range of imaging accessories please visit: www.datacolor.com/spyder5-photoguild

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Issue 9 - Creative Light Magazine :

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spotlight Congratulations Susan Swanson Qualified Wedding July 2015

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Click on the red arrow to see watch the video.

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gold award Congratulations Ozzie Malik May 2015

Issue 9 - Creative Light Magazine :

Light Blue Take a poll of your photography friends, and it’s unlikely that ‘admin’ would be near the top of ‘things I love doing in my business’. Taking pictures, yes; thinking creatively and a variety of situations, sure, but keeping track of the diary, sorting out income and expenditure, and managing the day-to-day running of the business will probably be languishing towards the bottom of the list. That’s where Light Blue comes in: it’s designed to make the admin side of things as simple as possible, so you can spend more time on the interesting stuff. The company behind Light Blue puts customer service right at the top of their priorities, too, so there’s world-class tech support to back up a brilliant product that helps thousands of photographers around the world.

hat makes Light Blue special?

hamish symington

“We want to make Light Blue as useful as possible to our customers, and to help them get the most out of it” says Hamish Symington, founder of Light Blue Software. Something our customers tell us they love is that we’re so closely engaged with our them – we listen to what people say, both when they get in touch with us by email and when we meet them at trade shows and events, and we act on suggestions and comments. It means we’re always improving what we do, developing Light Blue so it’s even more helpful to photographers. If we had a company motto, it would probably be ‘Be friendly and make great software’. “We also really care about what we do - It’s why our software and customer service was voted runner up in the SWPP Awards in January 2015. We have a company policy of what we call ‘fixing things twice’ – so, if a customer gets in touch with us with a problem, we first of all help them sort things out, but then go back and look at our software, to try to stop the problem happening in the first place. It’s meant we’ve been able to make our software more intuitive and more reliable with every update – making it easier to do the right thing and, crucially, harder to do the wrong thing”.

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What do photographers say? Light Blue’s customers are fulsome in their praise of the software. Rob Pugh, Olympus ambassador, comments “I’m blown away with how the Light Blue team listen to their customers and other photographers for what they are looking for within the software! Light Blue has helped me in so many ways I don’t know where to begin.” Jay Emme, international film wedding photographer is equally complimentary, “As soon as I saw Light Blue and met the team, it all just made sense. I’m no longer scared of finances. I no longer have a hatred of admin. I never thought that day would come.” Light Blue is recommended by the major training schools, magazines and societies, including Aspire, Damian McGillicuddy, John Denton, Photo Professional… the list goes on.

So what does Light Blue do?

To find out more about Light Blue

Quite simply, everything you need to keep your business on track.

Visit www.lightbluesoftware.com to take a free, fully functioning trial of Light Blue today, to find out for yourself how it can help you run a busy and successful business.

• Information at your fingertips – all your jobs, all in one place, including complete histories of your communications, a nifty dashboard and a powerful task manager. • Finances made simple – it’s easy to invoice (and make sure you’ve been paid!), handle tax, and build quotes for your customers. • Reports and queries at the touch of a button – hours in Excel become a few clicks with our easy DIY reporting and lightningfast searching. • It’s better to share – subscribe to our online services to share your info between computers, use our iPhone and iPad apps, hook up your web contact forms to Light Blue, take advantage of our great new online contract signing facilities, and more.

Light Blue Software also offers a free half-hour one-to-one screensharing session for everyone taking a trial, to help you get to grips with the software. The Light Blue team also run regular webinars, both introducing the software and on specific topics. You’ll find a full list at www.lightbluesoftware. com/support - including recordings of previous webinars so you can watch at your leisure. There are also lots of helpful video tutorials giving you walk-throughs of things within the software – find those at www.lightbluesoftware.com/tutorials If you have any questions at all about Light Blue, just get in touch with the team by email, at support@lightbluesoftware.com

Issue 9 - Creative Light Magazine :

Newborn & Maternity

newborn baby posing

Photography Props

andra Dorney started photography after having two children. I wanted to be able to take lovely images of them growing up. In younger days was a legal secretary, latterly working with my husband in the antique trade in our own business. So while the children were young I undertook a part-time college course in Photography initially in film, working in the darkroom which I loved. Following on from the course undertook a year’s Photoshop course and of course moved into the digital world and began to pursue a career in photography once my daughters, now aged 18 and 14 had started school. Worked as a freelance photographer for 10 years doing family portraits, toddler groups and pre-schools and moved into newborn shoots. Realising that the photography genre I was in was very seasonal – busy at Christmas but so quiet in the New Year and holiday time I began to research into the world newborn photography posing –

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newborns are born daily! I wanted to be able to create the images that I was seeing from the US by the likes of Robin Long Photography and realised that I need the most essential prop a newborn posing beanbag. After a lot of research there was no UK supplier for the beanbag I needed, or many of the other lovely props we could see in images in the US. Got together with my designer friend and colleague and designed the first UK newborn baby posing beanbag and hence Newborn Baby Posing Limited was born. The business started with the beanbags, and week by week added new lines to our website, sourcing props from the UK and around the world and quickly needed premises. We obviously realised the need for training in this field too and decided to arrange for some of the best newborn trainers around to come to our studio and run training workshops. - Sandra Dorney

arah Hatton was awarded a BA(Hons) degree in Graphic Design many years ago and then a PGCE in (Primary) Worked as a primary school teacher for 12 years until my youngest daughter was born and then ‘retired’ for a while ☺ After a few years of play groups, school runs and picnics I was looking for a new direction, something to keep me busy. I of course did not want my design skills and degree to go to waste. I loved creating products and designed a huge wedding jewellery range and created Crystabelle Wedding Jewellery which is still running. I first met Sandra through our children, they attended the same nursery. Sandra began to photograph my jewellery for me (I am no photographer!) and we arranged many model photography sessions too which we really enjoyed doing. We had discussed the lack of newborn photography props in the UK and were both looking into this, Sandra from a photography prospective and me from a design one and then as above the rest is history! - Sarah Hatton

EXCLUSIVE Guild Special Offer FREE BEANBAG

ewborn posing beanbags are essential for the mobile newborn photographer and this special offer is for our best selling newborn baby posing beanbag which retails at £58.00 plus VAT. Please note this offer is only available to you with a minimum order of £150. It is the most essential item for those embarking on a career in newborn photography - a fantastic size and suitable for twins. To take advantage of this simply place your order on their website and add your Guild membership number to the comments section when ordering. (Please note that this offer is strictly limited to members of The Guild of Photographers and one per member).

A fantastic exclusive offer from Sarah and Sandra which will be followed up by an ongoing 10% discount off props or training, through the use of the discount code - please contact head office for your discount code. www.newbornbabyposing.com Issue 9 - Creative Light Magazine :

spotlight Congratulations Paula Beaumont Qualified Professional August 2015

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spotlight Congratulations Dagmara Shannon Qualified Newborn & Baby August 2015

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ÂŠ Claire Elliott CrGPP

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spotlight Congratulations Abi Moore Qualified Professional July 2015

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spotlight Congratulations Janet Penny Qualified Newborn & Baby July 2015

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spotlight Congratulations Mac McBride Qualified Wedding July 2015 Issue 9 - Creative Light Magazine : 63

Portrait Photographer David is married to his wife Janet and they have two grown-up children, Natalie aged 26 and David 24. He left school in 1979, aged seventeen and at once went after a career in Professional Photography. In 1998 at the age of 36 David achieved the highest grade of qualification with the BIPP and MPA when he became the youngest Fellow in Wedding Photography in the UK.

david p macdonald

David runs a Portrait Studio in Ware, Hertfordshire. Creative Light talks to David about his career, photography and his journey.

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ÂŠ David P MacDonald

Q: What camera and favourite lens

combination do you use for your work? Canon EOS 1Dx and 70-200mm. I love the way the lens sucks in the background on location and gives a shallow depth of field. In the studio it shrinks noses on close-ups!

Can you tell us which lighting equipment you prefer to use on location and why? A reflector because I don’t like any portrait artificially lit and I use a reflector to enhance the natural light.

Q: Have you any advice to our members wishing to open a High Street Studio?

In one word - don’t. Premises off the High Street, even factory units are much cheaper and the money saved can be used for marketing. This will bring in many more clients than being on the High Street.

Q: What tips and advice can you give anyone wishing to become a full time Professional Photographer?

Book a year’s consultancy or training course to learn the basic fundamentals of photography. Issue 9 - Creative Light Magazine :

ÂŠ David P MacDonald

Learn how to market your business and business skills and avoid wasted marketing. Learn the craft of your genre of photography.

What would you do differently in your business if you could start again? Not waste thousands of pounds on magazine, directory or newspaper advertising. Understand the internet and how Google works.

How important is Post-Processing and Photoshop in your final images? Whilst we use Photoshop on every image, it is only for losing spots, lightening under eyes. To be honest if you have edited an image post -process and you can see that it has been done then it has been done badly!

Q: Do you show unedited images to your clients?

Yes! Our clients are viewing and ordering their portraits ten minutes after the shoot. So for me it is very important to get it right in camera!

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Q: How did you begin to build your brand? You decide what you stand for. You can try and be all things to all things, to all people and you will become a master of nothing. Have a vision of what you would like to be known for and then donâ&#x20AC;&#x2122;t let clients deviate you from that path. My biggest bugbear is this assumption nowadays is that you have to sell discs to your portrait clients. All of the highest average order value studios I know do not sell discs, all of the studios that struggle with low average order values do. I canâ&#x20AC;&#x2122;t fathom why this lesson seems so difficult to understand.

Q: Apart from sheer hard work, what would

you say is the main ingredient to your success? The continuous striving for the best quality possible and always giving the very best possible customer service to my clients.

What have you found most challenging about being self-employed? VAT returns! I resent being an unpaid tax

collector and then being treated with suspicion and no gratitude.

Website? How important is your website for your business? Very. Interestingly, we use it as a deal closer rather than a shop window.

Q: How would you describe your style and approach to your photography?

Client led. If I have to choose between what I like and what the client likes, I take images that my clients will like. For myself, I like elegant, relaxed, gentle images that makes my subjects look their (or it’s) best. Timeless is another important one... My images are on my clients walls for a long time and I want them to still be a talking point for their guests for all that time.

Q: What do you feel has helped you to succeed where others have failed in this industry? I really understand sales and marketing!

Q: What is your favourite place in the UK? Home. It is my sanctuary.

Where next?

Hopefully breaking into the world of Landscape Photography. At 52 I find myself looking more and more at future income. I can’t see myself rolling around on the floor photographing two year old children forever, so the idea of images I’ve already shot producing a drip feed income as I get old is appealing. Watch this space!

Favourite food?

Sushi

Q: Three words that describe you? LOL. Probably better for you to say Julie! Determined, driven and competitive when I was younger. Now, a bit longer in the tooth, I would say that determined is the one that still applies, the others perhaps not so.

Thank you David. - Julie Oswin

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ÂŠ David P MacDonald

â&#x20AC;&#x153;

Bernard Glasser: Bernard was a lovely man who had been an A movie film producer for all of his working life. He had spent two years writing a book about his life in films and was about to be published. He approached me to shoot a portrait of him for the sleeve of his book, just a standard head and shoulders, but talking to this quiet man I just felt I had to shoot a study of him that showed how he had spent so much of his recent time. For me it really summed up what a humble, gentle man he was. - David

David P MacDonald David P MacDonald Photography, www.davidpmacdonald.com

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gold award Congratulations Henry Ransby June 2015

gold award Congratulations Pip Bacon May 2015

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TAKE THE PAIN OUT OF PROOFING ü Your client can have fun favouriting images in their gallery on any device! ü Instantly access your client’s favourites and import them directly into Lightroom. ü Save yourself HOURS of work! TRY IT FOR FREE TODAY

www.3xmsolution.com Issue 9 - Creative Light Magazine :

Rich Media in Digital Marketing We are delighted to welcome back Laura Hampton to Creative Light. Laura previously worked in Hallam Internet and now the Digital Marketing Manager for Impression and will be writing articles on Google for us. Impression based in Nottingham has a team of 15 digital marketers, website designers and web developers and serves clients across the UK and beyond. Their services include SEO, PPC, content marketing, digital PR and website design and development.

laura hampton

Rich Media in Digital Marketing

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The way we search the web is evolving. No longer do we seek text content alone or use the web like a book. Today’s web user is engaged with rich media too, meaning images, video, graphics, basically anything that’s not plain text. For photographers, this change to the way we consume web content presents a huge advantage. In a world where great imagery gets attention, photographers have the opportunity to really excel.

Google and Image Content Part of Google’s strategy to improve the search results has been to improve its own ability to parse rich content, such as images or video. In recent months, Google has made great strides in how it understands images and is starting to recognise objects in images, as well as delivering a more developed image search result, which means images themselves are becoming a much more common feature in the search results pages. Moving forward, Google is working hard on its ability to understand what’s happening in a

video, so it can better index video content too.

What this means for photography websites For photographers, the imagery used on their own websites has always been important. Ensuring your photography showcases your range of services is important, and there are a number of things you can do to help Google better understand your photos, so it can deliver those images as search results (which in turn helps you attract more visitors to your website). These things are relatively simple to implement if you manage your own website through a platform such as Wordpress, or ask your developer to do them for you:

Use image alt tags and title text The image alt tag and title text is what tells Google what the image is. It is also what is used by screen readers for accessibility purposes to read out what the image is. So it’s an important element of helping Google and other search engines to understand your image content. Both the alt tag and the title text can be the same, or very similar, for the image if you like, but each image must have its own unique alt tag and title text. If using Wordpress, you’ll see these two fields alongside the image when you upload it in the back end editing area. Choose an alt tag and image text which represents what the photo is and also what page it’s on on your website. So if your page is about wedding photography, and your image is of a bride having her hair done before the wedding, you might choose the alt tag and image text “Wedding photography example: bridal preparations”. This is in contrast to something like ‘woman doing hair’, which obviously states exactly what’s happening in the photo but doesn’t sufficiently describe the photo and what it communicates.

Name your image files appropriately

issues in terms of how well and how quickly the website loads. Having a website which takes more than a second or two to load can be a real disadvantage as web users are impatient and will often navigate away from a site that takes too long. You can check how quickly your site loads using Google’s page speed test - simply Google ‘page speed test’ and then put in your website’s URL to get a full report from Google on what can be improved to help your site load faster. Often, slower loading times are caused by images so it’s important to keep the dimensions to a workable size for the internet. Especially if you photograph in raw, your images will be very large. A good estimate is to try to keep images to around 800 pixels wide should be fine. This resizing should be done prior to uploading the images to the site, rather than shrinking them once on the site, which still needs the server to load the original then reduce, thus adding loading time. It’s also important to consider mobile users in this, where a large image will cost them in mobile data and likely stop them returning to your website in future. Instead, ask your developer about using CSS to serve up a different image size depending on the device on which your website is accessed. This will mean mobile users access a smaller photo than desktop users. Photographers have a distinct advantage when it comes to high-quality website imagery. But that’s not where the opportunity ends. As well as updating your own website’s imagery, consider your service offering; as rich media continues to play a bigger part in digital marketing more generally, consider how you might capitalise on that in the photo types you sell - you may find a growing demand for ‘website photography’ in the coming months. - Laura Hampton

This relates to the actual file name of the image. For example, with most cameras, the file name of the image will be a set of numbers, usually representing the date. However, Google will use the file name as another method to understand what the image is, and therefore naming it in a way which describes it will benefit that understanding. So rather than ‘210815164254.jpeg’ you may choose ‘bride-preparation.jpeg’, for example. To do this, simply rename the file before uploading it to your website.

Laura Hampton Digital Marketing Manager Impression, Nottingham

Use the right image size for the device your website will be viewed on

www.impression.com.

This one is a little more tricky and will likely need the assistance of your web developer to implement. Your website images can cause a number of Issue 9 - Creative Light Magazine :

A Day At The

IMAGE FACTORY A look behind the scenes at the largest wedding post-production service provider Hezikiah de Souza is the managing director of ProImageEditors (www. proimageeditors.eu). The production facility, which is located in Mumabi, India, houses over 220 image editing professionals who process images from all over the world. ProImageEditors (PIE) was founded 12 years ago by three Indians living in the United States who were quick to recognize the need for image post-production in the stock photo industry. The company started out with services like scanning, dust spotting and retouching for stock but now also caters to verticals like real estate, product, fashion and portraits (school, kindergarten, seniors and babies). With the addition of weddings as a vertical, PIE is now able to generate more business with wedding images than any other type of vertical. Nowadays, subcontracting of image editing is an integral part of the wedding photography workflow. The basic idea

here is to help photographers save TIME, save MONEY, and focus on what photographers do best – “Shoot Great Pictures”. During the season the PIE workforce processes around 1.6 million images per month. De Souza tells us that typical wedding photographers shoot about 6-8 jobs per month during the peak season and usually do not have enough time to process and deliver these jobs in the same month. Photographers who do their own post-production sometimes end up delivering finished photos months after the wedding has taken place and often consider changing jobs as a result of all the stress! De Souza says, “We do more than just process images. With the additional time gained by subcontracting their work to PIE, we give photographers the time they need to focus on existing customer relations, win new clients, plan their shoots better, or just spend more time with family.”

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Hezikiah De Souza: “We do more than just process images.“

Since production turnarounds are just a few days, couples receive their images faster and in turn the photographers get paid faster, too. Wedding photographers are often chosen by couples for their shooting styles, which gives certain photographers a real commercial advantage. Mr. de Souza doesn’t want to change this and tells us that 95 % of the workflow (selection, color correction, cropping, straightening and more) is the same across all photographers. It is only the last 5% that makes each photographer unique. So the idea here is to help the photographer with that 95% and give back images to which the photographer can then add any final touches. Since most of the edits are done in Lightroom, the photographer can add or subtract changes as per his liking which means that they still have full control over all the images that are being edited. Subcontracting image editing also means saving money. To color correct without selection, the price per image is about 14 euro cents (about 0.10 GBP). To color correct and select the best images for customers the price per image is about 11 euro cents (about 0.08 GBP). In the selection process customers get to choose the percentage

Over 220 Image editing professionals are working in an environment of high security protocols to prevent customer data from going astray. The company’s electronic access systems are comparable to those used in high-security medical laboratories.

of the image that they would like to keep. A typical wedding of 800 images without culling would typically cost around 112 euros (about 80 GBP). For most Europeans, prices like these immediately conjure images of collapsing textile factories and undernourished children, but such clichés don’t apply at PIE. The company’s imaging experts earn a salary equivalent to that of a professor in most schools, and normally have a degree in arts with additional Photoshop certification. During the peak season, the staff can earn up to three times their salaries in incentives for efficiency and extra working hours. The great working conditions mean the company has a constant stream of applicants for work, but not everyone has what it takes to process images professionally. Every candidate goes through a color blindness test even before they get selected for a 3-month training program to get them to the international standards that are expected from PIE and its customers. Mumbai is an ideal location for business and offers great network infrastructure without the power cuts that plague other Indian cities. Fiber-optic cables connect the company’s offices and it currently has a 300 Mbit Internet pipe.

De Souza says, “If I need to double my network capacity, I can have the required infrastructure up and running within three days. A quick look into one of the other offices reveals the video editing work that is destined to become a big part of the company’s future. Increasingly, wedding photographers shoot video footage of the events they cover, and anyone who has ever edited his or her own videos knows how much effort this involves. Mr. de Souza continues to develop the company to match the services offered by its photographers and videographers with services like video editing and photo book design.

500 If you’d like to try subcontracting your image post processing then PIE gives you a 500 image test for free.

At the end of our tour, de Souza assures us that European photographers are quickly shedding their doubts about subcontracting and that Europe is PIE’s fastest growing market, even if the volume of business the ‘old world’ generates isn’t as large as that of the United States. Editor’s note: As demand in Europe grows, PIE continues to seek partnerships with institutions catering to professional photographers. The Guild of Photographers has partnered with PIE and we are happy to announce a 10% discount for members.

IMAGES FOR FREE For details please go to: www.proimageeditors.eu/guild Issue 9 - Creative Light Magazine :

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gold award Congratulations Allen England May 2015 Issue 9 - Creative Light Magazine :

Hempstalls Lane, Newcastle-under-Lyme, Staffs, ST5 0SW. t: 01782 753304 e: sekonic@johnsons-photopia.co.uk w: www.johnsons-photopia.co.uk

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Join us on Facebook at www.facebook.com/ johnsonsphotopia

Photoshop: How to change colours Glyn Dewis is a professional photographer, retoucher, and trainer based in England. Glyn’s photography and retouching sees him working for national and international clients ranging from the BBC, SKY and Air New Zealand to athletes, musicians, and other industry professionals. A Photoshop World Dream Team Instructor, KelbyOne Instructor and Best Selling Author of “The Photoshop Workbook”, Glyn has featured in the New York Times for his Photography technique, teaches his own series of courses, provides one-on-one coaching and presents at events around the World covering all aspects of Adobe Photoshop from basic to advanced techniques.

think it’s fair to say that the Hue/Saturation Adjustment, is the first port of call when it comes to changing colours within our images...certainly for new users of Photoshop anyway. However, because it can appear so simple it can be viewed as being quite basic BUT this really isn’t the case.

glyn dewis

So in this tutorial I’d like to show you one way that you can use Hue/Saturation so that you can very quickly and easily make adjustments to a specific range of colours and so give you much more control

continued... Issue 9 - Creative Light Magazine :

in your retouching. The example we have here is of a Lamborghini that I originally photographed out on a disused runway but have since made a selection, cut the car out and created a fake studio environment. The problem here however is the colour in the windows is that of the original outdoor scene...a sure giveaway that this is a composite image.

Here is the Lamborghini having been cut out and placed into a new studio scene where we can clearly see the incorrect colour showing up in the windows. So to fix this first of all choose a Hue/ Saturation Adjustment Layer and from the drop down menu change Master to Blues

Now start adjusting the Hue slider to change the colour of the glass from Blue, more towards the Yellows so that the windows appear to have a slight tinting. When we do this though, we immediately can see that not all of the window has changed colour, meaning that there are more tones that haven’t been picked up simply by choosing Blues from the drop down menu.

So, let’s start again and reset the Hue/Saturation by clicking on the Reset to Adjustment Defaults icon at the bottom of the Hue/Saturation adjustment properties panel.

Again from the drop-down menu change Master to Blues but this time, then go to the bottom of the Hue/Saturation Adjustment Panel where you’ll see some pointers along a multi coloured bar. These pointers are telling us what colours will be changed; between the two middle points being the main colour to be changed and the outer points indicating the slight varation of colours that will also be included and changed. Click on one of the outer points and slide across so that all of the pointers are touching each other. continued...

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Now click on the ‘Add to Sample’ colour sample icon (the one with the + icon) and then click and drag around the window area of the Lamborghini. As you do this you’ll notice that the pointers we previously dragged close together have now separated and the gap in between them is telling us what colours appear within the window areas.

- before

Now that we have selected the colours within the windows of the Lamborghini, simply go to the Hue/ Saturation slider and make adjustments to taste. In my original image I increased the Hue/Saturation to -120 and then adjusted the Lightness until the windows appeared clear.

- after

- Glyn Dewis

Sometimes we may find certain things within Photoshop, on face value, quite limiting and not ‘up for the job’ however as is often the case, if we look under the hood there are usually some pretty cool hidden gems that can help us with our retouching in a big way.

See Glyn’s work at www.glyndewis.com and find his wildly popular videos on his YouTube channel at www.youtube.com/ GlynDewis

- Glyn Dewis

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spotlight Congratulations Imelda Bell Qualified Professional June 2015

Issue 9 - Creative Light Magazine :

Wow your clients with high quality, photographically printed sample albums from the award-winning Bellissimo range Save 40% on Bellissimo Perfetto and Bellissimo Fine Art sample albums from Loxley Colour until 30th September 2015.

Save 40% Terms: Enter code at checkout in voucher code field. Expires: 30/09/15. Cannot be used in conjunction with any other offer or discount. Single use only. Excludes postage and VAT where applicable. Please note: Your sample album will be stamped with the word â&#x20AC;&#x2DC;sampleâ&#x20AC;&#x2122; on the back cover.

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Experience the quality of professionally printed wall products for less Save 20% across our Wall Display range when ordering online from www.loxleycolour.com until 30th September 2015.

Save 20% Terms: Offer code cannot be used in conjunction with any other offer or discount. Expires midnight 30th September 2015. Single use only. Excludes postage and VAT where applicable.

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Find out more at loxleycolour.com

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e: westcott@johnsons-photopia.co.uk 86 : Creative Light Magazine - Issue 9

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gold award Congratulations Dade Freeman May 2015 Issue 9 - Creative Light Magazine :

gold award Congratulations Kati Fichtelmann May 2015

gold award Congratulations Howard Ashton-Jones May 2015 88 : Creative Light Magazine - Issue 9

gold award Congratulations Gillian Lloyd May 2015

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e are a family run business with many years industry knowledge, marketing, media and event organising skills.

The Photovision Roadshows are run by Forward Events Ltd. Now in our 11th year we continue to be very popular and important to all Imaging Professionals. As a business we are completely hands on with all our shows, greeting visitors and working closely with our exhibitors and presenters

WEDNESDAY 23 SEPTEMBER 2015 THURSDAY 1ST OCTOBER 2015

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SPEAKERS FOR THE GUILD OF PHOTOGRAPHERS

Claire Elliott

Andrew Appleton

Perfecting your Baby Imagery

Speedlights Fast Track Tutorial

Bookings for Andrew and Claire [click here]

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the boys ÂŠ 2015 Mark Lynham http://www.marklynham.com Issue 9 - Creative Light Magazine :

THE GUILD OF

PHOTOGRAPHERS Let the Guild help you with your photography 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!

JOIN US Professional Membership costs £120 and Regular Membership £90

www.photoguild.co.uk

“No other photographic body offers what the Guild does ... get an incredible package of business support, training and mentoring by some of most respected names in the industry, insurance, legal protection, 1000’s of discounts and much more, including the rights to use our respected membership logos”.

www.photoguild.co.uk Tel: 01782 639 500 94 : Creative Light Magazine - Issue 9