the Photographer - Issue Two 2023

ISSUE Two, 2023

Award Winners 2023 4 See the winning images from the BIPP Photographers of the Year for each region Abandoned Beauty 16 Susan Allan embarked on a project to capture landscapes that challenge conventional notions of beauty, focusing on abandoned and derelict sites.

Life and Colour 26 Pioneering colour photographer and Madame Yevonde, images go on show at the NPG. We take a look at the career of the groundbreaking female photographer. the Photographer is published four times a year by the British Institute of Professional Photography, The Artistry House, 16 Winckley Square, Preston, Lancashire PR1 3JJ T: 01772 367968 E: admin@bipp.com W: www.bipp.com

CEO: Martin Baynes President: Jeff Brown

In Conversation with Arun 32 A former doctor who found solace in photography after his cancer diagnosis and has now excelled in the craft. In the piece, he tells of his journey.

The Science of Success 52 BIPP Fellow Richard Bradbury starts his three-part magazine feature by outlining the essentials of starting a financially stable photography business

Last of The Potteries 40 BIPP member Phil Crow’s project explores British heritage in a series of images documenting the now derelict ovens and kilns of Stock on Trent

A Race in the Snow 58 Grahame Soden ABIPP reports photographing the thrilling 320 km dog relay race that takes place in his home of Sweden that attracts dedicated competitors from around the world.

Design Thinking 46 Bryn Davies explores when the two creative disciplines of photography and design meet to understand their impact artistically & commercially Directors: FBIPP Paul Reiffer (Chair) ABIPP Karen Massey ABIPP Monir Ali ABIPP Barrie Spence ABIPP Jessica McGovern FBIPP John Miskelly (Treasurer) Regional Ambassador: Barrie Spence ABIPP (Scotland) Argha Dutta LBIPP (North West) David Taylor FBIPP (Midlands) Irene Cooper ABIPP (Yorkshire) Monir Ali LBIPP (South East) Matt Curtis LBIPP (Cotswold)

Goodbye John Rose 62 The BIPP pays tribute to one of its stalwart members for his contribution to the world of photography Editor: Joel Hansen, editor@bipp.com Advertising: Tel 01772 367968 E-mail: admin@bipp.com UK Subscribers £30, Rest of the World £60 ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts

Neither the British Institute of Professional Photography (BIPP) nor any of its employees, members, contractors or agents accepts any responsibility whatsoever for loss of or damage to photographs, illustrations or manuscripts or any other material submitted, howsoever caused. The views expressed in this magazine are the views of individual contributors and do not necessarily represent the views of the BIPP. All advertisements are accepted and all editorial matter published in good faith. The Publisher makes no warranty, express or implied, that any particular product or service is available at the time of publication or at any given price. No part of this publication may be reproduced by any means whatsoever, or stored in a retrieval system, or broadcast, published or exhibited without the prior permission of the publisher.

This magazine is the copyright of the BIPP without prejudice to the right of contributors and photographers as defined in the Copyright, Designs and Patents Act 1988.

All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2023

1

CEO

PRESIDENT

M A R T I N B AY N E S

JEFF BROWN

D

ear Member,

Welcome to the summer edition of ‘the Photographer’ magazine.

Thanks to Joel, our editor, for another diverse and interesting magazine.

We are making changes at a rapid pace to make the BIPP more inclusive and attractive to new members while retaining our loyal membership. We strive to be relevant and give value. These developments will touch almost every aspect of our Institute, including the AGM date, National Awards event, BIPP itself, and the website.

The Board of Directors is committed to securing the future of the BIPP and upholding its principles while building resources to support the success of photography.

Congratulations to all members who participated in the regional print competitions. The quality of the submissions has been elevated thanks to the changes implemented by Dr. Paul Wilkinson.

The judging process was organised and equitable, with nine judges assessing and a minimum of five judges per category. To win a category, a minimum score of 80 was required for a Bronze award, setting a high standard for the BIPP. Applause to all members who achieved a score above 80 and the 16 members who received a Silver award. We are now looking forward to the National Print Competition, now referred to as the International Awards, encompassing over 33 countries within our membership.

We extend our gratitude to Richard Bradbury, who led the World Cup Challenge team as team captain for the past four years. Under his guidance, we achieved higher rankings each year. Richard has decided to focus on his demanding work schedule, and we will announce a new team captain soon.

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We will also be forming a team for this year’s challenge, so keep an eye out for details on how to apply as a team member.

At this critical juncture, the board is seeking proactive, positive individuals to become Directors of the BIPP. Directors work diligently as a team to secure the future of our community, organisation, and industry. If you are interested in joining the board, watch out for an email outlining the application process.

Many members took part in task forces and shared ideas and insights. Everyone’s voice was heard, and we will be moving forward with smaller working groups on specific areas to implement new resources, ideas, and concepts. Thank you to every Member who generously gave their time to assist us during the first half of this year.

The AGM will be held online on September 25th, and we encourage as many members as possible to attend. New information about the future of the Institute will be shared, and we want you to be part of it. Links to join the session will be released closer to the date, and for any questions, you can email me directly at martin@bipp.com.

This year’s International Awards event will be on a grander scale, featuring training sessions, talks, and image feedback from the judges. Mark your calendars for November 22nd, 23rd, and 24th, and stay tuned for more exciting details in the weeks to come.

Wishing you a profitable summer, and we look forward to seeing your entries in the International Awards.

M

y first few months as the new president of the BIPP have been rather busy, kicking off with a very productive directors meeting in Birmingham, where the directors and I thrashed out lots of great ideas for the direction of the institute moving forward. An institute that puts its member’s “Success, Support, and Creativity” at the heart of its mission. I’ve also been privileged to have a couple of sneak peaks of the new BIPP rebrand and must say I love the whole new image and direction we are taking, it’s very exciting and something I feel the professional photography industry has been crying out for.

So far, we’ve had three fantastic President’s Monthly Clubs inside our Facebook community. I have a lot more content planned over the coming months with some great guests lined up to share their valuable knowledge and advice.

Each one of these guest interview recordings is packed with business and marketing top tips, these recordings are there for you to rewatch inside the Guides Section of our community, just head up to the top of our Facebook Page below the cover image and click on “Guides”.

In addition to the in-person directors meeting I’ve also been out on the road meeting members at our regional awards events. I would have loved to get around all of them, but unfortunately couldn’t make the Midlands event due to a prior engagement, and the Southeast event was on the same day as the Scotland awards so that made attending both impossible. My mini tour started off with a visit to Pontefract where our devoted ambassador Irene Cooper put on an incredible gala evening with a gourmet 3 course dinner, coffee and drinks. It was a lovely night and good to see so many members in attendance, including my predecessor former President John Cohen. The following morning, I drove down to Bristol for the Southwest awards evening at the very trendy Mud Dock Café organised by our talented Southwest ambassador Matt Curtis. Matt put on a great evening, you couldn’t have asked for a better venue, as we all sat and talked photography while watching the sunsetting across the river on what was one of the hottest days of the year.

The next week found me heading North, up to Livingston just outside of Edinburgh for the Scotland & Northern Ireland Awards. Thanks to BIPP director Barrie Spence for arranging a fantastic evening complete with a very delicious Indian buffet at the Bayleaf Restaurant. The following day I headed off to Ormskirk near Manchester for the Northwest Regional Awards, held at a beautiful country hall hotel complete with a gourmet 3 course dinner, thanks to our hard-working ambassador Argha Dutta.

All these meticulously organised regional events showcase some of the many amazing images entered into the awards by our awesome members from around the UK, these events just like our up-and-coming national event would not be the same without you, our members. The institute is there for you, the more you become involved and dive in the more you’ll get out of it, both online and in-person.

Whether you come away with an award or not, it’s the taking part and being part of a professional community with success and creativity at the heart of its organisation that really counts.

It’s a real inspiration to see such creativity and talent on show, while getting to know fellow members and hearing about their journey in photography. For many photographers their business is a one-man band, it’s events like these that bring people together not only creating lasting friendships, but also sparking our own creative projects and inspiring us to try new approaches and techniques.

I’m always blown away by the extremely high standard of the photography on show covering a wide range of photographic niches. The pet photography entries always bring a big smile to my face, and I’m constantly left in awe by the landscape images on show. Thanks to all the hard work put in by our amazing ambassadors and judges, and of course those who took the time to enter images into the awards this year. But it’s not just those who entered I’d like to thank it’s also those who didn’t enter but came along to be a part of it, I thank you guys too because that goes to show what a really supportive community we have and should be truly proud of.

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JERRY STEVENSON

J O N AT H A N B E E R

I N T E R N AT I O N A L P H OTO G R A P H E R O F T H E Y E A R

N O R T H W E S T P H OTO G R A P H E R O F T H E Y E A R

People & Portraits

Advertising and Commercial

“I

am very honoured to have been chosen as BIPP’s 2023 International Region Photographer of the Year. The winning image is from a photo session I had with a successful model and content creator from Los Angeles. After shooting images needed for his portfolio, I asked if I could shoot some creative shots. He agreed, and the result was “The Mystic.” The image was shot using a Canon 5DS R camera with a 70-200 mm lens.

Lighting was two Profoto six-foot strip lights placed slightly behind and on each side of the model.”

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“O

N is one of our major clients at THG Studios, and this image is one of the ‘Key Visual’ hero images commissioned for the Fall/Winter 22 season. We typically produce 30 - 40 of these images each season, with every one completely bespoke and tailored to the USPs of that shoe.

ON put a huge amount of effort into the design and materials engineering of their products, so showcasing and highlighting shape, textures and materials is vital to a successful image. The image utilises one of my signature lighting techniques… using surprisingly soft light, but in a highly directional manner, with additional support from small silver reflectors. This flatters matte surfaces and controls more reflective ones while revealing shape and texture in the required way.”

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C A R O L TAY LO R M I D L A N D S P H OTO G R A P H E R O F T H E Y E A R

Natural World

“I

was very surprised and honoured to find out that I had won the Natural World category for the Midland Region, further boosted by the overall title of Midlands Photographer of the Year.

The polar bear was shot in Svalbard, Norway, last September after record-breaking hot temperatures over the icecap. Much of the floating ice had melted, so the bears were hungry as they hunted seals that had hauled upon the icebergs, and with no floating ice, no seals.

We had followed this bear swimming from a zodiac boat for a couple of hours before he hauled himself out onto the shore, keeping the bear and us safe at all times.

Showing him in the landscape shows his vulnerability to his changing world.”

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NEIL MCKELLAR S COT L A N D P H OTO G R A P H E R O F T H E Y E A R

Architectural and Industrial

“E

ven though I’ve been fortunate to win the title before, I think I was still as surprised, honoured and pleased as the first time, if not more so. My winning image was of a beautiful spiral staircase in the Usher Hall, Edinburgh. I was aware that it had been refurbished with a striking LED light suspended from the skylight and stopping a few feet from the floor. Thanks to a generous member of staff, I was allowed access to the staircase during rehearsals, where I had time to set up my tripod, lie on the floor, and get the right angle.

Thank you to the judges and the BIPP staff and board for their work, and well done to all those who took part.”

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D AV I D F L E TC H E R S O U T H E A S T P H OTO G R A P H E R O F T H E Y E A R

Architectural and Industrial

“I

was, of course, delighted to hear that my image Ancient and Modern had won an award from the BIPP. It is an honour to be selected from among such talented and hardworking photographers. The image is of the Darius Milhaud music conservatoire in Aix-enProvence, France, designed by Japanese architect Kengo Kuma. I have photographed it many times because it has many forms under the intense light of Provence. I wanted to include a human figure to demonstrate the scale of the building, and here it is, an elderly woman walking with a stick. For me, her curved back contrasts with the sharp precision of the building’s lines, while her stick echoes its soaring verticals, and her legs mimic the many triangles on the façade.”

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K AT E TA R N O W S K A COT S W O L D S & S O U T H W E S T P H OTO G R A P H E R O F T H E Y E A R

Fashion and Beauty

“W

inning the Cotswolds and South West Photographer of the Year award is an incredible honour and a validation of my passion for fashion and beauty photography.

It’s a testament of my artistic vision and the countless hours I’ve dedicated to honing my craft. I’m deeply grateful to the BIPP for recognizing my work among such talented professionals. Winning this award fills me with immense joy and gratitude.

The featured image that won the award holds a special significance for me. Originally, it was created for the cover of Scratch magazine, catering to nail professionals. The concept behind the photograph was to capture the essence of autumn and showcase the intricate artistry of nail professionals in harmony with the season.

The photoshoot took place in my studio in Cheltenham, where I utilized a carefully designed photography lighting setup specifically tailored for beauty photography.

The image encapsulates the seamless interplay of elements, from the stunning model’s expressive gaze to the intricate details of the nail art and the exquisite headpiece design. Each component worked harmoniously to create a captivating visual story that resonates with viewers.

It was a collaborative effort with a talented team, including the stunning model and makeup artist Paris Townsend, the talented nail artist Neringa Alsauskiene, the headpiece designer Vitalija Matuseviciute, my assistant Adrian Jensz, and myself Kate Kasia Tarnowska as the photographer.

The image showcases the interplay of brown tones, evoking a sense of elegance, sophistication, and timeless beauty.

The composition was carefully composed to frame the subject, allowing the beauty of the autumn leaves to shine through.”

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TO N Y M AY

FIONA SPENCE

YO R K S H I R E & N O R T H E A S T P H OTO G R A P H E R O F T H E Y E A R

Q E P W I T H F E D E R AT I O N O F E U R O P E A N P H OTO G R A P H E R S

Digital Creation

“M

y QEP panel was based loosely on my mono ABIPP panel. I tried various combinations, but ultimately I opted for all portrait images as the smaller panel of 12 looked better with everything in the same orientation. I also replaced one image with a more recent photo, which I thought tonally matched better. Feedback suggested I see what some of them looked like without background textures and I got to work smoothing the background for print as soon as I saw the draft panel in that way.

I’m delighted Barrie and I were successful with our panels, especially as he took them out to Antwerp for both of us. I met some of the FEP folks in Prague recently at their annual competition awards. They’re just as warm and welcoming as a BIPP meetup and we look forward to seeing and working with them in the future.”

“I

shoot pre-owned watches for one of my clients and this one was shot on white for website use.

It’s not an advertising shot, which would have had more time spent on it. But it has to sell the watch.

There is some focus stacking and layering involved with separate adjustments for individual parts. It has to represent the real thing so marks that can’t be physically cleaned off have to stay on. I do my own post-production and retouching.

I created and added the background in Photoshop just to see if it might work in my portfolio and entered it into the competition as an afterthought. So I was surprised when it won, I can see everything that should be put right…”

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SUSAN ALLAN A B A N D O N E D B E AU T Y

Abandoned Beauty BIPP member Susan Allan embarked on a project to capture landscapes that challenge conventional notions of beauty, focusing on abandoned and derelict sites set against stunning natural backdrops. Beautifully composed with expertly controlled tonality, the images demonstrate the natural beauty of light and nature against forgotten structures, creating scenes entrenched with narrative. In this piece, Susan reveals her process and motivation behind the project.

I began this project with the aim of creating images which would be a personal challenge for me, to capture landscapes which are not the usual interpretation of beauty but whose imagery evokes an immediate interest and draws the viewer in. It occurred to me that there are many beautiful landscapes, but equally many places which could be termed ‘ugly’ – abandoned and derelict sites, sometimes sitting within a stunning backdrop of hills and lochs. This juxtaposition was exactly what I wanted to capture, and so I began the project in early January this year to capture some winter scenes.

Bogside Explosives Factory, Irvine © Susan Allan

My first shoot at the abandoned Bogside Explosives Factory near Irvine was surprisingly difficult to find. Set in deep undergrowth, as with many of the sites I visited it was not signposted. The imagery on the What3Words app was really useful, clearly showing the buildings in their grounds near the golf course. Temperatures of minus 4 used two batteries in as many hours, but I was fortunate on the way back to be able to shoot the snowy mountains on the Isle of Arran, complete with a beautiful inversion layer over the Firth of Clyde; it is days like these that make landscape photography worthwhile.

View to Arran from Bogside Explosives Factory, Irvine © Susan Allan

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SUSAN ALLAN A B A N D O N E D B E AU T Y

“T

his shoot taught me a lot about how to really observe a site; to just wait and listen to the landscape tell its story before deciding when and where to shoot.”

Loch Long Torpedo Range Shed © Susan Allan

For my next trip to Loch Long, access to the site was much easier with a good path in from the main road. This was a particularly wet day; the mist did not clear from over around 100 feet for the entire morning. This provided me with a great backdrop to the ruins of the Torpedo Range sheds, highlighting the eerily abandoned atmosphere of the place. This shoot taught me a lot about how to really observe a site; to just wait and listen to the landscape tell its story before deciding when and where to shoot.

Riccarton Junction is an unusual old railway village in the middle of the Scottish borders, inaccessible by road, only reached by rail when the station was open prior to the Beeching cuts. The only way in for this shoot was to walk from a rural road for around ½ hour along the Forestry Commission road. I was fortunate on this day that the sun was out, providing a lovely afternoon light on the undergrowth of the old Stationmaster’s house in the foreground of the image. Shooting directly into the sun was a challenge, so for this image I placed a finger over part of the lens to avoid the glare, and this was edited out later.

When in doubt – use what you’ve got to hand (in this case, literally)!

Loch Long Torpedo Range - The Raven Building © Susan Allan 18 the PHOTOGRAPHER / 2023 / Issue Two

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SUSAN ALLAN A B A N D O N E D B E AU T Y

My penultimate shoot took place over the Easter week in Skye, where there are many abandoned places, however not all are as photogenic as the houses at Struan Ferry. I knew the moment I turned the car into this single-track road that this would be something special, with two ruined houses to choose from and the sun glistening on the water. This was a shoot where I knew that no matter what the weather, the landscape would be amazing.

And so to the last shoot – Tarlair Outdoors Pool, in Aberdeenshire. The sun came out mid-morning, softly lighting the greenery on the cliffs behind. While shooting at this site one of the locals told me this amazing place is soon to be renovated, thanks to Heritage Lottery Funding after many years of lying derelict. Work is due to commence later this year – so I got it into my Abandoned Spaces project just in time! I hope you enjoy these images as much as I enjoyed creating them.

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The old Stationmaster’s house, Riccarton Junction © Susan Allan

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“I

began this project with the aim of creating images which would be a personal challenge for me, to capture landscapes which are not the usual interpretation of beauty but whose imagery evokes an immediate interest and draws the viewer in.”

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Derelict Tarlair Swimming Pool, Macduff © Susan Allan

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G A R Y WA L S H F R O M C A N D L E S TO D O O R WAY N U M B E R S

From Candles to Doorway Numbers: Erik’s Unconventional Birthday Celebration

“E

This strory recounts the heartwarming story of Erik Feddersen, a man who has a unique birthday tradition. Instead of adding another candle to his cake, Erik walks up Norton High Street in search of the house number that matches his age.

In 2019, the BIPP member Gary Walsh met Erik by No81 and offered to take his annual birthday photo. They struck up a conversation, and the author posted the picture on social media, which went viral with many positive comments. Despite the challenges of the COVID-19 pandemic, Erik and the author continued their tradition in subsequent years. The article concludes by sharing more about Erik’s life and his connection to Denmark.

M

ost people on their birthday add another candle to their cake. Erik, however, heads further up Norton High Street to find the next house number that matches his age. I bumped into him in 2019 as he stood by No81 ready to take his annual selfie. We stood and chatted for a while, and he told me how this had become a bit of a tradition whilst his family continued to metaphorically shake their heads in unison at him.

As luck, or fate, would have it, I was returning from an early morning meeting at a local school, and I happened to have my camera fitted with a 16mm lens in my hand.

I asked him if I could take this year’s pic, and it would 24 the PHOTOGRAPHER / 2023 / Issue Two

be my gift to him. It was a beautiful morning and the light was perfect. I couldn’t get too close to him for fear of too much distortion, who knew that the following year, 2020, I wouldn’t be allowed to go near him. This is my only reference to covid. I asked Erik if I was ok to post No81 on social media. He agreed and told me he would pass this on to his family. Hundreds of likes later and he was going viral with lots of positive comments too. ‘He’s a straight up legend and the most bad ass grandad.’ ‘A great story accompanied by a great photo.’

‘Unreal! What a great idea.’ ‘He’s my boyfriend, but don’t tell his wife.’ ‘Such a lovely fellow.’ (a selection of social media comments).

xperiencing happiness in simple pleasures and knowing that everything is going to be ok”

I wished him happy birthday, he shook my hand and thanked me. My reply was, ‘same time, different doorway next year.’ Sadly, No82 didn’t happen (see previous covid comment).

Thankfully, No83, No84 and No85 have all been a joy for the both of us. I see Erik out and about in the village, but our 15 minutes together on the morning of the 28th March has become a special tradition for both of us. I keep telling him we’re going to keep this going until we get to the butchers on the green. Thankfully for the 2 of us, this is No122. I love a personal project. No client brief and all of the creative ideas are formed in the 15 mins that we’re together. Thank You Erik…

Images © Gary Walsh

Here’s a bit more about wonderful Erik Feddersen.

In 1959, hairstylist Erik came to work in the UK to learn how to speak English. He then had to return to Denmark to do 2 years national service in the Danish Royal Navy. Following this, he settled in the North East of England where he opened a chain of successful salons, met and married his wife and had 3 beautiful daughters. Smoking a pipe in Denmark in 1956 was quite a cool thing to do. 67 years later and it’s still one of his guilty pleasures. In one of the images, you’ll notice he’s holding the book Hygge this keeps him in touch with the Danish way of life, “experiencing happiness in simple pleasures and knowing that everything is going to be ok”.

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MADAME YEVONDE N AT I O N A L P O R T R A I T G A L L E R Y

Pioneering colour photographer, Madame Yevonde images on show at National Portrait Gallery The first major exhibition as part of the National Portrait Gallery’s reopening on 22 June will showcase the groundbreaking work of 20th century British photographer, Yevonde.

Supported by the CHANEL Culture Fund, the exhibition will include new prints and discoveries, revealed by the latest research on Yevonde’s colour negative archive, acquired by the Gallery in 2021.

M

rs Yevonde Middleton, known better to the world of photography as Madame Yevonde or simply Yevonde, was a global pioneer in colour photography and has been one of the BIPP’s most notable members since the association started in 1901. Joining the BIPP back under its previous name, the Professional Photographs Association, in 1919 at the age of 26, she remained a loyal member until her death in 1975 at age 82.

For the first time ever, over 25 newly discovered photographs by Yevonde are on show at the National Portrait Gallery in the largest-ever exhibition of the artist’s work.

With over 150 works displayed, Yevonde: Life and Colour running until 15 October 2023, is supported by the CHANEL Culture Fund, which will survey the portraits, commercial commissioned work and still lives that the artist produced throughout her sixty year career.

Showcasing photographs of some of the most famous faces of the time - from George Bernard Shaw to Vivien Leigh, and John Gielgud to Princess Alexandra - the exhibition positions Yevonde as a trailblazer in the history of British portrait photography.

Reflecting the growing independence of women after the First World War, this exhibition will focus on the freedom photography afforded Yevonde, who became an 26 the PHOTOGRAPHER / 2023 / Issue Two

Self-Portrait with Vivex One-Shot Camera by Yevonde (1937), purchased with

Mask (Rosemary Chance) by Yevonde (1938, printed 2022-3), purchased with

support from the Portrait Fund, 2021 © National Portrait Gallery.

support from the Portrait Fund, 2021 © National Portrait Gallery, London.

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MADAME YEVONDE L I F E A N D CO LO U R

1963, as Duchess of Argyll, Margaret gained notoriety through a high-profile divorce. The scandal was recently dramatised in the 2021 award-winning BBC series A Very British Scandal, with Margaret portrayed by Claire Foy. The exhibition will also feature a new colour print of the portrait of Surrealist patron and poet, Edward James, 1933, used on the cover of his 1938 volume of poetry, The Bones of My Hand. Yevonde’s still life often integrated elements of Surrealist iconography, and she referenced the work of Man Ray in her own portraits.

Lady Dorothy Warrender as Ceres by Yevonde (1935), given by the

Joan Maude by Yevonde (1932), given by the photographer, 1971 in Richard of Bordeaux by

photographer, 1971© National Portrait Gallery, London.

Yevonde (1933), given by the photographer, 1971 © National Portrait Gallery, London.

innovator in new techniques, experimenting with solarisation and the Vivex colour process. The exhibition is the first to open as part of the National Portrait Gallery’s 2023 programme, following the largest redevelopment in its history.

“If we are going to have colour photographs, for heaven’s sake let’s have a riot of colour, none of your wishy washy hand tinted effects” Yevonde, 1932 - address to the Royal Photographic Society.

A London-based photographer whose work focused on portraits and still life throughout much of the twentieth century. Yevonde was introduced to photography as a career through her involvement with the suffragette cause.

As an innovator committed to colour photography when it was not considered a serious medium, Yevonde’s oeuvre is significant in the history of British photography.

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Read’s survey of modern art from 1933 - as a prop, clearly depicting herself as an artist with a camera.

Photographs Curator at the National Portrait Gallery, Clare Freestone, says, “Yevonde’s originality demonstrated through these photographs traverses almost a century and provides a vision so fresh and relatable. It is enthralling that there are further revelations to be transformed into colour after almost a century or, for some, for the very first time.”

The exhibition will explore Yevonde’s life and career through self-portraiture and autobiography, contextualising her work within the productive days of creative modernist photography. To this end, a previously unseen self-portrait in vivid Vivex tricolour from 1937 has been uncovered and will be displayed as part of the exhibition. The self-portrait sees Yevonde looking directly into the lens and at the viewer, positioned alongside her weighty one-shot camera and using Art Now - Herbert

Establishing her studio before the outbreak of the First World War, Yevonde’s work quickly became published in leading society and fashion magazines such as the Tatler and the Sketch, depicting new freedoms in fashion and leisure as well as capturing the growing independence of women. Her commercial work also appeared as advertisements constructed through humorous still life or by using models in tableaux. Yevonde’s audience included the readers of the growing field of women’s magazines, including Woman and Beauty and Eve’s Journal.

Margaret Sweeny (Whigham, later Duchess of Argyll) 1 by Yevonde (1938),

Edward James by Yevonde (1933), purchased with support from the Portrait Fund,

purchased with support from the Portrait Fund, 2021 © National Portrait Gallery,

2021 © National Portrait Gallery, London.

Director of the National Portrait Gallery, Dr Nicholas Cullinan, comments, “I am delighted to launch the new National Portrait Gallery with Yevonde’s extraordinary photography and to be able to share exciting new research and acquisitions we have made of her pioneering and inimitable work. Thanks to the CHANEL Culture Fund, whose support of the exhibition and digitisation of the artist’s important archive, which has enabled us to bring Yevonde’s inventive and humorous creations into focus for a new generation.”

In 2021, Yevonde’s tri-colour separation negative archive was acquired by the Gallery through funding from The Portrait Fund. Following extensive research, cataloguing and digitisation, funded by CHANEL Culture Fund, stunning new discoveries have been uncovered. Revealed for the first time in this new exhibition, they showcase the range of sitters and subjects that Yevonde photographed in colour- from glamorous debutantes and the royal family to leading writers, artists and film stars.

The vibrant colour portrait of one of the most photographed women in the 1930s, socialite Margaret Sweeny (1938), will be shown for the first time. Later, in

London.

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MADAME YEVONDE

MADAME YEVONDE

N AT I O N A L P O R T R A I T G A L L E R Y

L I F E A N D CO LO U R

“Portrait photography without women would be a sorry business” Yevonde, 1921 Yevonde’s most renowned body of work is a series of women dressed as Goddesses posed in surreal tableaux made in 1935, first exhibited as part of Goddess & Others at her Berkeley Square studio in London. She took inspiration from an Olympian charity ball and constructed dreamlike representations of modern, humorous and surreal Greek and Roman Goddesses in vivid colour at her studio. Bringing together the series, the exhibition will consider aesthetic and mythic references and uncover the biographies of her sitters.

An exciting new discovery revealed during the final stages of producing the exhibition publication, is the

portrait of Dorothy Gisborne (Pratt) as Psyche (1935).

Yevonde’s portrayal of the Greek goddess of the soul, with customary butterfly wings, is a previously unknown element of the Goddess series.

“Mrs Gisborne posed as Psyche. Her mournful brown eyes, exquisite mouth and fair hair seemed to me to express the pleasure as well as the pain that Psyche was forced to endure.”

Yevonde, 1940 The exhibition builds on Reframing Narratives: Women in Portraiture, a major three-year project which has seen the representation of women across the Gallery’s Collection enhanced, with a particular focus on 20th and 21st century portraiture. In addition to this exhibition, when the Gallery reopens 48% of portraits on the walls

Dorothy Gisborne (Pratt) as Psyche by Yevonde (1935), purchased with support from the

John Gielgud as Richard II © National Portrait Gallery, London.

of post-1900 galleries will be of women. Over 200 portraits of women made after 1900 and over 100 portraits by women made after 1900 will be displayed in the Gallery.

Global Head of Arts and Culture at CHANEL, Yana Peel, says, “The CHANEL Culture Fund is committed to elevating the voices of women and broadening representation in cultural storytelling. At this historic reopening of the National Portrait Gallery, we are delighted to extend our tradition of patronage to celebrate Yevonde, a bold innovator who defined what it means to see and be seen, and whose pioneering photography will now inspire future generations.”

The National Portrait Gallery is offering a new £5 ticket for its Summer 2023 season of exhibitions, available to all visitors aged 30 and under. Supported by the Principal Partner of the new National Portrait Gallery - Bank of America - reduced £5 tickets for Yevonde: Life and Colour will be available to all visitors aged 30 and under, seven days a week.

The exhibition will also be accompanied by a fully illustrated catalogue, featuring over 160 beautifully illustrated photographic works from the pioneering photographer. The book, which includes an introductory essay by exhibition curator Clare Freestone, will explore how Yevonde’s bold creations brought a burst of colour to photography in Britain. It is available to pre-order now.

Vivien Leigh by Yevonde (1936, printed 2022-3), purchased with support from the Portrait Fund, 2021 © National Portrait Gallery, London.

Portrait Fund, 2021 © National Portrait Gallery, London.

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I N CO N V E R S AT I O N W I T H ARUN MOHANRAJ

In Conversation with BIPP Member

Arun Mohanraj

Arun Mohanraj is a former doctor who found solace and passion in photography after his cancer diagnosis. For the past seven years, he has used his camera to cope with the difficulties of his journey, gradually transforming it into a lifelong pursuit. In just three and a half years as a professional, Arun has achieved remarkable success, most recently winning three golden cameras in the Federation of European Photographers Awards 2023.

Arun’s expertise lies in wildlife, sports, and macro photography, and he regularly embarks on solitary expeditions to remote corners of the planet. In this interview, Arun gives insights into his journey, images and outlook on life.

Are you self-taught as a photographer?

What inspires you as a photographer?

Absolutely. It started with photography magazines and then a lot of YouTube. When I first joined photography clubs, it was one of the best decisions I made because you have a lot of in-house competitions, critique nights and talks from photographers.

It’s hard to explain. Even when I was an artist of pastel painting, it was challenging to say this is a painting I would like to do similarly. For photography, if I’m looking at pictures or projects, I sometimes see something and think I want to create something similar. As things have progressed, it’s quite hard to say who influences me, but more individual projects and pictures inspire me. One wildlife photographer, Austin Thomas, ‘s been quite influential; he came and gave a talk at our club.

Although the competitions initially motivated me, it’s not as important to me now, as it’s more about creating meaningful pictures. At one point, I was taking photos thinking it was going to do well in a certain competition, and then I realised this wasn’t the right approach. I should be enjoying the practice and trying to earn money from it. I started to do more projects instead of just capturing nice images. So now I’m working on more documentary and photojournalism projects than just wildlife per se.

What is the project you’re working on at the moment?

I’m currently travelling in South Africa and Zambia, so it’s two different projects. The first one is about poaching in terms of wildlife conservation, so I meet

Image of Puffer Fish that won Golden Camera in the FEP Awards 2023 in the Nature category © Arun Mohanraj

When and why did you first get into photography?

I started as a landscape photographer. I wasn’t very good at that, but it’s more because I love travelling, and I’ve been fortunate to travel around the world; as it stands, it’s 44 countries so far. Then I got into sports photography, and I was doing a bit of wildlife as well and then got stuck entirely with wildlife in terms of interest, and it also gelled with my travel. I then started to travel based on my photography to game reserves in different countries, and my lifestyle pattern changed to suit wildlife photography and macro – that’s another one of my interests.

I used to do oil and pastel painting about 10 to 15 years ago; the photography was incidental. I was diagnosed with Lymphoma, which is cancer of my lymph node, it was a low time for me in terms of my mental well-being, and instead of painting, I started doing photography.

One, it’s a little bit quicker, and two, I could de-stress 32 the PHOTOGRAPHER / 2023 / Issue Two

and distract my mind quite easily, and then I joined Chorley photography club and it became a bit more of a passion. I started doing wildlife and sports photography – I think there are transferable skills between the two genres. I would say I’ve worked for about seven years now as a photographer; as a professional, it has been around three and a half years.

Did you have a career in pastel painting?

It was more of an artistic outlet. I’ve exhibited work in local exhibitions with other artists. It’s more abstract work and portraits.

What did you do as a career before photography?

I work as a doctor as well, but since my illness, I only do part-time, but I’m a lot better now because of it. It gives me more time to do the photography, so I still do work at the hospital, but much less now.

Image of Jumping Spider that won Golden Camera in the FEP Awards 2023 in the Nature category © Arun Mohanraj Issue Two / 2023 / the PHOTOGRAPHER 33

I N CO N V E R S AT I O N W I T H ARUN MOHANRAJ

“I

’ve got in the habit of interviewing people at the events to get more background, and it’s inspiring to see the challenges they face and what drives them.”

the different Anti Protection Units (APUs) concerning the game reserves, we shadow them basically to see what work is involved, and also work on two dehorning projects with them and I meet the locals as well, the people that work around the game reserve and local leaders, such as the Zulu leaders.

Poaching is very easy to define – you penalise the people who do the poaching, and it’s done and dusted – my view and many people involved see it’s more complicated than that. Like dehorning, I’ve spoken with many people about this, and I’m yet to find anyone with a solution to the problem.

I’m also doing a project around the very first and only all-female APU. They’re called the Black Mambas; I interviewed them last year and followed them for four days as part of a documentary project.

Over the past 4-5 days, I’ve been working on a project around rehabilitation centres; it’s one of a few centres I’ve visited over the past three years. I document how they operate, and some are not just rehabilitation centres; one called Moholoholo in South Africa is open to visitors to come in and view them as animals that can’t be released into the wild, stay in the rehab centre. The rehab centre I’ve been to for the last three days has a completely different approach; they don’t allow private viewing because they believe you’re making it like a zoo, and some animals are so incapacitated they can’t be released back into the wild are euthanised.

How have you gained access to these places?

I’ve always travelled solo as you make more friends and I prefer working in my own bubble instead of a group. When I went to Ecuador and Brazil, instead of going to a tour guide, I’d messaged a local zoologist or animal tracker; you find a link through them. Once I get to know someone, I keep a strong link with them, and they’ll usually have other connections to support you.

It’s a case of just asking a lot of the time; the worst thing is they say no. The first two times, the APUs said I couldn’t go with them, as sensitive information could be exposed, so I had to gain their trust.

Image of disabled competitor racing that won Golden Camera in the FEP Awards 2023 in the Sport category © Arun Mohanraj 34 the PHOTOGRAPHER / 2023 / Issue Two

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I N CO N V E R S AT I O N W I T H ARUN MOHANRAJ

You mentioned interviewing people. Do you accompany your photographs much with the written word?

For projects, I write explanatory backgrounds to go along with them. I like to enter competitions when I can include the story behind the image – it’s more like photojournalism. I’m writing a book that will take another three years; it’s a six-year project about the pros and cons of wildlife conservation.

I’m also writing a book on disabled sports, which links to one of the photos that won an award for the FEP, shot at the para-athletic championships in Germany, I have a relative who is disabled and used to compete in swimming, and my work in this area started as commissioned work to cover one of the swimming events. I’ve got in the habit of interviewing people at the events to get more background, and it’s inspiring to see the challenges they face and what drives them.

What camera do you use?

I have a Canon DX Mark II and a Canon DX Mark III. And I have a range of lenses.

Do you have a favourite lens?

No hesitation, my Canon 300mm f2.8, it’s an amazing lens.

What’s your post-production process and workflow like?

If it’s my sports photography, it depends on which agency wants my pictures, but usually, I edit in Lightroom and send them straight after. If it’s wildlife, I save them onto the cloud first, but post-production wise, there is hardly anything aside from cropping and removing dust.

Image of disabled swimmer racing that won Golden Camera in the FEP Awards 2023 in the Sport category © Arun Mohanraj

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I N CO N V E R S AT I O N W I T H

I N CO N V E R S AT I O N W I T H

ARUN MOHANRAJ

ARUN MOHANRAJ

Do you have a memorable photograph from your career?

Absolutely. My best picture is the one that’s hardly gone public or won any competitions or awards. It’s a picture of muskoxen in Norway – it’s because of the conditions and challenges we had – it took us three days.

We camped in Norway, in one of the most remote regions, and stayed in a tent where the temperature reached -23 at night – I really thought I wasn’t going to make it at one point – I was freezing, all the skin on my nose came off, and I was bleeding from my eyes as well.

Sleeping was difficult, the air was thin, and my breathing was laboured; it was very challenging.

The next day we managed to photograph some

muskoxen from a distance. It’s the process that went into it and the fact we got a rare sighting of them in the winter months. It’s the only picture I’ve framed at home.

My most sold picture was a cheater with cubs, shot in South Africa in the early morning; that’s also a favourite picture of mine.

Is there anything on your photography bucket list you still want to capture?

One of the things I still want to photograph is the penguins in Antarctica. I want to stay in Antarctica for the winter if I ever get the opportunity and photograph them for that duration, but if you go in the winter months, you have to stay for 6 six months because they have no flights coming back.

Muskoxen © Arun Mohanraj 38 the PHOTOGRAPHER / 2023 / Issue Two

Why does that appeal to you? What makes you want to do something that extreme?

In all honesty, the biggest thing that appeals to me more than photography is the solitude. I’m an introvert to some extent, and when you go out on your own, you absorb the nature around you. I feel more peaceful on my own with nature and part of nature. It’s an experience, and I want to take snapshots in my mind of being there, so the concept of solitude appeals to me in that way.

What advice would you give to a photographer starting out?

I haven’t come to that stage in photography to start giving advice, but one thing that applies to any profession is to keep your eyes open and your options open – you never know what will work for you.

“S

leeping was difficult, the air was thin, and my breathing was laboured; it was very challenging. The next day we managed to photograph some muskoxen from a distance.

It’s the process that went into it and the fact we got a rare sighting of them in the winter months. It’s the only picture I’ve framed at home.”

Image of humming bird feeding that won Golden Camera in the FEP Awards 2023 in the Sport category © Arun Mohanraj Issue Two / 2023 / the PHOTOGRAPHER 39

FORT YSEVEN PHIL CROW

FORTYSEVEN: The last bottle ovens and kilns of The Potteries

“I

wanted to show the beauty in their shape and how they interact with the buildings that now surround them. Is there a place for them in modern society? The answer has to be yes!

Accompanying book of the exhibition

P

hil Crow ABIPP based in Lincoln has documented and created an exhibition on the lost age of British ceramic production in Stoke On Trent. The display shows Phil’s photographs of now derelict factories and brick kilns, along with archive images from the heyday of the industry supplied by Keele University’s Warrillow Collection.

Phil’s connection with the bottle ovens goes deeper than just photography: his grandfather and subsequently his father owned a pottery called Coronation Pottery Co Ltd based in Newcastle. Their pottery was slightly smaller than Gladstone and originally had two bottle ovens and two smaller bottle kilns. Once the Clean Air Act came into force, these were replaced with electric kilns. Stories from The Pottery were part of his childhood, and as a matter of course, he learned how to throw at school. This was almost his career choice though photography won out in the end.

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Image of Minkstone Works, Longton © Phil Crow

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FORT YSEVEN

FORT YSEVEN

T H E P OT T E R I E S

B OT T L E O V E N S A N D K I L N S

Image of Commerce Works, Longton © Phil Crow

Phil comments, “I wanted to show the beauty in their shape and how they interact with the buildings that now surround them. Is there a place for them in modern society? The answer has to be yes! This photographic record will provide a historic visual journey of the remaining sites through a contemporary lens, an archive of their current state and a reminder to all of the importance of the industry to the area in the same way that photographers before me- such as Warrillow- have documented them as working buildings.”

At the height of the pottery industry, the skyline of Stoke-on-Trent was dominated by thousands of bottle ovens. Before the outbreak of war in 1939, more than 2000 had been documented. The Clean Air Act of 1956 was the beginning of the end for these iconic buildings, and by 1964 only 20 were still in use. Currently, 47 bottle-shaped structures remain in 27 locations.

Image of Gladstone Pottery Museum, Longton © Phil Crow

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FORT YSEVEN PHIL CROW

Fujif ilm Photographic Holiday Introduction to Landscape Photography Glencoe, Scotland, February 5th-9th 2024

Starts: 05 February 2024 17:00 Ends: 09 February 2024 13:00 Price: £1,699.00 Inc. VAT For more information please contact: fujif ilm_schoolUK@fujif ilm.com

or visit the Fujif ilm School website: www.fujif ilm-school.com Sutherland Works, Longton (the last bottle oven ever to be fired) © Phil Crow

Acme Marls, “The Three Sisters”, Burslem © Phil Crow

“The difference in condition is astounding. Some are loved, most are not, but they are all beautiful in their own way”, Phil says.

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Celebrating the heritage of The Potteries, this photographic exhibition shows the dark beauty of a bygone industry in a modern world and, thanks to the Warrillow Collection, also depicts a thriving industry back in its heyday.

Ernest Warrillow MBE (1909-2000) joined the Stoke-on-Trent-based newspaper, The Sentinel, as a junior photographer in 1927 where he worked until his retirement in 1974. Having published a number of books, Warrillow saw and documented the pottery industry for decades.

In 1964 he was awarded the MBE for services to the city of Stoke-onTrent and later received an honorary MA from Keele University, where his collection of images now resides.

Phil comments, “Having always known Warrillow’s work, the opportunity to have my images stand alongside his was always the dream. I knew the two eras would gel and provide an exhibition of real interest of the past and present.”

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After the exhibition was first shown at Keele University Chancellors Building, the display is now on tour at Gladstone Pottery from 27th May to 30th July and then Middleport Pottery from 18th August to 17th September.

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Visit wex.co.uk for more information

Images © Phil Crow

Issue Two / 2023 / the PHOTOGRAPHER 45

B R Y N D AV I E S A B I P P DESIGN THINKING

AN INTRODUCTION TO DESIGN THINKING During his hiatus as a stay-at-home dad and living in Malaysia throughout the pandemic, Bryn Davies ABIPP used his limited time productively to complete academic studies in photography and design respectively. Having relocated again to Portugal, he is back to work, and discussing his thoughts on how photography meets design.

CAN YOU DESCRIBE IN THE MOST SIMPLE WAY, WHAT IS DESIGN THINKING? Sure, I’ll try. Design thinking is regarded as the creative approach to problem solving. Popularised as being human-centered — design thinking evolved from a workflow for designers into creative tools used in anything from business, education and management. Like design in general, it positions itself at the meeting point of art, science (technology) and finance. Unlike artistic thinking, which is internal motivations of the individual — design thinking is essentially the service of creativity. It draws on professionals to use their toolkit of knowledge and experience to find new or improved ways of seeing and doing. I think as professional photographers we can relate to that.

WHAT RELATIONSHIP DOES DESIGN THINKING HAVE WITH PHOTOGRAPHY, AND HOW DID YOU COME UP WITH THIS IDEA? Photography is a tool for research and documentation of the creative process. It also informs design thinkings core activities: inspiration, ideation, and implementation. In photography terms, developing new ideas, or better understanding clients/projects needs and wishes can involve a lot of these tasks. This first came to mind back in 2015. I had a project in the Liverpool International Photography Festival (LOOK). I was a black sheep in talks and discussion panels as I talked about processes and creative tools. My approach considered how I operate within the framework of a brief, and the challenge is meeting that. In contrast, most speakers would talk about their personal voice, while critics discussed points about ethics and truth. Anyone who spends time in academia may tell you theory and philosophical debate dominate the discourse in a lot of photography education. I’m more practice-based, finding meaning through the work. I consider photography, particularly the industry, to be more design than solely art or technology. So I set out to reframe its position when I did my masters and found there was no precedent, which was a bit daunting.

YOU MENTION THAT YOUR THESIS IS THE FIRST TO CONNECT DESIGN THINKING TO PHOTOGRAPHY, WHY IS THAT? In my view, photography suffered from an identity crisis in that it was trying too hard to be respected as art in its formative years. People who influence me, like László Moholy-Nagy, were also painters, graphic designers, architects — multi-skilled creatives that learnt-by-doing, and then wrote about it to share and educate. Photography is more fragmented than other creative disciplines such as graphic design or architecture. Several theorists in photography don’t have any background as a photographer. Maybe that contributes to the disconnect. Some arty types are almost embarrassed to say they work commercially alongside their promotion as an artist. We all need an income right!

I see photography more interconnected within creative industry in general. Thankfully I’m not alone, celebrated contemporaries like Platon believe what they do is design. I’d like to see it more widely thought.

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Images © Bryn Davies

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B R Y N D AV I E S A B I P P

“Y

our creative brain is the most valuable asset of your business. But you can’t live off that alone, you have to demonstrate a divergent approach as the world continues to evolve.

Develop it, nourish it, let it play, make mistakes, innovate and iterate new ways of seeing.”

DESIGN THINKING

thinking to better understand different peoples needs to create multi-channel income streams. Much of my design work is not public facing, as it involves privacy agreements.

So I felt I didn’t have a lot to promote myself. Now my Fine Art projects double as marketing tools. It’s a creative solution to a common problem. They involve extensive research, making connections, and setting qualitative and quantitative goals for them to be regarded ‘professional’.

For me they reinvigorate the creative process, and hopefully the result. You never know what doors that may open.

I got design commissions based on those photos alone.

And I licensed images after a client saw my exhibition in Seoul (that didn’t sell). Things don’t always follow a linear approach. But one thing remains; the passion in the work you do gets you the next job.

I joined the 40s club last year and have a young family.

Nothing stands still, you have to adapt in business and life. Having a period of study and reflecting on my career helped me to articulate that.

IS DESIGN THINKING ESSENTIALLY THE APPLICATION OF CREATIVITY BEYOND THE TASK?

Image © Gary Hill

YOU HAVE A BACKGROUND IN DESIGN, DID THAT INFLUENCE YOUR RESEARCH? Yes and no. Of course as a designer I can recognise what makes a good image for the context it is used in, such as publications. But I also worked for 9 years in photography industry when I lived in Liverpool. Initially in general practice to complement my design work. After a few years I focused on Fine Art as a way to showcase my crossplatform skills of composition and spatial design. This is what the BIPP developed in me, a clear direction for that.

In addition, I provided technical services, such as photographing artwork, and a specialist printing service as I embedded in the local artist network. This in turn helped me to get involved with exhibitions and arts organisations.

A lot of what I did then was unconsciously using design 48 the PHOTOGRAPHER / 2023 / Issue Two

You could say that. Research can be creative. Storyboarding is a good tool to collaborate with your client. It’s also a way to optimise time and resources. Mindmapping, mood boards, and role-play are effective ways too. If you work with different cultures, or under restrictive conditions, that can be part of the creative boundary.

Creative adults either rely on, or hate rules. To me it’s more nuanced, they’re frameworks to learn do’s and don’ts in different contexts. Like a kid challenging the boundaries you set for them.

It can also be how you calibrate etiquette. Sean Conboy FBIPP joked in his An audience with… recently how he engaged young generation CEO’s in flip-flops — blowing them away by what he can do in-camera rather than relying on postproduction. Alex Jeffries ABIPP said previously that working with senior clients they want to feel hard copy prints and not look on screens. Both guys work in the same sector, but required different approaches for the people and context they interact. This is as key as the work. The human-centred approach.

Image © Emily Hancock

MANY OF OUR MEMBERS WORK IN INDUSTRY, WHAT CAN DESIGN THINKING OFFER TO PROFESSIONAL PHOTOGRAPHERS? Commercial photographers interact with other creatives that use design thinking, consciously or not in their work, such as art directors like Andy Walmsley who you interviewed in the previous issue.

FOR SOME MEMBERS DESIGN THINKING MAY SOUND LIKE THINGS THEY ALREADY DO, DO YOU HAVE SOME EXAMPLES THAT WE MAY RELATE TO?

Given the topicality of artificial intelligence (AI) and perceived concerns to working photographers, design thinking offers a strong counter argument. Technology in photography is always evolving, creating new threats and opportunities. Look to the past; rangefinders are now celebrated classics, but they were a threat to the skilled technician of large format cameras. More recently, what digital brought over analogue was greater accessibility and flexibility. And smartphones have again democratised photography.

Sure, actually this is a motivation for sharing it with you! When I saw An Audience with Gary Hill FBIPP, I could relate how he engages with people, using his life experience to enable the best portraiture results. Empathy is fundamental to a human-centred approach. Someone like Emily Hancock FBIPP needs to experiment in order to develop the expressive techniques she uses in equestrian. This requires challenging the status quo of the genre. Colin Brister ABIPP researches racing tracks inside out, and innovates with his lighting setups and pop-up sales van.

In design thinking terms, it just changes the parameter of what is feasible. The dial is always moving with developments and tradeoffs. The desirability, the human need/want to photograph and/or be photographed still exists. And the means to make it financially viable haven’t changed. We live in an extremely image-conscious world so there is still a market for quality work.

I met Kinga Kocimska LBIPP back at the 2016 national awards. Her series Dementia is powerful in its ability to visually communicate something that is hard to rationalise. Visualising data, research and intangibles is a very important role for photography.

Your creative brain is the most valuable asset of your business. But you can’t live off that alone, you have to demonstrate a divergent approach as the world continues to evolve. Develop it, nourish it, let it play, make mistakes, innovate and iterate new ways of seeing.

These are a few examples from the top of my head. But to be clear, I’m not indoctrinating anyone here. I’m joining the dots between an established methodology of creativity and how photographers work. It’s ok to be doing any of what I explained without being labelled a design thinker.

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B R Y N D AV I E S A B I P P

JEREMY PRICE

DESIGN THINKING

TO P T I P

NOW YOU’VE COMPLETED YOUR STUDIES, WHAT IS YOUR PLAN GOING FORWARD?

Top tip number 1 for Wedding photographers

I live day-to-day in Portugal, with a professional base in the UK. So I come back from time-to-time. Since leaving Liverpool I sadly let go of a lot of my old photography work. Again part of the trade-off in changing circumstances. We are in-between residences for a while longer yet so I am unable to set up shop.

“The most photographed generation will have the least to show for it” Jeremy Price, Managing Director at GraphiStudio UK, is a dynamic professional who has made a lasting impact in the realms of sales, marketing, and photography. With an impressive background at the director level in major blue-chip companies, Jeremy has consistently demonstrated an exceptional ability to drive success. His career highlights include successfully launching multiple brands in the UK and spearheading the growth of Graphistudio, a leading company in the wedding, portrait, and commercial photography sectors. But Jeremy’s contributions extend far beyond business ventures alone.

But remote working allows for greater flexibility than before. I work through design primarily, and contribute to stock libraries, along with a few other photography jobs.

The masters gave me a new purpose to promote design thinking in photography, so I want to publish more tools for photographers, and continue this area of research. In which case don’t be surprised if I reach out to you, the members at some point.

With a passion for education and an unwavering dedication to helping others succeed, he has trained with numerous globally recognised photography businesses and delved into the psychology of sales. Through his expertise, Jeremy has become a pivotal figure in the UK photography industry, assisting thousands of photographers in achieving their business goals. In this piece, Jeremy provides insight to help wedding photographers.

Image © Bryn Davies

U

nlike previous generations, generation X, Y & Z have not been exposed to printing on a regular basis and have no concept of how an image should be seen (they don’t have access to calibrated monitors) and how it will become such a treasured family heirloom.

With their focus on having the best wedding ever and thinking about all the elements to make it so, they find it hard to look into the future on how important their wedding photos will be to them, their children & grandchildren. They also think a wedding album is a photobook they can get themselves, so its always a “Can I have the digitals?” question.

So one simple tip is before your first meeting, ask them to sit down with their parents (parent) and look through their wedding album to perhaps recreate something from their wedding day. All you want them to do is to hold something physical in their hands, see how gorgeous their parents were on their wedding day, see how they look like their aunts/uncles when they were younger and be a little sad over the lost family members.

That storytelling from their parents will impact on them psychologically and make them truly see the value in having their own album so much more than you trying to tell them.

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Image © Kinga Kocimska

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RICHARD BRADBURY

RICHARD BRADBURY

T H E S C I E N C E O F S U CC E S S

I M P R O V I N G YO U R B U S I N E S S

THE SCIENCE OF SUCCESS – IMPROVING YOUR BUSINESS

Photography first?

Words by Richard Bradbury FBIPP

I have launched and run many different photographic businesses in my time and I have been lucky enough to work with some of the best creative talents in the world on many different projects. I have also dealt with thousands of members of the public and employed many different photographers and assistants. Over that period I have noticed that there definitely is a correlation between the quality of your work and the sales it produces. But that correlation pales into insignificance when compared to the power of marketing and selling. When it comes to getting the job and getting a good price for your photography, good marketing is the most important factor.

Over the years we have photographed many portraits sessions and it is inevitable that not every shoot is as perfect and creatively ground- breaking as I would want it to be. We all know that bad weather and bad subjects can sometimes result in a shoot that is not necessarily award winning. In my viewings I have noticed that there is very little correlation between the best photographs and the most images sold.

The same set of rules apply to my commercial shoots.

Whether I am shooting for huge international advertising agencies or small to medium sized businesses. The correlation between getting the contract and being the very best technical and creative photographer for that job is not at all consistent.

M

ost photographers understand that developing their creative and technical skills will make them a better photographer. There is an undeniable truth to the fact that constant development in all fields of photography is a vital ingredient for your long term survival. However, if you want to ensure that you stay on top of the game from a business perspective, creative and technical skills are just one small part of the plan. In fact I would go further than that:

Being a better photographer is not as important as being a better marketer when it comes to the long-term health of your photographic business!

There you go I’ve said it...and if you don’t yet believe me then please read it again until you do believe it because I can assure you with every ounce of my thirty five years experience in the photography business that it is true!

Just to be clear, I am not saying that you can be an awful photographer and still have a successful long term career.

Striving to be the best photographer you can possibly be is at the heart of every photographic business. I can assure you that the millions of other professional photographers in the world are not going to lie down and let you take their work. You need to stay fit and sharp and be the best you can possibly be. I am just saying that photographic ability is not the most important factor when it comes to landing the job.

There are many myths that surround this concept and they apply to just about every business type there is.

Photography, in that respect, is no different from any other business and the same rules apply albeit with slightly different shades. So what is it that distinguishes the successful businessman from the unsuccessful?

52 the PHOTOGRAPHER / 2023 / Issue Two

Image © Richard Bradbury

Is it Luck?

“You are so lucky, you have such a great studio and you always get the best jobs.”

I have never believed in luck as a significant factor when it comes to success. I think that deep down we all know this is the case but it is the most convenient excuse in the world to convince yourself that you are just not lucky enough in life. Yes there are occasions when we are lucky and occasions when we are unlucky but over your lifetime you will come to understand that it is up to you to make your own luck. It’s a cliché isn’t it? Yes but it’s a cliché for a reason!

Despite my many years of running photographic businesses I like to sign up for random seminars especially when I have heard there is someone that’s worth listening to. I recently attended the ‘Super Stylist’ seminar by Antony Whitaker. Antony was two times Australian Hairdresser Of The Year and works with Vidal Sassoon, Schwarzkopf and many other huge international brands. Antony now travels the world teaching hairdressers and salon owners how to make their businesses more efficient and more profitable.

During his seminar he told a story which I could not get out of my head.

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RICHARD BRADBURY

RICHARD BRADBURY

T H E S C I E N C E O F S U CC E S S

I M P R O V I N G YO U R B U S I N E S S

Antony was asked by a large salon group in Texas to be the guest of honour at the annual company prize giving. During the evening he was privileged to meet a girl who truly put the good luck, bad luck concept into perspective.

Christine Le is a Vietnamese immigrant who arrived in the USA over 23 years ago. Speaking little or no English she wanted a better life for herself and her family. Life in Vietnam had not been easy for Christine and on arrival she walked the streets of Houston Texas trying to get any work she could. Her goal had always been to become a hair-stylist but she had no formal training and was hardly an obvious candidate to put in front of house.

After months of constant refusals Christine was finally taken on by the ‘Visible Changes’ salon at the lowest level possible. She was sweeping floors and making coffee. Visible Changes are a commission only salon with a strong belief in education so they were extremely supportive with that aspect of her employment even though she was earning pretty much nothing. Christine struggled to make ends meet but after several years, many ups and downs and studying hard to learn good English she finally her way to the main floor and began working as a commission only stylist.

Christine’s upbringing was pretty tough in post war torn Vietnam. She had every right to say that she had been extremely unlucky in her life.

She had to move to another country where she couldn’t even speak the language and begin her career with no help and support from any college or family members. Her personal income now regularly exceeds $500,000.00 with bonuses. She still works on the floor cutting hair for the same salon doing an average of 25 clients a day 6 days a week. She is now a property millionaire because she simply decided to ignore every bit of bad luck in her life and concentrated on the good stuff...

People see her driving her beautiful Mercedes car and say “It must be easy for her being that lucky?”

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Is it talent?

“Oh I love your work. if only I was that talented”

The music industry is famous for producing some of the most extraordinary artists in history and it is true to say that there is a lot of talent out there responsible for some incredibly creative output. But talent is not the only factor. There are literally thousands of exceptionally talented artists out in the world who never see the lights of the Hollywood Bowl and do not make it in any top 100 record charts.

Is it equipment?

“You take amazing photographs, what camera do you need to take pictures like that?”

During the early eighties Alan Sugar launched an electronics company called ‘Amstrad’ producing compact HiFi music centres. Amstrad Hi-Fis were, well frankly, pretty awful. They looked awful, sounded awful, and were very cheap in every sense of the word. The brand was so successful that in 1984 Sugar was able to launch the Amstrad CPC home computer. It was one of the first popular, home based, desk top computers of the time and despite its questionable build quality it was a great success.

I don’t know anyone that would proudly say they owned an Amstrad because as a piece of equipment they were just not very good.

Mr. Sugar is now a multi millionaire and went on to present the TV series ‘The Apprentice’ where he grills and mentors the entrepreneurs of tomorrow. His reputation as a titan of industry is not in question here but his success was certainly not based on the quality of the equipment he produced.

A few years ago I entered the BIPP national awards. I entered in several categories mainly showing some of the complex commercial assignments that I had been involved with that year. I was informed that I had been shortlisted and was invited to the awards dinner. I am proud to say that I won the fashion category with an image I had shot in rural south west England. I was shown an amazing location that had once been an amusement park and was now over grown. I had my sixteen year old daughter with me and a camera kit but no lighting. We went shopping to buy her an outfit for the shoot and stopped at a local camera store and bought two second hand flash guns and a cheap photo-cell. Total equipment cost was £32.50. This is what I used to light the image. The clothes cost more than the kit.

So what is it that all of these examples have in common?

Why are The Backstreet Boys famous throughout the world? How did Joe Dolce manage to be number one in UK for 3 weeks keeping ‘Vienna’ in 2nd spot? And did how did Mr. Alan Sugar become Lord Sugar the multimillionaire?

The answer is STRATEGIC MARKETING!

The Backstreet Boys are arguably the best selling boy band of all time with record sales of over 130 million albums. Now I am not saying that The Backstreet Boys have no talent and I know there are a zillion screaming school girls who would be waiting outside my house every night to lynch me if I dared to suggest such a thing. They can sing, they can dance and their personal grooming is definitely up to scratch but you have to say they are not The Beatles. I find it hard to imagine their musical output being immortalised for future generations along with Led Zeppelin, Jimmy Hendrix or David Bowie.

In 1981 Ultravox’s haunting single ‘Vienna’ was kept off the number 1 spot in UK charts by Joe Dolce’s ‘Shaddap You Face’.

Talent does not always count for the most important factor when it comes to success in the music world and the photographic world is no different.

Image © Richard Bradbury

Issue Two / 2023 / the PHOTOGRAPHER 55

RICHARD BRADBURY

RICHARD BRADBURY

T H E S C I E N C E O F S U CC E S S

I M P R O V I N G YO U R B U S I N E S S

Strategic Marketing It sounds very grand doesn’t it ‘STRATEGIC MARKETING’ but it basically means marketing with a plan. Without the intelligent application of a strategic marketing plan none of the people named here would have been successful. I think that in the modern business environment most of us actually already know this.

Deep down we know that planned marketing is essential.

The real question is how do we design a strategy that is guaranteed to work?

During the early part of my career I found that I had a pretty good instinct for marketing. I was naturally attracted to presenting my work in a new and interesting manner and produced ads, mailers promotions that were memorable and innovative. Without realising it I was tapping into one of the driving forces of human development. Our insatiable desire to discover something different, something new and something memorable.

One of the reasons why I wanted to write my book Rich Photographer Poor Photographer, is because our knowledge of neuroscience, over the past decade, has

56 the PHOTOGRAPHER / 2023 / Issue Two

exploded. We now have a much better understanding of how our brains really work.

There are many factors at play here but the base line is that people like to experience something that is different.

It excites them and interests them so they remember it and talk about it. That’s why we like to travel, buy new fashion, eat at different restaurants. We are programmed to remember the unusual.

Blogger and marketer Seth Godin has a simple principle that he calls the ‘Purple Cow’ principle. If you are driving along a country road and you see a naturally occurring purple cow you will go “Wow a purple cow!” You will remember that moment and tell everyone about it. You could be driving along all day seeing perfectly good black, brown or white cows and at the end of the day you wouldn’t even remember you saw anything at all. This is because a purple cow is remarkable. Think about that for a second: “Remarkable”...? What is the meaning of the word? We use it to say something is different or cool but it actually means that you’ve seen something that is worth ‘remarking’ on.

Image © Richard Bradbury

“Remarkable” is what your marketing needs to be.

How are you able to create the perfect strategic marketing campaign?

Neuroscientist Gregory Berns stated that the brain is just a ‘lazy piece of meat’, It needs something remarkable to jolt it into action and then it starts to fire and get interested. If it doesn’t find anything remarkable then it just ticks along with the same old actions and reactions. Most bodily systems are the same...they are lazy. If you break an arm or a leg you will find that you need to re-teach your body how to use that limb.

After weeks of being in a cast your arm will seize up and you will need to exercise it to make it work again.

A well planned marketing strategy is simply essential for long term success. It is important to firmly plant that concept in the forefront of your business brain. Everyone of us will at some point get involved in some marketing for our photographic business.

If you do this without a strategic plan of action then you are very likely to cause actual harm rather than expand your current client base. You will waste money chasing new work with little or no return and by doing that, you will kill the enthusiasm you have for marketing as a realistic solution. You will convince yourself that it really doesn’t work, losing all hope of ever achieving your goals. In the next issue I will explain a system for Strategic Marketing that I have designed and tuned over the past decade. It has never failed me and is, in my opinion, the answer to the question of how you achieve strategic marketing success. The answer is R.O.A.R.

Our brains are lazy until something remarkable comes along to re-awaken it.

But do not fear, there is help at hand. The reason that we all have not fallen into a permanent state of lethargy is something called ‘Dopamine’. Dopamine is a wonder drug and really could be regarded as the saviour of mankind. If we see, hear or experience something remarkable, different, scary or cool then there we are experiencing what neuroscientists call an “Emotionally Charged Event” or ECG. This causes the amygdala in the prefrontal part of our brains to release Dopamine which in turn gives us a pleasurable experience and results in a memory that is flagged and remembered many times longer than regular memories. It can also be released when we experience intensely bad or scary moments or anything that we find unusual or deeply moving. That’s why we like to watch horror movies with shocking, scary moments or drive fast cars. It’s a drug that can be very addictive.

Richard Bradbury FBIPP is author of photo business trilogy: Rich Photographer Poor Photographer The ultimate guide to launching, developing & expanding your photographic business.

To purchase a copy go to: www.rbradbury.com/RPPP

Issue Two / 2023 / the PHOTOGRAPHER 57

A RACE IN THE SNOW GRAHAME SODEN ABIPP

A Race in the Snow Nestled in Västerbotten County, Swedish Lapland, lies a picturesque wooden house just meters away from the Vindelälven river, which member Grahame Soden calls home. This pristine and undeveloped waterway stretches over 445 km, serving as a frozen highway during winter for reindeer herding, snow-scooter excursions, and cross-country skiing. Since 1985, the river has hosted the annual Vindelälvsdraget, a thrilling 320 km dog relay race that attracts dedicated competitors from around the world. Starting in the mountainous village of Ammarnäs, the race features diverse breeds of dogs, with teams flying downriver to the finish line in Hällnäs. This remarkable event showcases the region’s unique culture, breathtaking landscapes, and harmonious coexistence with nature. In this article, Grahame tells of his experience photographing the event.

I

live in Västerbotten County in Swedish Lapland. My little wooden house is about 100m from the Vindelälven river which runs from near the border with Norway to the sea at Umeå, a distance of some 445 km (277 miles). It is an undeveloped and protected river which means there are no hydro-electric power stations along its length, which in turn means it freezes hard in the winter, and becomes an important highway for reindeer herding, snow-scooter excursions, and cross-country skiing.

To give you a little idea of the size of the sparsely-populated vastness of Västerbotten, it covers an area over twice that of Wales, yet has a population density of only around 3 people per sq. km, around 270,000 souls of which 130,000 live in the county town of Umeå (pronounced ooh-me-oh).

Outside of the main towns it is pretty empty – a string of little villages scattered like pebbles alongside the rivers, with nothing much in between them.

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“E

very year since 1985 the frozen river has also hosted the annual Vindelälvsdraget, a 3-day, 320 km dog relay race. Competitors might be on a proper sledge with a full team of dogs, or just a single skier attached to one or two animals.”

Issue Two / 2023 / the PHOTOGRAPHER 59

A RACE IN THE SNOW

A RACE IN THE SNOW

GRAHAME SODEN ABIPP

GRAHAME SODEN ABIPP

that everyone in the race would have a team of huskies but no, there are many different breeds competing. I’ve seen boxers and setters alongside more specialised sledge dogs. I asked one competitor why he didn’t use huskies and he simply said “Because I want to win!”.

The race involves a massive amount of effort from volunteers along the route. Every kilometre has to be prepared for racing and clearly delineated with snowpoles. The staging points have to be manned, veterinary cover arranged, and coffee & cakes on hand. The dogs & skiers need somewhere to rest overnight. The team helpers have to see their team off, then drive or snow -scooter to the next staging post to be ready when their team arrives. This area being what it is, they’re unlikely to be troubled by traffic jams en route, nor struggling for parking when they arrive!

Each stage along the course can be 15 to 20 km with each team covering around 100 km per day. The snow & ice conditions determine how fast each stage is – this year the first day was run in heavy wet snow which made

Every year since 1985 the frozen river has also hosted the annual Vindelälvsdraget (pandemic years excepted), a 3-day, 320 km dog relay race. Competitors might be on a proper sledge with a full team of dogs, or just a single skier attached to one or two animals. I have neighbours with 20 to 30 dogs that they train & maintain. When you consider that a good dog can cost upwards of £1,000 (sometimes a long way upwards!) you realise that it is a sport for the truly dedicated.

The race used to be around 400 km over 4 days but global heating has caused it to be curtailed, as the ice is unpredictable lower down the river now.

The race starts in Ammarnäs up in the mountains near to the Norwegian border. The hamlet has only a couple of hundred residents but attracts many tourists for the world-class fishing, skiing, and nature. And its historic potato mountain! (Google it!). The village was originally an important meeting place for the indigenous Sami 60 the PHOTOGRAPHER / 2023 / Issue Two

life very difficult, but fortunately conditions improved for the subsequent days as overnight frosts firmed the track. My photographs cover the start at Ammarnäs and a little of the first day in 2014, a couple from Björksele and Vormsele in 2015, 2017 & 2020, and Rusksele this year, 2023.

I still have no idea how they calculate who are the overall winners!

Then, a few weeks after the race has been run, medals & cups presented, aches & pains soothed, the reindeer are quietly herded along the frozen river in the opposite direction, back to their summer pastures in the hills.

Another cycle begins.

Slowly the river thaws, and the fishermen return. Life here is all about being in harmony with nature. Nature does what nature does.

We are just the lucky observers.

people, and it still has one of Lapland’s larger Sami communities. Originally mainly nomadic reindeer herders, many Sami today own their own property whilst retaining their language, dress, and customs.

They are the only people in Sweden who are permitted to own commercial reindeer herds, and have their own Parliament to represent their unique history and conservation needs.

There was no road from Ammarnäs to anywhere much until around 1940. Supplies were hauled from Sorsele (90 km each way), Lycksele (240 km each way), or Mo-I-Rana in Norway (150 km each way, over the mountains). It was a tough life for tough people.

After the mass start in Ammarnäs the teams fly down river to the finish in Hällnäs some 320 km away. There are 2 overnight stops en route and regular stages where the competitors are timed in & out, and can change the spent dogs and mushers for fresh. I used to imagine Issue Two / 2023 / the PHOTOGRAPHER 61

O B I T UA R Y JOHN ALEXANDER ROSE

A Tribute to John Alexander Rose 1934 – 2023

Images John Rose (left) with Yousuf Karsh (middle) and Ron Callender (right)

T

he Institute’s Honorary Fellow and former President, John Alexander Rose, FRPS, died peacefully at home on 6th June 2023. He had been in hospital but whilst recovering at home, he was in a cheerful and optimistic mood.

John had always wanted to be a photographer and his nature was to be a good one. For three years, he studied photography at Regent Street Polytechnic (The University of Westminster) along with another close friend, Derek Stirling, also a former President).

Without delay, John Rose began his business of photography and built up a roster of clients, whilst maintaining a love for architectural subjects, in which he excelled. His early career began in the days of artificial lighting, exposure calculation, negative development and producing 8” x 10” glossy prints for clients. He often completed three or four undertakings in one day.

After a decade, colour photography emerged and in 62 the PHOTOGRAPHER / 2023 / Issue Two

Images by John Rose of Surgical Equipment Catalogue

“M

any people from photography and society have reason to be grateful for help, advice and encouragement received from John A Rose.

He will be missed in many quarters but not forgotten.”

John Rose outside of BIPP Headquarters in London

Image by John Rose of the Lloyds Building, London

Cover Taken for Rocket of London Ltd

seeking a partner, he teamed up with John Dyble to form the reliable company, ‘Rose and Dyble’. The British Journal of Photography admired the work of the two men and explained: “… two of the country’s leading industrial, architectural, and advertising photographers.”

In 1970, at the invitation of Kodak Ltd., they staged an exhibition of colour photographs in the Kingsway showroom, London.

Eventually, the attraction of in-house printing became a necessity, and John and his wife Linda set up the very successful ‘Harrow Photo Labs’. Without delay, they joined PPLA (Professional Printing Laboratory Association) and soon John was organising meetings and outings.

In the Institute, John Rose was a long serving member and had quickly progressed to Fellowship. He organised successful conferences, he served on the Council, and when he was elected President in 1974, he succeeded

in negotiating the dissolution of the Photographic Technicians Association and welcomed the members to the IIP. He served on the Qualifications Board of the Institute and in no time, he was appointed Chairman of the Fellowship Sector.

In many respects, John Rose never retired. John realised photography was changing and pressed for the successful formation of an Archive of Professional Photography.

He also brought together the few disparate groups that functioned with casual ties to the Institute. Through his persuasion, he united the Formation Dance Team of Torremolinos, (A group of eminent portraitists : hence FDTT), the Former Presidents’ Club, plus the photographers discharged from the A & Q Board.

Emerging as the Best of Friends, the BOFs and their wives assembled annually for week-end reunions in Banbury.

On leaving Harrow to live near Lyme Regis in Dorset, it was tennis, swimming, cruises and long walks with the family dogs that absorbed John’s leisure hours, but he was also active in pursuing the history of the small village, Rousden, with the vigour of his professional days.

Many people from photography and society have reason to be grateful for help, advice and encouragement received from John A Rose. He will be missed in many quarters but not forgotten. His wife Linda and his two daughters will miss him greatly and it is not easy to reconcile his absence from the many interests that he tackled in his lifetime.

Dr R M Callender, FRPS & President 1975/1976

Issue Two / 2023 / the PHOTOGRAPHER 63

D ATA CO LO R C A L I B R AT I N G

What’s your colour management strategy?

If “I don’t have one”is your answer, then this one’s for you!

H

ave you ever gotten negative feedback from a Client after sending them your edited photos?

They keep saying that something is oversaturated or underexposed or colours just seem off? Well, that might be due to editing your work on an uncalibrated monitor. Most of the screens and graphics cards these days give a decent colour display for everyday use, but are made with cross-device colour accuracy in mind.

That’s great for general web browsing, but as visual artists we do need that precision in our displays. That’s exactly what best describes a colour management strategy: having control over colour.

Accurate colour measurement on a calibrated monitor is the best way to make sure your grading is represented accurately across all devices and delivered to your Client just as ordered.

Spyder X2 Ultra by Datacolor is a game-changer for intermediate to advanced photographers, videographers, and digital designers. With its expanded X2 sensor capabilities, the Spyder X2 Ultra takes colour calibration to new heights. It can handle up to a dazzling 2000 nits, making it perfect for all your photo and video editing needs. But wait, there’s more!

This calibrator is as adaptable as a chameleon on a rainbow.

It’s compatible with both current high-brightness monitors and future technical advances in HDR displays. You won’t be left in the dark when the next generation of monitors hits the market. The remastered software is packed with some new and updated features. Unlimited calibration settings? Check.

Advanced display mapping and analysis? Double check. Soft proofing and studio match? Triple check. It’s like having a personal colour guru at your fingertips.

So… how to calibrate?

First things first, connect the Spyder X2 Ultra to your computer using the native USB-C connection or the included USB-A adapter. It’s like plugging in a magical wand that will 64 the PHOTOGRAPHER / 2023 / Issue Two

bring your work to life.

Next, launch the remastered software and get ready to be wowed by its concise and user-friendly interface. It’s like having a personal assistant, except this one actually speaks your language… of colours.

Once the software is up and running, the Spyder X2 Ultra will work its wonders. Just place it in front of your monitor, and it will start precisely measuring colours and brightness.

As the Spyder X2 Ultra does its thing, feel free to sit back and relax… for approximately a few minutes because now calibrations run super fast!

Once the process is complete, you can now enjoy learning about what’s been done with its Advanced Analysis. But the adventure doesn’t stop there! The Spyder X2 Ultra is designed for users with multiple displays. So if you have more than one monitor connected to your computer, this calibrator will make sure each screen shines with its unique brilliance.

And that’s it! You’re now a colour calibration wizard, armed with the power of the Spyder X2 Ultra. Whether you’re editing photos, designing digital masterpieces, or immersing yourself in HDR content, this calibrator has your back.

Deliver at all times Not all devices will showcase your video and photo work the same way and the only way to make sure your art is displayed as close to the way intended (or identical!) as possible is by calibrating your monitors. This colour management strategy will make you and your Clients consistently happy with what is being delivered to them. So go ahead, unleash your creativity and enjoy the vibrant and accurate colours that the Spyder X2 Ultra brings to your world.

Happy calibrating!

The BIPP Annual Awards 2023 Join us on the 22nd - 24th November in Cheshire for three days of learning, inspiration and celebration.

With your feedback, we’ve merged the ever-popular Weekender with our International Awards day, plus added another day specifically dedicated to judges feedback on your awards entries.

The “Weekender” will be on Day 1 and 2, with the Awards Day taking place on Day 2, including some incredible talks as well as some important news from the Board about the future of the Institute. In the evening, dress in your best as we move into the awards ceremony and banquet meal. Finally, Day 3 is when the Feedback Room opens to all Awards attendees to learn more as our esteemed judges give feedback on entries from this years competition.

You can pre-register for early-bird discounted tickets now by scanning the QR code and completing the form. You’re not committing, but you’ll hear everything first.