the Photographer - Issue Three 2021

The Magazine of the BIPP / 2021 / Issue Three

The Artistry House Gallery Celebrating 120 years of the BIPP

Desmond Groves

Looking back on a photographic legacy

Reality & Fantasy

Enter Roger Tan’s world of epic visuals

ISSUE THREE, 2021

CEO’s column 2 Martin Baynes reflects on the last few months and looks optimistically into the BIPP’s future

Minamata 37 A review of Johnny Depp’s latest film portraying photojournalist W. Eugene Smith

Drawing Reality 48 We speak to Roger Tan about his career and the method behind his incredible cinematic imagery

Words from BIPP President 3 Jon Cohen shares experiences and perspectives

A Moment in Time 38 We speak with Richard Hildred about his newfound passion for the traditional photographic process of Oil Printing

Beyond a Fellowship 52 How a deeply rooted personal Fellowship panel elevated the career of Aneesa Dawoojee

Living Gallery 4 View the selected images for The Artistry House gallery Obituary 34 A look back on the life of Desmond Groves

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: info@bipp.com W: www.bipp.com

CEO: Martin Baynes President: Jon Cohen

Bits, Bytes & Banding 42 Paul Wilkinson takes a deep dive into which file format is best for photographers

Inclusion Committee 59 Meet the members making the BIPP a more inclusive place for photographers Mining the Past 65 Reminiscing with FBIPP Dr Ron Callender

Directors: Emily Hancock FBIPP (Chair) Tony Freeman Hon FBIPP Karen Massey ABIPP Monir Ali LBIPP Barrie Spence ABIPP Mark Hall FBIP

Editor: Joel Hansen, editor@bipp.com

Regional Chairs: Barrie Spence ABIPP (Scotland) Argha Dutta LBIPP (North West) David Taylor FBIPP (Midlands) Andrew Younger LBIPP (South West) Irene Cooper ABIPP (Yorkshire) Monir Ali LBIPP (South East)

ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts

Advertising: Tel 01772 367968 E-mail: admin@bipp.com UK Subscribers £20, EU £40, Rest of the World £50

NeithertheBritishInstituteofProfessionalPhotography(BIPP)noranyofitsemployees,members,contractorsoragentsacceptsanyresponsibilitywhatsoeverforlossofordamageto photographs,illustrationsormanuscriptsoranyothermaterialsubmitted,howsoevercaused.Theviewsexpressedinthismagazinearetheviewsofindividualcontributorsanddonot necessarilyrepresenttheviewsoftheBIPP.Alladvertisementsareacceptedandalleditorialmatterpublishedingoodfaith.ThePublishermakesnowarranty,expressorimplied,thatany particularproductorserviceisavailableatthetimeofpublicationoratanygivenprice.Nopartofthispublicationmaybereproducedbyanymeanswhatsoever,orstoredinaretrieval system,orbroadcast,publishedorexhibitedwithoutthepriorpermissionofthepublisher.ThismagazineisthecopyrightoftheBIPPwithoutprejudicetotherightofcontributorsand photographers as defined in the Copyright, Designs and Patents Act 1988. All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2020 1

CEO M A R T I N B AY N E S

W

elcome to the autumn edition of the Photographer.

Over the last few weeks, it has been a whirlwind, and we have made some fantastic progress completing several projects that you will see in this edition. I am pleased to say that the Art for The Artistry House was a huge success, and I thank everyone who submitted images. The top images selected for each category feature throughout this edition. We are arranging to have them printed to form a permanent gallery at the office and hope to bring them to the AGM. The ‘Inclusion Committee’ has now firmly got its feet under the table. We have already made a number of changes within the Institute from their suggestions, including amendments to our code of conduct, which is available on our website. Alongside this, we have launched a pilot scholarship programme to help young photographers; the selection process will take place at the end of October. You can meet the Committee in this edition, and my thanks goes to all of them for their dedication, time and effort to making our organisation a better and more welcoming place. We are one of the first photographic organisations I am aware of to have an inclusion policy. If you would also like to be part of the Inclusion Committee, please contact Sharron, our Office Manager.

Having just recently returned from exhibiting at The Photography Show at the NEC, I had set a target coming out of the pandemic of signing 40 new members at the show. I am delighted to share with you all; we actually signed around 100 new members breaking all 2 the PHOTOGRAPHER / 2021 / Issue Three

previous records. This only reinforces to me that there is a need and an appetite to be a member of a professional organisation. The stand looked fantastic, modern, inviting and relevant - I aimed to recreate the look of the Artistry House. I really can’t wait for our new members to get involved. I truly see this as a turning point and believe we are taking steps towards what the Institute is capable of being again.

As I type this, we are completing the director nominations - this is the second time we have used an external company for director selection -making the process as transparent and as fair as possible. Any qualified member can put themselves forward. There are three places available in this cycle, and we will introduce the new directors in the next edition.

I have decided to leave the regional chairs as-is for this cycle, as the pandemic has not allowed them to have a reasonable opportunity to make their mark on the region; we will look at elections again at the end of 2022.

We’ve also begun reviewing to reduce some of the sizes of the southern regions and adding in 4 new regions.

This will make travel times a lot easier, and I believe, increase the attendees at events. We will be looking for regional chairs and people to help once we have defined these areas.

There is still much to look forward to this year; we have another qualification day/s at the start of November and then our AGM towards the end of November. The AGM is taking shape, and I hope to make confirmed announcements in the next few days.

The nationals are currently being judged, and the winners will be announced at the AGM; the images are very strong this year, with many new names entering. You will have also seen the training days organised - an action taken by listening to what you, the members, want.

We have already started to plan the diary for 2022 on both a national and regional level. In the past, our qualification dates would dovetail into the FEP qualification dates, allowing our members to enter with the same panel, which gets more value from your qualification entry.

There will be more about the FEP qualification process in the next edition.

See you all at the AGM for a handshake, smile, hug, dance, beer or glass of wine and a good old chinwag.

P R E S I D E N T CO LU M N J O N CO H E N

boy in Plymouth for the SW Region and an outstanding group of speakers for the SE Region’s 2 day event; many more I’m sure to come.

I

t was good to see TPS back in action, our stand was buzzing, members dropping in, many new members signing up, friends calling by and of course some serious portfolio reviews. The stand team deserve our thanks, they worked so hard to make this happen, and those lovely blue sofas, what a great idea, other stands were totally envious!

For a bit of light relief there seemed to be an informal photo competition going on with our CEO’s phone, I’m not sure who won but very likely it was the highly talented duo of Karen Massey and Johanna Elizabeth.

More generally I think the show itself was a success, especially in view of the covid uncertainty at the planning stage, I really enjoyed being able to meet up with so many industry friends after a such a screen based and largely forgettable 2020. Standouts for me at the show, aside from our own excellent stand, were Colorworld, Graphistudio and WEX, all showing beautiful quality images, in WEX’s case display prints were produced by Genesis Imaging and featured a spectacular image by one of our Fellows, Aneesa Dawoojee. You’d be right in thinking I’m a print obsessive, few screens can compare with the visual impact of a high quality print.

Moving back in the year the gradual unfolding of live seminars started for me with Digitalab’s Residency of the North, a really successful (and fun) 2 day event with some exceptional speakers, it’s a winning formula too, both a Southern event next September and next year’s Northern event are already fully booked. Our Institute isn’t resting on live event planning either, with seminars by Sean Con-

Our competitions and awards are attracting plenty of interest, I enjoyed being part of the judging team for Art for Artistry House, a wide range of entries with some superb images from previous years and it was great to see that contemporary imaging is alive and thriving. They’ll make a historic permanent collection and I’m really looking forward to seeing the winners on display in The Artistry House. Keeping the pace going, the regional print competitions saw some brilliant work and of course we’re now (I’m writing this in September) into the National Print Competition so there’ll be much to celebrate at our November AGM, a live national awards ceremony - I can’t wait!

Before then I’m hoping to be at as many of our regional events as possible, I’m keen to learn so any thoughts, comments or feedback you can give me will be welcome, I’ll be all ears! In a busy October there’s also the Newborn Show which I’ll definitely be attending, Newborn Portraiture has become a key area of business for many photographers and the show has become an important event in the industry calendar.

Newborn also came up for me in another respect recently, I’ve been a blood/ plasma/platelet donor for quite a few years so I just get plugged into a machine and thought I knew pretty much everything there was to know about the process.

Last donation however a donor nurse pointed out three letters on my printout - NEO, and explained why CMV negative blood is so important for newborn babies.

Honestly I’d never heard of this or noticed it before but it apparently indicates that my blood is free of a common virus (that was a shock) which means it can be used for newborn babies.

So, just on a final note, if you’re thinking about giving blood, how good would that be, not only creating gorgeous newborn images but potentially also helping to give a newborn baby the gift of life.

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THE ARTISTRY HOUSE 120 Y E A R S

A BIPP Living Gallery

I

n celebration of its milestone 120th anniversary, the British Institute of Professional Photography created the Art for The Artistry House photography contest to memorialise its long-standing legacy.

We had an overwhelming response to the competition, with current and retired members submitting a wide range of remarkable images from every photography sector.

The BIPP’s head office, The Artistry House, is already a flourishing exhibition space full of a diverse range of art. We are proud to have this incredible selection of images to form our own living gallery and contribute to the ethos of the building.

We aim to begin the process of printing and framing the images in the coming weeks; once everything is

complete, we plan to open the gallery up for members to visit and the public to view.

Thanks to everyone who contributed images, and well done to the photographers selected. We hope you enjoy the chosen photographs that are featuring first exclusively in this issue of the magazine.

Judging Panel

Jon Cohen: The current BIPP President and former Business Group Manager at the world renowned Fujifilm.

Jill Roe: The owner of Digital Lab, a leading professional photo lab currently celebrating its 70th year in business.

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Terry Hope: A longstanding journalist in the photography industry and the owner and editor of Professional Photo Magazine.

Andy Walmsley: The Creative Director and owner of Wash Studio, as well as one of The Artistry House’s very own artists and co-founders.

THE ARTISTRY HOUSE ARCHITECTURAL & INDUSTRIAL

Hon FBIPP Sean Conboy

“I

t was shot in Blackpool Tower Ballroom, a building designed by a famous Edwardian theatre architect called Frank Matcham. We were commissioned

by Visit Blackpool, as the building has just recently been refurbished, which is why we were hired for the shoot. The photograph is one shot in camera - there is no post-production.”

“I’m absolutely delighted to be chosen for The Artistry House gallery. Particularly with it being the 120th anniversary of the Institue and for also being able to represent where the Insitute is at the moment - it’s fantastic.”

Image © Sean Conboy

Linhof Techno with a Hasselblad 100 Megapixel Digital Back 23mm Rodenstock Lens 12 Broncolor Flash Packs Broncolor Para Reflectors the PHOTOGRAPHER / 2021 / Issue Three 5

THE ARTISTRY HOUSE ADVERTISING

FBIPP David Taylor

“I

was employed by a leading global speciality additive chemicals company of over 90 years, that operated in transportation, industrial and consumer markets. They had headquarters in the USA, technical and test centres in America, UK and Japan, alongside manufacturing and sales offices in most major countries in the world. Working together with the OEM’s (Original Equipment Manufacturer) for the transportation industry would take me to all kinds of facilities and field testing locations around the globe.

This stunning and unique location was spotted whilst travelling in Scandinavia and just had to be pursued for the best angle, position, camera gear to be used and time of day for the best light. A series of images were taken, in this case, at dawn as the sun was rising, working as quickly as possible before the light changed. The image was used in presentations, brochures, websites, reports for the OEM’s, company stock image library.”

500mm f4 lens 1/650sec f6.3 ISO 400.

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Image © David Taylor

7

LBIPP Ian Chapman R a i n Fa lli ng

“T

his image shows military freefall jumpers exiting from the tailgate of a Hercules C130 aircraft flying at 13000 feet in rain clouds over Germany during a training exercise involving British, US and German personnel in 2017.

It was taken using a helmet-mounted Canon 350D camera with an 18-50mm lens. The shutter was operated via a tongue switch which allowed me to use my hands for manoeuvring in freefall and operating my parachute. A tongue switch is a device gripped between the teeth and operated by pressing a button with the tongue. The framing was achieved by the use of a ring sight attached to the helmet, which assures that the camera is pointing exactly where you’re looking.”

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Image © Ian Chapman

THE ARTISTRY HOUSE AERIAL & DRONE

9

FBIPP John Miskelly R e de ntore Ve nice

“T

his was an opportunity to combine my long exposure type of images from the coast with a well-known part of the Venice skyline, specifically Il Redentore, a 16th-century church on Guidecca. Arriving at the location while it was still dark, I set up my equipment to capture an 8-minute exposure, waiting until I saw signs of the first light of the day. The street lights still being on adds a warmth to the image - on what was a dull day -helping me to express the feel and atmosphere of this most wonderful city.”

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Image © John Miskelly

THE ARTISTRY HOUSE CIT YSCAPE

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THE ARTISTRY HOUSE D I G I TA L M A N I P U L AT I O N

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Image © Peter Rooney

FBIPP Peter Rooney

“T

he image is a composite made up from human and toy elements. The little girl was Sophia; I shot her against a grey backdrop, and I used the body from one shot, the head from another and the legs from a third picture to get the pose I wanted - all captured with the Canon 5d MKIII and the Sigma 50mm Art lens. The shark is a model of a Megalodon taken on Canon 7D and the Canon 100mm Macro, as were the other elements such as the chain, hourglass and hook.

This image is one of a series of three that seeks to draw attention to three incredible species - each driven to extinction through humanity’s voracious obsession with the ceratin body parts - I have depicted these parts through fire.

I chose smouldering fire to symbolise a mode of destruction that could be stopped if we decided to. The question is will we do so before time runs out?

The child represents the future generations. Dressed in her pyjamas, she will probably only ever ‘know’ these animals through bedtime stories and her dreams.

Having this image selected to hang at The Artistry House is a huge honour and something I’m proud of, and hopefully, on my next visit home, I can pop up and see it in person.”

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THE ARTISTRY HOUSE E - CO M M E R C E

Hon FBIPP Jonathan Beer

“T

his image is from a 2021 campaign for online beauty brand Lookfantastic. Working with the best still-life stylist in the North West Cheri Harrison, art director Brogan Marshall and producer Charley Ellis, the image, specifically for Estee Lauder, is one of around sixty five produced across an eight day shoot. The products are lit with a Broncolor ‘Pulso Spot 4’ with a gobo installed to give the stylised window effect. Additional open Bron heads through diff screens create the gradients and shape in the plastics

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and metals, while carefully placed silver card is used to highlight logos.

Maybe not the kind of image I have been most known for across my career, but this is a great example of where my work is in 2021, and I am delighted that it’s been chosen to form part of the 120th anniversary exhibition in the beautiful surroundings of The Artistry House.”

Image © Jonathan Beer

THE ARTISTRY HOUSE FA S H I O N

FBIPP Paul Wilkinson

“S

ometimes an image is not the one you think it will be - this is one of those.

I had spent the afternoon working with a brilliant makeup artist who wanted some theatrical makeup images for her portfolio.

Towards the end of the session, we had stripped everything back to basics with simple beauty makeup and an old-school hairstyle (I believe they’re named

Image © Paul Wilkinson

‘Victory Rolls’!). So, we headed into the studio, and I decided to use some dramatic lighting with a combination of hard and soft modifiers. I also opted for a highkey look as it’s not widely used for this type of fashion/ beauty image.

The irony is that the image was initially rejected - not just by me but my team - and it was only later that I spotted its potential when I was tidying up the folders.

Just goes to show - never delete anything!”

15

THE ARTISTRY HOUSE FINE ART

Kate Tarnowska

“T

he image was taken at the end of 2019 at my studio in Cheltenham using a Nikon D800 and Nikkor 105mm 2.8G ED VR lens.

With my amazing team’s support and model Laura Kerdokaite who flew in from Milan, we did the photoshoot for Scratch (a magazine for nail professionals).

We wanted to create something unique, where we all try out skills and challenge ourselves - we spent many hours creating the finished series.”

We were happy to be published inside the Scratch and even feature on the front cover! Initially shot in colour, I

Image © Kate Tarnowska

later changed the image to a black and white and have been really amazed by how it looks.”

“Being selected to feature in the Institute’s living gallery celebrating its 120th anniversary is a real achievement! It is a wonderful opportunity to share my creative work - I am very proud of it thank you so much!”

THE ARTISTRY HOUSE LANDSCAPE

ABIPP Erika Valkovicova

“D

iamond Beach in Iceland takes its name from the glittering ice fragments scattered across its shore like a field of diamonds.

These glacial fragments were once part of the Breidamerkurjokull Glacier. After breaking away, the ice blocks are slowly floating into the Glacier Lagoon before ending up in the sea. It was a feast for the eyes to see these beautiful gems contrasting with the black volcanic beach. The frost highlighted the ripples in the sand. I took this image in late December 2020 at low tide shortly after the sunset.”

Image © Erika Valkovicova

Diam o nds in the s and

Camera: Canon EOS R5 Lens: Canon EF 16-35mm f/2.8 L III Tripod: RRS TVC-24L Series 2 Mk2, RRS BH-55 Ballhead 17

THE ARTISTRY HOUSE MEDICAL

FBIPP Ian Cartwright M o t he r I ntrod uces Ch ild

T

he judges commented: “this is a classic image, beautifully composed and executed but still retaining great emotional warmth and capturing the baby perfectly”.

Image © Ian Cartwright

the thePHOTOGRAPHER PHOTOGRAPHER/ 2021 / 2020/ Issue / IssueThree One 19

THE ARTISTRY HOUSE MOD

LBIPP Ian Chapman

“T

aken whilst on operations in Helmand Province, Afghanistan, in 2007.

The image shows an 81mm mortar crew during a nighttime fire mission and captured with a Canon 350D camera fitted with a 55-200mm lens. The camera was perched on a sandbag and had been pre-focused on a marker light. In bulb mode, I manually held the shutter open for what seemed an eternity until the instant that the bomb was discharged when I released the shutter. The flash from the bomb being fired lit the image.

When viewed on the small camera screen afterwards, it became apparent that there was a face of sorts in the heat flash that was looking down on the guys, and it quite spooked them when they saw it. Hence ‘The Watcher’ caption.”

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T he Watc her “Both of the selected images were taken during my time serving with the army, and I was extremely fortunate to be afforded photographic opportunities in many varied environments and situations that the average person would not be able to find themselves in.”

“The email informing me of my success came out of the blue as I thought that the competition was done and dusted several weeks ago. I’m delighted to have had my work recognised by the BIPP judges, and to have the images permanently displayed at The Artistry House makes it even more special. The BIPP has many extremely talented members in its ranks, and I never thought I had a chance of being selected.”

Image © Ian Chapman

THE ARTISTRY HOUSE N AT U R E

FBIPP Paul Reiffer Fi re falls

“T

his shot features the annual “firefalls” that occurs when the conditions are right in Yosemite National Park during the spring.

As the sun hits a specific angle, the rockface is held in shadow by another outcrop allowing the thin beam of golden light to hit what little water is flowing that year from Horsetail Falls.

Many leave disappointed each year– as two factors must be met: A clear line to sunset on the horizon and enough water managing to flow through the waterfall at the end of winter. On this particular year, we had 3 perfect days of all the right elements.

While an amazing sight itself, the huge crowds that now line the various roads and outcrops to witness it each time (holding “their spots” in the snow all day long) have recently become a spectacle in their own right.”

Captured with a Phase One XF Medium Format camera system, IQ4/150MP Digital Back, SK 240mm LS Len

“It’s great to know that one of my shots will be part of a lasting display that showcases the amazing breadth of work produced by the Institute’s members over the years.

Seeing different images produced by other photographers over the years has been part of what’s kept me exploring, learning, and capturing my own.

Hopefully, the unique combination of all these selected photographs on display at The Artistry House will inspire many more in future in the same way others have inspired me.”

Image © Paul Reiffer

THE ARTISTRY HOUSE NIGHTSCAPE

Camera: Canon EOS 5DMK IV Lens: ZEISS Milvus 18mm f/2.8 ZE for Canon Tripod: RRS TVC-24L Series 2 Mk2, RRS BH-55 Ballhead

ABIPP Erika Valkovicova

“T

he Aurora forecast was incredible that evening, but the weather forecast expected clouds later at night. My friends had a very long discussion in the car about where to go for the Aurora hunt. Knowing how unpredictable the Arctic weather can be, I felt I had to make a quick decision, and I asked them to drop me off at my favourite beach. I saw the heart-shaped stone the day before, and I wished to capture the lights dancing around it! As soon as I set up my tripod and found my desired composition, the mystical green lights lit up the sky! The show lasted a few minutes only before the thick cloud blanket rolled in. Still, what a treat! Captured in September 2020 at Uttakleiv Beach in Lofoten, Norway.”

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A r tic Love “I am thrilled and honoured to have two of my photographs chosen from thousands of excellent entries for the exhibition! I took both images in 2020 - the year engraved in our memories forever. Despite the strict entry and quarantine measures, my yearning for a new adventure was stronger than my fear of travelling. The reward was exceptional - I experienced the serenity of the otherwise crowded places without a single human being around. Seeing nature taking a break from the masses of tourists filled me with happiness and hope.”

Image © Erika Valkovicova

THE ARTISTRY HOUSE PET

ABIPP Barrie Spence

B o nnie & B el l a

“T

a little depth of field at f/4.5. The bare wall in the background has been made a little more interesting with the application of a texture layer.

his is a relatively old shot now (Summer 2018). At the time, Bonnie was one (she’s a pedigree Border), and Bella was two and a half (she’s Border/Patterdale cross).

This sort of pose using the arm of the Chesterfield and looking out the window appears to be a common trait of Border Terriers - all the others I’ve had in the studio have done something very similar.

It’s a very simple setup in the studio - it’s just daylight from the French doors on the left, and a light coloured wall on the right. We are in Scotland, so even in the middle of summer, it’s ISO 3200 to give me 1/200s and

Image © Barrie Spence

I’m never afraid to head-swap to make a shot, but for this one, I was lucky enough to capture this one as-is.

Bonnie & Bella’s favourite treats were sprats, so it was one of the most fragrant sessions in the studio (fortunately, it cleared relatively quickly).

The shot has done well in competitions and is probably the shot that got me a couple of bits of glass in the 2019 Scottish regional awards.”

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THE ARTISTRY HOUSE P H OTO J O U R N A L I S M & E D I TO R I A L

FBIPP Paul Wilkinson A lex B e li ni

“A

n Italian explorer and environmental campaigner, Alex Bellini had asked me to create some images of him with a new jacket that a sponsor had donated him. So we had spent time happily throwing water at him and capturing the result.

However, fun as that was, beneath the hi-tech waterproof clothing, he was wearing a traditional woollen coarse-knit sweater - reminiscent of the pictures taken of intrepid Victorian explorers. So I couldn’t resist creating a simple, textured image of him - the beard, the sweater and those piercing eyes! And a bonus was the remnants of our earlier exploits: a trickle of water down one cheek which looked like a tear.

Just like an explorer, fortune favours the brave!”

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Image © Paul Wilkinson

THE ARTISTRY HOUSE PORTRAIT

FBIPP Paul Wilkinson

“W

hen ninety-year-old Pauline arrived at the studio with her daughter (in her sixties), her opening line, sternly delivered with a degree of fortitude, was, “I DON’T know WHY I’m here!”

Well, at that point, all you can do is change tack. So we sat and drank tea. Pauline told me stories, and I listened. More tea. More stories. More listening.

Eventually, she visibly relaxed, and I swung the camera up and grabbed maybe a dozen images.

Image © Paul Wilkinson

Pau l ine

It can be tempting with an image like this to dramatise the age and the skin, but Pauline’s eyes were so utterly engaging that I made sure the monochrome conversion didn’t add any unnecessary texture and left the eyes as I had found them: full of life and energy - they sparkled like they must have done when she was 21!

My favourite portrait.”

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THE ARTISTRY HOUSE SCIENTIFIC

FBIPP Dave Crossley

“A

lone grasshopper never before seen in the UK arrived on a flight from India. Called the painted grasshopper (Poekilocerus pictus), the 6cm-long insect sports bright blue and yellow colours to warn potential predators that it is not a treat worth eating.

My role as Senior Photographer at Fera is to photograph such findings to ensure accurate identity should the insect be perceived as a threat to the UK. Imported insects can pose a significant risk to crops if they end up in the local ecosystem.

This species has a huge appetite in Pakistan and India where it is reported damaging a number of food plants including aubergine, citrus, cucurbits, potatoes and tomatoes!

Grasshoppers can consume green forage roughly eight times as fast as cattle in proportion to their weight.

The insect image was captured using a Fuji S3 Pro DSLR with a 60mm Nikon Macro Lens. F13 at 1/125 second using studio flash.

The image was processed using Capture One software.

I was shocked to hear that I have been selected for the Scientific/ Forensic category. Photographing Pests and Disease is a niche area and its great to see it acknowledged in this way. Some of the success of the image must be attributed to this stunning insect, nature is fascinating and never ceases to amaze me. It is a privilege to be able to capture it through imagery.”

Image © David Crossley

THE ARTISTRY HOUSE SPORT

FBIPP Richard Bradbury

“T

his image of team GB under 21s athlete Georgia Bell was shot in the period between Xmas and New Year. Georgia was based in north London at the Allianz Park Stadium, so I made a date to meet her during training. I like to combine a strong creative concept with cutting edge photographic techniques in my tests. This image combines two key elements, making a real difference to the final result.

HSS & HDR. Placing myself opposite the stadium lights, I wanted to mimic the effect of them in a low light environment. I set up two Elinchrom flashes behind Georgia and just off frame together with a single

Image © Richard Bradbury

softbox above the camera position. Shooting at 1000/ th sec enabled me to capture that special moment as the athlete leaps from the starting blocks. To do that, I needed to sync the lights with High-Speed Sync. I shot the background as a separate HDR image for complete control and spent many hours in post-production to combine the best of both images. The Stadium is the home of Saracens Rugby Club, who were also training during the shoot, so Georgia had quite a bit of attention during the session…what a professional!”

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THE ARTISTRY HOUSE S T R E E T & D O C U M E N TA R Y

ABIPP Sue Cunningham An old man from the interior of Rio de Janeiro State, Brazil in his small rural shop with a calendar showing Jesus Christ. 1994

Image © Sue Cunningham

THE ARTISTRY HOUSE T R AV E L

“W

hat an honour!

I never go in for competitions, so it is wonderful to know that my images have been selected from the amazing pictures I am sure were sent from the other members.

I feel I am giving back a little to the BIPP, who have been the backbone of my career for over 25 years!

Thank you.”

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ABIPP Sue Cunningham Chief Jakalo Kuikuro, from the Xingu Indigenous Territory, Brazil, watches the opening ceremony of the First International Indigenous Games, Palmas, Brazil. 23rd October 2015.

Image © Sue Cunningham

THE ARTISTRY HOUSE WEDDING

FBIPP Paul Wilkinson Marisa

“W

e never have much time at a wedding - and, yes, this was at a real wedding.

It took just a minute or two to capture this shot. And nothing fancy - just a camera (no reflectors or lights.)

Marisa had asked us to create the kind of image you see in fashion and bridal magazines during the planning. We were more than happy to oblige particularly as she would be wearing a Galia Lahav dress!

I know Le Manoir well, and this patch of light is ALWAYS rich and gorgeous (even on a dull day!) I had taken plenty of pictures of the couple, so I suggested we tried for the shot of Marisa. The dress took a little styling and, to echo Marisa’s beautifully gentle nature, I asked her to look down her body - almost shyly. Instantly, I knew I had the image (and we’d be back in time for the wedding breakfast!)”

Image © Paul Wilkinson

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FBIPP John Miskelly M o r ni ng G a llop

“I

’ve spent many years around horses, so the opportunity to capture the white horses of the Camargue was one not to be missed. This was an early morning shot of a group of these amazing horses galloping across the lagoon, which I hope gives a real sense of their power and majesty, especially with the big stallion in the lead. A challenging image to capture, as the light was still low and I needed a very fast shutter speed to capture all the motion and water droplets, resulting in my ISO being set to 6400. I added a LEE ND graduated filter to hold the detail in the sky.”

“Regarding ‘how it feels to have been selected’, I must say that I’m both honoured and delighted. To be selected from a group of my hugely talented peers means everything to me and, to know my images will be part of a permanent display, is the best sort of recognition a photographer could get. Also, to be part of a record of the work of Institute members over the years is a true privilege.”

Image © John Miskelly

THE ARTISTRY HOUSE WILDLIFE

DESMOND GROVES TRIBUTE

A Tribute to Desmond Groves With sadness, we report on the death of Desmond Groves, who passed away in June of this year at his home in the Lake District at the age of 95.

Each year, he’d run an annual exhibition which was held in Kendal Milne House of Fraser in Manchester, and it became a highlight of the social photography scene. In 1965, he was honoured with an exhibition at the RPS Headquarters in Princess Gate.

In 1968 his business in Wilmslow closed, and he moved to a studio within Harrods in Knightbridge, where he attracted many wealthy clients from around the globe, particularly the Middle East.

Although he would mostly take studio portraits, he found himself in demand and travelled the world to photograph Heads of State, Royal Families, and various high profile clients.

Desmond Groves by Alan Shawcross

D

esmond, in his time, was a leading portrait photographer in the UK; in the early years, he specialised in child portraiture and became a pioneer in capturing natural portraits using sunlight, which he mostly shot in clients homes.

In 1956, he earned his BIPP Associateship, followed by his Fellowship two years later, making him one of the youngest photographers to hold a Fellowship at both the Institute and the RPS. With the main studio based in Wilmslow, he also shared a studio with the late Walter Bird FIPP FRPS in Queens Gate, London. Over the years, many of Desmond’s child portraits were used in advertisements, journals, film promotions and photography papers.

34 the PHOTOGRAPHER / 2021 / Issue Three

For several years he served on the council of the BIPP and was a superb judge and critic; and would share his knowledge and insight through lecturing on photography. Alongside this, he was Chairman of the RPS Distinction Panel in portraits, weddings and theatrical and sat on the RPS Advisory Board for many years.

In 1969 he was the chairman of the Europhot Portrait Group and taught at the first-ever international seminar on portrait photography in Germany, where a staggering seventeen different nationalities attended. It was so successful it continued for the following two years. After this, he would be awarded the qualification of European Master of Photography and spoke at various conferences around Europe.

In 1971 he photographed HM The Queen and her family at Windsor Castle. The portraits were used amongst other items for the Silver Wedding

1963 Life Magazine Cover Portrait

Portraits on the British Commonwealth Stamps.

Retiring in 1992, he closed his Harrods studio down and that year was awarded The Fenton Medal for outstanding services to photography and the Society by the RPS. Today, Desmond’s work is permanently archived in the RPS and the PP of America collection.

An avid teacher, Desmond trained three professional photographers over his career, all of who went on to gain their Fellowship in Portraiture - of which I was one.

He was my mentor, and it was a privilege to have known a true professional gentleman.

We extend our condolences and sympathy to his widow and family.

Michael Frost FRPS, FBIPP, FRSA Desmond Groves Images above © Anthony Buckley & Constantine

Fashion Shoot in Niece 35

Sir John Barbirolli by Desmond Groves FBIPP FRPS. Taken in the early 1960s, at Barbirolli’s home, on Kodak film, using a Graphlex Super D 1/4 plate reflex camera. The image is described

by Groves as “JB, as he was affectionately known, played the cello for me, complete with empty pipe and carpet slippers.”

Image and caption provided by FBIPP Professor John Hannavy from his book Images of a Century: The Centenary of the British Institute of Professional Photography 1901-2001 | Photo © Anthony Buckley & Constantine

Minamata – Depp’s best performance in years, as he tackles corruption in Japan People need to see what’s behind the eyes, that’s where the truth is”, such words have never been truer when photographing real people with real problems.

John McDonald

M

inamata follows photojournalist W. Eugene Smith, considered by many to be “perhaps the most important American photographer in the development of photographic essays”. It shows Smith as he attempts to get his career back on track following a severe bout of alcoholism, drug addiction and many years of self-loathing. During his post at Life magazine, he’s approached by a passionate Japanese lady called Aileen (Minami), who informs Smith about the atrocities happening in the coastal town of Minamata through the poisoning of the water supply with mercury - leading to thousands of deaths and disabilities. Smelling an interesting story, Smith informs his boss Robert Hayes (Bill Nighy) about the news. They agree to send him to Japan to uncover the truth and bring down the responsible big corporation.

Depp captures the very essence of the man, his personal struggles and his dilemmas around morality. Always drawn to portraying troubled characters throughout his career, they seem to imprint themselves onto Depp (and vice versa). And usually, they deliver his most memorable and the best performances.

Director Andrew Levitas (an accomplished photographer himself ) stays true to the real story and doesn’t shy away from the gritty details. Shot beautifully, Levitas is aided by the talented French cinematographer Benoît Delhomme (The Proposition and The Theory of Everything).

The scenes in which Smith moves around taking photos of local people at work and shooting the landscape is almost poetic - a master craftsman at work - subtly capturing emotion in small details. The score by Ryuichi Sakamoto adds a mystique to these scenes; you feel everything, a wonderful experience.

As Smith begins to get closer to the secrets of corruption that potentially put his life at risk, he starts to grow an affection for Aileen; the project is now more than just a job. The aim is to expose the story for Life at an upcoming conference and deliver justice for the townspeople.

The film recreates the powerful and heartbreaking photographs captured by Smith; it’s a lovely little stylistic trait throughout the film. The photographs hit hard and add an eeriness to the film, especially Tomoko in Her Bath, considered one of the most important images in the history of photojournalism.

Minamata is a truly beautiful movie that will tug on all your heartstrings with its powerful true story and emotional accompaniment. Although dramatized slightly, its documentation is so matter of fact that it felt incredibly authentic. With that, it is a shame it never got that wide release it deserved; such stories deserve to be seen by the masses. This really is Johnny Depp’s finest performance in a long time. A unique talent such as him deserves endless roles like this - it’s what he thrives at – give us what we want, Johnny. The direction was another strength, Levitas had a clear vision of what needed to be said, the cause, and the effect. He gets the best out of Depp, as well as all the supporting characters. If Minamata went under your radar, then make sure you check out this excellent piece of cinema with its heart-wrenching story.

37

A Moment in Time After working a life-long career as a professional photographer in medical imaging, retirement has allowed long-serving BIPP member Richard Hildred ABIPP to fully explore his personal photography interests. The recent exploration of his creative passion resulted in displaying his images in The North Sea Observatory Gallery this August, in an exhibition entitled A Moment in Time.

Richard states, “In these days of high-resolution and instant digital imaging, my favourite medium is still black and white, but more importantly, it must be of the highest quality to retain the security of archival permanence.

Ironically, this is not the product of most modern technology and mediums, as their images are focused on speed of access and will more than likely fade rapidly in time.”

After researching several older styles of “alternative imaging” techniques, he came across “oil printing”, an early gelatin photographic process described first by a French chemist, photographer and civil engineer Louis Poitevin in 1855.

However, it was not seriously practised until 1904 by English photographer G.E.H. Rawlins.

It was the precursor to the classical ‘Bromoil Pigment Process’ and produces some of the highest quality fine art prints this historic technique allows. The carefully inked images are printed with Lithographic Ink onto acid-free archival quality watercolour paper, giving deep rich blacks, pure whites and many subtle tones in-between.

Richard says, “Oil Printing is considered one of the true photographic processes that allows the printing of a conventional photographic ‘negative’ as a positive image onto high-quality sensitized art paper.”

However, what differentiates it from modern-day classical photographic printing is that the paper - having been previously coated with a thick gelatin solution - is sensitized to light by applying a solution of potassium dichromate onto its surface and not the more traditional or conventional sil-

ver nitrate solution. The negatives used are “contact printed” under UV light onto the art paper and are always the same size as the resulting picture.

“After exposing the negative to ultraviolet light somewhat magically, this amazingly simple combination of chemistry and material enables the gelatin to be hardened in the dense areas of the image and softened in the lighter areas.”, explains Richard.

“It then allows the harder dense areas to accept thick, greasy printers’ lithography ink, and the lighter areas to repel the ink in proportion to the density and tone of the image. The end result being a unique individual image of amazing quality and great archival permanence. The ink can be applied in many ways - either by brush, sponge or brayer type roller. My preferred method is using a semismooth 2-inch roller and very fine sponges to apply the ink, or a variety of sizes and shapes of dry brushes to remove any excess ink.”

Many of the prints featured in the exhibition are reanimated images from shots Richard has captured throughout a lifetime as a photographer, “Fortunately, I still have quite a comprehensive archive of images going back to the 1960s. Sadly my very early days of photography, prior to this, were on Kodak Brownie equipment and are still in storage, and probably not particularly useable exhibition quality!”

“Since then, my personal subjects have covered

RICHARD HILDRED

all aspects of life from people to landscapes to buildings, animals, boats, planes, trains, etc. The great experimentation I experienced while studying photography at college in the 1970s was of great significance. Retirement is enabling me to catalogue and organize this mass of image data for easy access. However, in the meantime, I can randomly enjoy selecting images that are my personal favourites and ones that I believe will work well in my new medium of oil printing.”

“Given the technique is generally regarded as a ‘bygone process’, I take the view that my images should ideally be almost timeless in consideration, meaning the pictures should be almost undatable.”

“If I was asked what is my favourite type of subject in photography? I would have to say I enjoy texture, geometry, perspective and the subtle differences between light and dark! Given this gives me almost carte-blanche access to a myriad of subjects, then it will almost certainly keep me well occupied for many more years to come!”

All Images © Richard Hildred

39

AIMING SMALL AT THE DEFENCE SCHOOL OF PHOTOGRAPHY Located at RAF Cosford since 1965, the DSOP primarily trains tri-service personnel to become career Defence Photographers, taking them from no ex­perience to a high level of expertise with the skills and knowledge to apply their trade within the military environment.

“The training in delivered in two modules - the underpinning fundamentals are taught in module one module, and two turns those fundamentals into specific practical applications that makes them a military photographer.”

40 the PHOTOGRAPHER / 2021 / Issue Three

H

aving learnt the basics in module one, trainees now move on to far more technical and challenging aspects of pho­tography.

Today trainer Mr Paul Smith introduced them to macro photography, he says: “We give them the theory, the basic understanding of how it works and what we expect, then send them off to experiment, utilising many of the skills they have already learnt.”

Tim Robinson, Head of Professional Training, said: “The training is delivered in two modules - the underpinning fundamentals are taught in module one, and module two turns those fundamentals into specific practical applications that makes them a military photographer.”

However, the school also receives trainees from across Defence, civil service, police and other government agencies delivering bespoke training tailored to their operational needs.

Trainees Cpl Terry and AC Mayall, along with other members of their course, are in the middle of the second module focussing on developing the knowledge and skills taught in module one, putting those skills into realistic scenarios they will experience during their careers.

Currently, the trainees are learning the process of technical photography “In-Situ”. Whether this is on Aircraft, Tanks or Ships, it is a vital part of training for all Defence Photographers. The imagery they produce will be used in engineering technical reports or could be used as evidence for Unit enquires. Therefore the image must be technically correct; there is no room for artistic interpretation! When asked how she was finding the course, AC Mayall said: “There has been a lot to learn, seeing as I knew nothing about photography four and a half months ago, but I’m getting more confident by the day, and I’m looking forward to what’s to come.”

© UK Ministry of Defence CROW COPYRIGHT, 2021

41

Bits, Bytes & Banding: Which File Format Is Best?

Ever wondered which is the best file format to use for images and why? Well, I promise that is an entirely unanswerable question! However, always in the pursuit of those pesky details, let’s take a journey through file types, image compression, bit-depth and why you would choose anything other than JPGs.

The Basics - Bits, Bytes And Nibbles!

F

irstly, despite the fact it is the analogue world we capture, digital images are stored as a series of 0’s and 1’s - called bits. These ‘bits’ are grouped into ‘bytes’, with each byte having eight bits. So using 8 bits, you can represent any positive number between 0 and 255 (i.e. 256 levels.)

Incidentally, if you thought the boffins who originally designed computers were humourless geeks, think again: a group of 4 bits is called a nibble. I kid you not.

Why is this important?

Well, the bit-depth (I have no idea why we use the word ‘depth’) describes how much detail you can store in your image. For example, 8, 12, 14, 16, or even 32 bits per channel are the most common bit depths, and it defines how many levels of brightness you can store for each pixel in its red, green and blue channels.

Diving The Depths 8-bits per channel allows 256 levels of luminance for each of the red, green and blue channels. So if we multiply this for the three channels, we get 256x256x256 or 16.7 million possible colours at each pixel.

Image 1 - the number of bits per channel defines the tonal range you can capture 16.7 million colours may sound vast, but imagine an image with nothing but blue sky tones; suddenly, you are limited to something closer to 256 levels because only the blue channel (all 8-bits of it) is being used.

Ever wondered why you get banding in a blue sky when you edit an 8-bit file? Well, there you have 256 reasons - there aren’t enough visible levels in your file to truly represent mother nature. In addition, you may notice that your histogram has gaps in it - these are tell-tale signs that you have lost image detail.

12 and 14 bits per channel are more specific to RAW file formats. Again, a balance between speed and 42 the PHOTOGRAPHER / 2021 / Issue Three

quality; the files aren’t as huge as 16-bit files but give a lot more information than 8-bit. For example, a 12-bit file allows 4096 levels per channel, while a 14-bit file provides 16,384. Just think of those silky-smooth blue skies!

Only a handful of high-end medium-format cameras or backs use 16-bits per channel. With 16-bits, you have 65,536 levels per channel, and the files are, well, large.

That said, you may well end up using 16-bits per channel when you convert your file ready for Photoshop (or whatever is your editor of choice).

While RAW files may support 12- and 14-bit formats, standard image formats (JPG, PSD, TIFF etc.) don’t. The standard bit depths for editing are 8-, 16- and 32-bit.

Opening a 12- or 14-bit RAW file in your editor means you have to make another decision: do you downscale to 8-bit (losing some information in the file) or upscale to 16-bit (making the file a lot bigger and slower to process)

BITS, BY TES & BANDING PAU L W I L K I N S O N

Image 2 - when you edit an 8-bit file, you may spot gaps in your histogram Only you can make that decision.

Incidentally, Photoshop technically uses 15-bits when processing 16-bit files. I threw that in there to keep you on your toes. It does this for historical reasons, and no good can come from retaining such useless facts - unless you’re writing plugins or filters, in which case it is critical information.

Feeling The Squeeze: Compression Nearly all file formats support compression - and with bigger and bigger sensors, that’s a good thing!

Compression is a mathematical means for making a file smaller without losing that beautiful sunset that you’ve just captured. OK, maybe the sunset doesn’t come into it, but we’d never use compression if it completely wrecked your artistry.

Lossless Compression Lossless compression is your best friend. Smaller files and, as the name suggests, nothing lost. So what’s the catch?

Surely there has to be a catch? Well, there is - you can’t squeeze a file very much if you’re not willing to throw something away. But, much like a ZIP file (in fact, some image compression techniques are based on the ZIP technology, so loved when downloading large files), the compression downsize may only be about 25%. Not much to write home about.

Lossy Compression Lossy compression, on the other hand, well, what information would you like to discard? You can throw away almost as much data as you’d like, and the files will be tiny. Crap-

py but tiny. How much you want to discard is entirely down to how you intend to use your image and what kind of image you are capturing. For instance, studio images with a white background can effortlessly compress to tiny sizes because the compressor figures out many pixels are identical. A woodland scene, on the other hand, will not squeeze nearly so well (but you might get away with heavier compression unless you zoom into the trees as the errors will get lost in the leaves!)

The thing about lossy compression is that you can decide how much detail you’re willing to sacrifice. Sadly there is no ‘compress it until the sky starts to look rubbish’ button, but there is a quality setting running from 0 to 10. Or 12 in Photoshop. I don’t know why it goes to 12. It’s a little Spinal Tap for my liking: “well, it goes to 12 dunnit...”

Every image will compress differently - sadly, there is no ‘one-size-fits-all’ setting you can use. For example, if you regularly shoot deep blue skies or smooth studio backgrounds, it might be worth keeping the compression set at higher quality. Conversely, if you shoot complex street scenes, you may well get away with lower quality settings

BITS, BY TES & BANDING PAU L W I L K I N S O N

Image 3 - when you compress a file, you instantly risk compression artefacts - in this instance, banding across a blue sky File Formats There are so many file formats out there we cannot cover them all - you only have to hit that ‘Save As...’ button in Photoshop, and the list goes on forever.

Each of those formats has its place, but we’re only going to talk about the ones we’re interested in as Photographers: • RAW • JPG • TIFF • PSD RAW Files What on earth is a RAW file? Well, if you look through your file system for the extension “.RAW” you’ll be hunting around without a lot of success. This is because RAW files are not a file standard: the term RAW denotes the original, raw data from the camera’s sensor. And it is different for each camera manufacturer.

Most RAW formats (Nikon’s NEF, Canon’s CRW etc.) are based on the TIFF file format (see later), and each camera manufacture uses that format differently.

However, they all have in common that they stuff the data from the sensor (pretty much unprocessed) and a preview or thumbnail into the file. Thus, all of the data is captured, and a preview helps you quickly flick through them later.

By their very nature, RAW files give you a straightforward thing: the absolute maximum data your camera can provide.

RAW files are often nicknamed ‘digital negatives’ (in fact, Adobe defined its very own proprietary RAW format and gave it the extension DNG - denoting ‘digital negative’).

Why digital negative? Well, if you cast your mind back to 44 the PHOTOGRAPHER / 2021 / Issue Three

the days of film - yes, I know that some of you have never shot on film while others of you are clinging onto the stuff for dear life - you’ll recall that a negative wasn’t much to look at until it was processed.

And that’s the point.

A RAW file contains all the information you need to drag a great image out of it, but almost none of that work has been done at the point of saving.

Instead, the camera saves the data from the sensor and then buries a record of all your settings like white balance and ISO sensitivity. And it creates a JPG preview using those settings so you can quickly see what you’ve done.

Oh, and by the way, even RAW files can be compressed - both lossy and lossless (look in your camera menu for the settings.) So why would you compress a RAW file? As always, saving on memory card usage, but compression will slow your camera and eat into your battery life.

JPEG Files Well, JPEG files are, in comparison to RAW files, relatively simple and a lot smaller. JPEGs are limited to 8-bits per channel. That’s yer lot. Nothing more. But that still may be more than enough!

W H I C H F I L E F O R M AT I S B E S T ?

PAU L W I L K I N S O N

Also, all JPEG files are compressed to some degree. Most people believe that JPEG files always use lossy compression, but if you keep the quality set maximum, it will default to lossless compression. Not many people know that.

But it also somewhat negates the point of a JPEG file.

The problem with RAW and TIFF files is that they can be huge. But given the cost of memory and storage is more cost-effective all the time, saving space may not be your most significant consideration. And think of all that image quality!

TIFF Files The TIFF (or Tagged Image File Format) is the daddy of them all. It is a long-standing format, originally developed

by Aldus Corporation in 1994 for desktop publishing (does anyone remember Aldus Pagemaker?!)

If you never edit your files; each image arrives fully formed, has a house, a partner, a high-power career, two kids and a poodle, then JPEGs are for you. It will be hard to tell the difference between a RAW file (which is very big) and a JPEG (which isn’t).

And it is very much still here.

If, on the other hand, you love to process your images they are like children, needing nurturing to adulthood, absorbing time, stress and no amount of sleepless nights, then RAW files are for you.

It has been around for so long that nearly package supports it - it can hold 8- 16- and 32-bit images and supports a myriad of compression schemes - including JPEG. Huh? What? A TIFF file can use JPEG compression? Yup. In fact, a TIFF file can hold almost any image data in any format - which is why it is the basis of so many RAW file formats: you can store the sensor data, camera information and a preview in the file and just change the extension to NEF. OK, so I’m a little simplistic, but you get the gist.

They can also store layered files (including effects layers), which is the norm for anyone who retouches their images.

TIFF files are a versatile and long-lived format!

Photoshop PSD Files Well, we can’t talk about files without at least mentioning PSD (Photoshop Document) files. These are the default for many of us and, just like TIFF files, can store anything you care to throw at it in Photoshop.

Just like TIFF files, PSDs can be compressed and will store 8- 16- and 32-bit images.

In-Camera: What Should You Use? That is not entirely straightforward to answer: the problem is that each file format has its pros and cons and, depending on how you shoot.

Most cameras will store RAW or JPEG (and a few will also allow TIFF) images.

I jest, of course, but there is a serious point. JPGs are a perfect end-format file; they’re great for printing and distribution, and even when printing large, you probably won’t notice the effects of mild compression. The 8-bits per channel limit will only really affect areas such as smooth skies, and, as long as you get the exposure spot on in-camera, there is little to be gained by using RAW formats.

RAW files, however, record the original data from the sensor at typically 12 or 14 bits per channel. That is significantly more information in the file (up to 60 times more information!) Underexpose a RAW file? No problem.

Overexpose? Just push that slider in Lightroom. You have so much more data to play with that you can retain detail in the shadows and hold onto those highlights no matter your future decisions about the image treatment. But it will eat up storage and processing time.

Me? Well, I am a quality junky - I love single malts, fountain pens, vinyl audio and the best lenses I can afford.

So why would I sacrifice even the slightest image quality given a choice? For me, it’s 14-bit RAW all the way and then 16-bit PSD files for editing.

Now pass me that glass; I have some whisky to enjoy as I edit those silky blue 16-bit skies with some eighties progrock in the background.

the PHOTOGRAPHER / 2021 / Issue Three 45

Photographer’s Insurance – What Cover do I need?

Andy Hearn is Managing Director of AIM Risk Services, insurance partners to the BIPP. Here, he explains what insurance protection BIPP members should consider, as a minimum.

When considering what insurance cover you need as a professional or semi-professional photographer, it is important to consider more than just damage or loss of expensive cameras, lenses and other essential kit – your business and livelihood is far more exposed to other risks than just this.

The financial repercussions from a customer having an accident at your studio or a client suing you for professional negligence could have a grave impact on your business and your livelihood. It is important that you understand these risks and the impact that they can have, should the worst happen.

The minimum level of cover that you should consider is Public Liability and Professional Indemnity. If you have employees, or an assistant that helps at the occasional shoot, you will also need to take out Employers Liability Insurance 46 the PHOTOGRAPHER / 2021 / Issue Three

Public Liability Insurance Why do you need public liability insurance?

Accidents do happen. When you are working out on location or at a client’s business premises or their home, if someone is injured or their property is damaged, you may be held responsible. A client may trip over your tripod or a cable, you may drop a client’s item that they have asked you to photograph. In these circumstances, it is possible that the client will make a compensation claim against you.

Where you operate from a studio – the same risks apply.

Even small claims can be expensive. More serious injuries, such as broken bones, with their possible long term effects, can lead to claims for many thousands of pounds plus significant legal fees.

What does it cover?

Public liability insurance covers your legal costs in defending a claim, and any compensation or costs that may subsequently be awarded, following: 1. Injury you cause to a third party during your business activities

AIM RISK W H AT CO V E R D O I N E E D ?

2. Damage you cause to third party property during your business activities

Are there any other insurances that need to be considered?

3. Personal injury or damage to property arising from any product you have supplied

The simple answer is – Yes. If you have employees or an assistant that helps out on the occasional shoot, you will need to take out employer’s liability – this is a legal requirement.

Other insurances that should be considered are:

Professional Indemnity Insurance Why is professional indemnity insurance important?

The fact is that not every shoot will go well. On rare occasions, bad luck or equipment failure will lead to the need for a re-shoot. That is fine if you can simply ask the subject to come back to your studio the next day. However, what happens when this is not possible, such as a wedding? If the shots are unusable, or are perhaps deleted by accident from a memory card, you can easily find yourself being sued for substantial damages.

• Contents • Equipment whilst at the premises and on location • Business Interruption – loss of income • Cyber Insurance

How much does professional photographers insurance cost?

The cost of insurance will depend on a number of factors including:

Whatever the reasons behind a claim of this kind, they can be extremely expensive to defend, making professional indemnity insurance an essential consideration for professional photographers.

1) What level of cover is required?

Just as importantly, professional indemnity insurance also covers you against civil liability claims such as alleged slander, libel or even breach of confidentiality and/or copyright.

3) What is the value of your equipment?

What does it cover?

5) What is your annual turnover or income?

Professional indemnity insurance covers your legal costs in defending a claim, and any compensation or costs that may subsequently be awarded, following: 1. Professional negligence, such as giving incorrect in struction or poor advice to a client 2. Unintentional breach of confidentiality and/or copyright 3. Defamation and libel 4. Loss of documents or data 5. Loss of money or goods (for which you are responsible) 6. Buildings and Contents Insurance

2) Do you have any employees – if yes, you will need employers liability insurance

4) How much equipment do you take out of the studio or away from your home on location?

Premiums can start from as little as £12.00*per month based on Professional Indemnity Limit of £50,000 and Public Liability of £1m. Employers liability can be added for an extra £3.00* per month.

The premium will increase if wider cover or higher limits are required. *premiums include insurance premium tax at 12%

For further information and to discuss your particular requirements, please contact a member of the team on 0333 577 8232, email multimedia@ aimriskservices.com or visit our website www. aimriskservices.com/multimedia

47

Drawing Reality Enter into a land of mystery, where human perception meets imagination, where the world of fantasy meets reality...

T

hrough digital illustration, camera techniques, and an artistic vision, Malaysian based photographer Roger Tan transforms the everyday into otherworldly cinematic scenes that leave you astonished, curious and wanting to see more.

Starting out with Canon 400D back in 2015, Roger has become an accomplished name within his sector - even with minimal photographic experience compared to most leading figures within the industry - he’s won over 400 awards and achieved numerous accolades worldwide, including a reciprocated BIPP Fellowship in 2018.

For Roger, picking up a camera was an evolution in an artistic journey. He first pursued a Major in Fine Art and Illustration in art college and credits this to his rapid success, “Through the previous study of art, it made it is easier for me to learn and understand the composition, sensitivity of tones, style, taste and the conceptions in48 the PHOTOGRAPHER / 2021 / Issue Three

volved in photography.”

As an artist, he would use paint and pencil to shape scenes from scratch; today, he uses a similar approach to etch his visual epics. He says, “I usually use the idea of drawing to process a photo, to guide the viewer’s eyes to pay attention to the subject, and use painting techniques to apply a sense of meaning into the image.”

He derives inspiration from the dramatic fashion & portrait photography of Vincent Peters and the intimate portraiture of Annie Leibovitz, “Regardless of their guiding gestures, emotions, colours, and editing skills, their work is the place I have always yearned to reach.”

Now a full-time photographer, Roger uses a Nikon z7, a Sony a73 and an EOS system, with his go-to All Images © Roger Tan

D R AW I N G R E A L I T Y

lens a 70-200mm. Shedding insight into the editing method, he says, “I use photoshop to edit my images; usually, I will start in-camera with raw to tune the colour temperature, make sure the shadow and highlights have got detail, curve the overall contrast, enhance the colour saturation, then I open it in photoshop for extra detailing and fine-tuning.”

Up to now, his primary focus has been wedding photography. However, he has begun exploring new avenues within the industry, “I work with photography lighting and accessories brands by giving lectures and running demo shoots. I’ve also started doing shoots with artists and actors for TV posters and magazines - I’m actually transitioning into commercial.”

A believer in expanding horizons, he states, “As a photographer, I am most excited and inspired by shooting subjects never before photographed, creating something new, crossing borders, and mixing sectors together like commercial, fashion and 3d, etc. I see all new challenges within photography as a chance to improve and grow my skills.”

As Roger’s reputation has built, requests to teach and a judge have emerged; sharing his perspective on judging, he says, “I think basic skills are very important. Usually, I look at facial expressions, lighting, details, and poses. These four basic skills are essential. Next comes creativity and narrative, as even if the photo feels special - but the basic skills are not handled well I wouldn’t score it highly.

Although he takes a more conceptual approach when teaching students, “I think technology is monotonous - ideas and understanding are the roots of creation. I help students understand why they should use this approach; if they don’t understand, they will live in the shadow of others.”

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“I usually use the idea of drawing to process a photo, to guide the viewer’s eyes to pay attention to the subject, and use painting techniques to apply a sense of meaning into the image.”

R O G E R TA N

Image © R o g er Ta n

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A N E E S A D AW O O J E E B E YO N D A F E L LO W S H I P

Beyond a Fellowship When creating a body of work, the final result may still only be a distant vision. As the journey begins, everyday experiences can unknowingly start to define our ideas and reveal a more profound purpose we didn’t initially set out to reach.

For Aneesa Dawoojee, her recent BIPP Fellowship panel demonstrated just this, as a project photographing her local Muay Thai gym finished exploring subjects rooted deeply within herself and her community.

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escribing her panel, Aneesa says, “This is a piece of work on life, humanity, cultural diversity and belonging. A community of individuals in South London who do not see colour, but are united by other commonalities, such as the love of sport, finding a family, loss, trauma and hardships”.

Born to immigrant parents, Aneesa says, “Immigrant family history can be complex, and many tend not to overshare, so whilst we have a lot of strength and spirit on the outside, there is a lot of pain in the heart that stays inside. This is part of the drive behind my photographs.”

Portraying organic and authentic accounts of people was essential to the project; therefore, building a genuine connection with her subjects became a vital part of the process. The common thread was Muay Thai, an ancient martial art originating from Thailand. Amongst the raw brutality of the combat, the sport promotes honour and respect between opponents through ceremonial traditions displayed at fights.

“For me, this project was a necessity to show unity through emotion. My mentors saw my inner struggles and difficulty to express my true self. Two of them suggested that a personal project to express myself visually might help, and without fully realising it, this project unfolded from work I was already creating.

This whole process was like therapy, and it brought me even closer to my immediate community”.

Growing up in Lambeth, South London, Aneesa practised Muay Thai from an early age, initially as a form of self-defence; however, the gym would become a place of belonging, as it did for the people in her photographs.

She say’s that her “practice of representing disadvantaged and underrepresented people in previous roles enabled me to ask the type of questions to help clients to expose a rawness about themselves.”

Behind the ‘fighter’ persona, social, cultural and political commonalities further relate Aneesa to her subjects, which became ignited after the tragic death of George Floyd, “BLM affected everyone in the panel differently.

My work significantly changed at this juncture. The nature of the shoots went from joyous or action fight shots to more softer, subtle non-verbal language.”

Before becoming a photographer, Aneesa studied History and Politics, and then Conflict Resolution and Mediation as a postgraduate. After leaving education, she spent most of her career with a homeless charity, Alone in London, where she first picked up a camera.

“I started photographing images for the annual and quarterly reports after wanting to change the stereotypical photographs showing young people in doorways looking depressed.”

“Lambeth is one of the most diverse boroughs in London. There are more people from multi-cutural and mixed-heritage backgorunds in this panel because of the way immigrants arrived historically into the area.”

Instead, Aneesa captured people acting naturally and worked towards changing the negative visual narratives connected to homelessness, “The psychology continue page 54

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Shanelle ‘The Nightmare’ Dyer WKO 2019 World Champion WKU 2018 K1 World Silver MedalistWKA 2016 K1 Silver Medalist at Southern Region TournamentWKU 2017 British K1 Open Silver MedalistWKU 2017 European Championship K1 Bronze Medalist

Iska 2013 World Muay Thai Champion

Image above: Shanelle experienced tragedy at a young age after a good friend was stabbed and killed by his brother on his 30th birthday. The friend had been in and out of jail but had used fighting to clean up his life.

In this image, she is holding his picture as a mark of respect.

Mixed African and West Indian, Shanelle lives with her four sisters, two brothers and parents. They are close, like a team - with the four sisters sharing one room.

Since 11 years old, she has been fighting, with a mantra of “eat, sleep and train”. The gym is like an extended Image © Aneesa Dawo o j ee

family, full of people she can talk to and know her.

Shanelle has now become a role model for the young generation of fighters, “I come from the same place as them, from London, same situation, they probably see me as a role model and inspiration...The gym is somewhere to get away, and somewhere to escape, cos a lot of people don’t have amazing situations going on in their lives - we need places like this around London so we can save a lot of children.”

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learnt at the homeless charity helped to get people to see the best possible vision of themselves. To give each person a sense of pride of being part of something that is more than a photograph.”

When creating a distinct image style, the same considered approach continued - as understanding how to light all skin colours so the pictures could sit together with the same tonality and posing subjects correctly became paramount.

Inspiration derived from traditional artists and painters who formed her aesthetic vision and philosophy, “I believe we are in a period of change, just like in the renaissance period. This is why I have chosen to light the subjects in a similar style of light but with contemporary content.”

“Talking with the BIPP Fellows and academics gave me such a good understanding of other authors whose work is relatable to mine; they helped to articulate my beliefs, my storytelling and the execution of it.”

“I think that the writing process I went through was probably one of the best skills I learned. We talk about improving as a photographer, but it takes you further; you improve as a writer. It’s the bigger part of the picture; it’s the thought and understanding behind what you are doing.”

Beyond qualifications, Aneesa has begun the project’s next phases and continues shooting her series in the hopes to communicate it to the

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wider public. Unexpected opportunities have also started to unfold, “It has changed things. The Fellowship and the shortlist for the RPS International Exhibition have helped the work be seen on larger platforms. But most of all, the youths I am connected to may now see that anyone can achieve something as incredible as this - it can give them hope. It makes the hard work worth it”.

After seeing her work online, a coordinator from a creative arts festival, Streatham Festival, asked Aneesa to head up a programme teaching photography to young people.

More commissions emerged to cover Muay Thai events and capture fighter portraits. While an opportunity arose to run an online Masterclass with Wex Photo & Video, talking about her photography journey led to her photograph being showcased at Wex’s ‘Women in Industry’ exhibition at The Photography Show 2021. Aneesa says, “the significance of the image placed next to Nelson Mandela meant a lot to the fighter, Shanelle, and myself. We were both emotional and grateful to Wex for how it was curated”.

“The opportunities don’t feel real, especially as I had never really shown my work beyond my clients and friends just a year ago. It’s amazing - it ties in with everything I’ve always wanted to do. My two career paths have literally touched in the middle.”

Image © Aneesa Dawo o j ee

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Firefighter Ricky Nuttall After Grenfell, Ricky suffered from severe PDSD; the arduous road to recovery brought a new perspective and purpose to his life. The heroic firefighter now dedicates his time as a mental health advocate and public voice, focusing on raising awareness of the importance of social and workplace mental health and well-being.

Extract from Aneesa’s interview with Ricky:“One of the poignant stories from my time at Grenfell and something that impacted me hugely was actually kind of to do with this project in many ways.

We’d been at the fire all night, and all morning, it was around midday we were leaving, and at this point, having been in the tower three times and seeing what was going around us, it’s a very traumatic situation emotional environment to be immersed in, and as we were leaving reluctantly, as we didn’t want to go, but we had to, we were walking back to the fire engine, and a black guy was walking down the roads towards us, baseball cap on and hood up - your Daily Mail stereotypical ‘this guy is going to rob you’ image.

To be honest with you, I looked at him walking g down Image © Aneesa Dawo o j ee

the middle road with intent in his face directly towards us, and at this point, because of the loss of lives involved in the incident, I wasn’t sure if he was going to be angry or ask an awkward or difficult question about where a person was.

As he got near us, he pulled his hood back from his head, and he looked up and had tearful eyes, and he opened his arm and wrapped them around us and said, ‘thank you’. It still impacts me now; it gives me goosebumps. It was one of the moments when you realise -we’re judging people constantly. And the black and white of it is that we’re all the same; that guy wanted to hug us because he could see the pain on our faces, and he probably needed a hug because I could definitely see the pain on his face.”

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KEYWORDING CLEMENCY WRIGHT

Session 3 explored ways of “Optimising Keywords for Customer Engagement”. Photographers from different specialisms require different methods, tools and techniques to optimise Keywording, and so we discussed this in more detail during the slideshow.

The final session was a Practical Keywording exercise where photographers could have a go at Keywording themselves. This is a fantastic way to apply the theory gained and put it into practise.

We looked at a selection of 4 different images providing a good selection of styles and themes to work on. We used the online collaborative tool “Mural” to present the images, and Keyword them live as a group. We spent around 15 minutes on each image and photographers used the Chat function in Zoom as a way to send in their Keyword suggestions.

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Live keywording is a great way to involve participants and consolidate learning. We generated a large number of Keyword suggestions which I then applied to the images, explaining and annotating as we went along.

Around 10 photographers form varying backgrounds and specialisms signed up to the course.

We started with an Introduction to Keywording.

It’s hugely beneficial to ensure people are aware of what keywording is, why it is used, and what the benefits are, before launching into any training.

Since we had a range of photographers working across different genres, the material was designed to accommodate all levels of understanding.

Key Takeaways

n July and August, I delivered four sessions for BIPP members on the topic of Keywording.

The course was designed to help support photographers who are new to Keywording, as well as those looking to enhance current practice. Built around illustrations and demonstrations, the course intentionally set out to demystify this topic and provide practical solutions that are easily actionable.

Session 2 addressed the Keywording Process. I noticed that, at this stage, photographers were starting to piece together the information learnt and relate it to their own work.

I always encourage photographers to ask any questions they have about keywording for their own particular image collections.

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This “live” Keywording approach is the best way for people to ‘take in’ what they’ve learnt. Whilst Keywording is a subject that can be explained through documentation and demonstration, there is no better way to learn than by having a go!

Keywording benefits anyone who produces commercial images, or publishes images on their website, online portfolio and social media channels.

As a photographer, your work is the primary tool to attract and engage potential customers. You only have one chance to make a first impression. But if your photos aren’t correctly keyworded, then you might be ‘lost’ online and miss out on sales opportunities as a result.

Keywords improve the visual impact of your business and connect you with potential customers.

For more information about Keywording training contact clemency@clemency.co.uk or visit www.clemency. co.uk

I N C LU S I O N CO M M I T T E E

Meet The BIPP Inclusion Committee After first forming, the BIPP’s Inclusion Committee is starting to outline its initiatives and take focus on its aims for the coming years. In this piece, we take a closer look at the progress and development made so far and get to know each Committee’s member personal drive to make the BIPP more inclusive.

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ollowing on from my previous article and the publishing of the BIPP’s Equality, Diversion and Inclusion Policy, I’m delighted to say several members came forward to volunteer their opinions and expertise in implementing the ethos of the policy and the Inclusion Committee was formed.

Their aims? First and foremost to make sure that the BIPP is a true representation of society, to raise awareness of inclusion within the Institute and to advise on how potential programmes of education could be put in place.

The meetings are enjoyable and fruitful with everyone giving their considered opinion on these topics and how to move them forward in a way that uses positive language and encourages both existing members and potential new ones to view and value the BIPP as the wonderful diverse community that it is.

It was agreed that the Equality, Diversity and Inclusion Policy should state a zero tolerance to racism and specifically include social media as part of the written word statement. Small changes you may say and ones which most of us would take as a given, but they should be stated, and are now in print, and I’m proud to say on our website. It’s good to know as professionals in our field that we are in a safe community.

Education is a broad topic and certainly one that most of our members will have an opinion on.

Our world recognised qualifications are there for professional members to reach their potential with mentoring from their peers. How wonderful would it be if we could give this opportunity to a small group of youngsters who would not otherwise be able to access education or enter the field of photography. This idea is at it’s embryonic stage but I am excited to see how the Inclusion Committee suggests this could be implemented in the future.

The Inclusion Council has also acknowledged that unconscious bias is present in society and these biases create inequalities. They recognise that more needs to be done within the BIPP as a membership organisation to address these issues. As per the Councils suggestion, unconscious bias training will be provided for directors, staff and regional chairs of the Institute and available to members when they pursue a qualification. The training will help identify barriers to inclusion and opportunities to help improve and create a more inclusive future for the BIPP and its membership.

If you want to know more about the Inclusion Committee or can offer your expertise, please call me at Head Office Sharron Caunce OFFICE MANAGER 59

I N C LU S I O N CO M M I T T E E

James Musselwhite

understanding of the world and ultimately greater empathy with our fellow person. A more diverse community is a stronger community, and that is better for everyone.

This should be the goal for the BIPP. To be as positive, transparent, and inclusive as possible, so everyone benefits from a better community.

Mark Hall

Aneesa Dawoojee Around three years ago, I was asked to produce a series of videos for Arts Council England, highlighting the stories, motivations, and experiences of black wrestlers in the United Kingdom. I was reluctant at first; however, the experience was one that helped me go some way to understanding the struggles that young black people have living in everyday society.

I seized the opportunity not only to create the video packages but also to further my own personal reading. It was about trying to understand other people’s experiences of life and the history from a range of cultures and backgrounds.

I realised that most people’s lives are complicated, tough and unique, and fraught with problems and hurdles to overcome, but if you are a white person living in the UK, racism does not deny you opportunities.

One of the key components to overcoming this is representation.

Seeing someone who looks like you, who talks like you, is a fundamental asset to driving success, especially in young people.

I believe when you surround yourself in as diverse a community as possible it leads to a greater

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Inclusion is important to each and every member of any organisation or institute. I believe it to be the foundation of a strong ethos and culture. None of us wants to see anyone struggling or unable to speak up. I’d simply like to support the access for any photographer to reach their professional goals. Our development is always impacted by those who we interact with. In order to not just feel like an onlooker, it is essential that dialogue is opened up and everyone has a platform to be heard, respected and noticed. There is so much talent within the Institute, but unless a person feels connected or encouraged, they may never shine the way that they should.

I became involved with the BIPP Diversity Council after reading an article in the Guardian, which named and shamed the institute that I have been a part of since studying photography in Blackpool between 1983 and 1986. I posted a link to this onto the Institute Facebook page when I realised that nothing had been said about this either internally or publicly. Unfortunately, this brought out a small number of regrettable responses, which showed that there were issues that had been ignored for too long. It is no surprise to know that engagement with photography is at its highest and most diverse; it should also come as no surprise that many of the institutions that represent photography are not so diverse and need to do a great deal to encourage people from a more representative group of people that are actively engaged in some form of professional photographic activity. What we call professional photography needs also to be redefined, to incorporate areas that have expanded exponentially since the BIPP was formed in 1901 and the practitioners who inhabit those spaces. Education should be seen as the potential link between the past and the future and a way to reach out to the underrepresented if the Institute is to thrive.

I N C LU S I O N CO M M I T T E E

John Hunt

The BIPP have got a year. I’m not going to pay the University subscription unless things start to change”.

The words of the course leader for the photography degree at the University of Northampton, where I teach as a part-time lecturer. He concluded this statement with, “John, you’re in the BIPP - you’re our liaison with them”. This was the start of the journey then, and prior to it, I have to admit to being a perfectly comfortable white, middle-aged

Monir Ali photographer from a very affluent and academic area of the country without really ever having to think about diversity very much. The area sandwiched between Oxford and the Cotswolds is not an area with a high number of ethnic communities (although parts of East Oxford do have small communities). Working in Northampton with a different cultural demographic, it was clear I needed to challenge my own apathy and unconscious bias as a privileged white individual. I’m not there yet, but I’m trying to learn. Aneesa and Monir are helping on the journey, Mark too. Aneesa really opened my eyes after many conversations and shone a light on some uncomfortable questions the BIPP needed to ask itself. Whilst my knowledge about diversity still needs work, my feelings about unfairness and discrimination burn very bright. I hope I can play a small part in future.

I wanted to be a part of the Inclusion Committee as I wanted our organisation to be more representative of modern Britain. A place that allows photographers to be able to express themselves ideologically and creatively without barriers or walls.

Also, as a visual organisation, we need to show the industry we are visibly diverse while reflecting and showing a real understanding of creed, race and culture and not just an exotic side note.

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Join the BIPP Photography Weekender packed full of practical workshops and business masterclasses run by industry experts in the luxurious High Leigh Conference Centre.

Accommodation and ALL meals included for only £395!!

Dates: 29th - 31st October 2021 Hosted by the South East Region, The Weekender is open to all members and non-members. The training weekend will provide photographers with the opportunity to sharpen their camera skills, further industry knowledge, gain exclusive business insights, improve productivity strategies and expand their creative vision.

Alongside the chance for the photographer to hone their craft, The Weekender will provide an opportunity to socialise and network with other professionals in the industry. With 40 acres of lawns, parkland and woodland, there’s also space for partakers to unwind and relax in the tranquil surroundings.

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Wedding Masterclass: Finding your Creative Mojo with Adam Alex Adam Alex is a multi-award-winning photographer who is highly regarded internationally for his intimate approach with clients and stunning fine art styled wedding shoots. In his masterclass session, Adam will cover the techniques and creative processes he uses to capture magical memories for his clients and inspire you to look for your very own creative mojo, while providing insights into creating a successful business.

The Art of Digital Work Flow An expert lifelong underwater and commercial photographer, FBIPP MA Paul Ives will, discuss transferable photographic skills, how he approaches technical challenges and look at fundamentals of good practice in digital workflow.

G R O W C O M M E R C I A L LY | G R O W C R E AT I V E LY | G R O W C O L L E C T I V E LY Studio Lighting Workshop with Barrie Spence Scotland regional chair, ABIPP Barrie Spence, is an experienced studio photographer known for his considered and complimentary lighting techniques; he is renowned for his portraits of dancers, families and pets.

In the session, Barrie will teach a variety of lighting styles and methods for photographing different subjects and allow participants the opportunity to operate the equipment and capture images.

Improving your Social Standing A rising star in rural lifestyle photography, Lucy Newson has excelled in her business through the ability to engage customers through social media. During the session, Lucy will speak about managing various social media platforms and how to utilise them to promote photography work and grow an online profile.

Commercial Photography with Daniel Freeman & Paul Ives An accomplished landscape and documentary photographer, FBIPP Dan Freeman, and decorated commercial photographer FBIPP Paul Ives will combine talks on shooting commercial images with practical demonstrations for attendees to get hands-on experience during the session. The workshop will include an insight into building a commercial portfolio and how to get noticed by commercial buyers.

The Art of Selling Printed Products With 21 years’ experience in the industry, Jeremy Price has worked and trained with some of the most successful social photographers both in the UK & internationally.

Selling printed products is for many a challenge and with so many different ways to do this Jeremy will share the most successful processes that suit different business personalities and goals.

Off Camera Flash with Colin Brister ABIPP Colin Brister specialises in sport and nature photography, building a successful career by capturing the perfect moment through precise timing and framing. In the workshop, Colin will be heading outside to teach how to operate off-camera flash techniques to capture a fast-paced moving subject.

The Art of Asian Weddings Photography Monir specialises in wedding and food photography.

Over his career, he has worked for various well-established clients and brands, and produced content for major editorial, publishing and advertising campaigns. In this session, he will speak about the artistic mindset and unlocking your creative vision when capturing the vibrancy of an Asian wedding.

Newborn Photography Workshop An acclaimed figure in the newborn and maternity field of photography, Elli Cassidy produces striking images that artistically capture the special moments of bringing a baby into the world.

This session will cover how to professionally approach setting up a photoshoot, business strategies and the creative eye needed to deliver the highest standard of photographs within this sector.

The Business of Photography with Richard Bradbury Multi Award-winning advertising and portrait photographer, FBIPP Richard Bradbury possesses a plethora of knowledge within the commercial sector.

Alongside his work behind the camera, he has published three books on creating, maintaining and developing a photography business. The session will consist of Richard sharing his knowledge and insights to help build a viable career as a photographer.

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DR RON CALLENDER MINING THE PAST

Mining The Past With DR Ron Callender Editor Joel Hansen reflects on his visit with CEO Martin Baynes to the BIPP ex-President and a stalwart member of 63 years, Ron Callender.

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pursuit to uncover the BIPP’s history is something that has interested me since taking on my role.

Slowly, it has started to unravel through discussions with longstanding members of the Institute who’ve become custodians of its heritage.

Another door into the past presented itself when FBIPP Dr Ron Callender emailed me to say he had accumulated a stack of documents throughout his time with the Institute.

Becoming a member in 1960, at age 26, Ron would become a renowned figure - most notably because of the time he served as the BIPP president from 1975-1976. In this period, a memorable annual meeting celebrated the 75th year, which featured famous photographers and industry manufacturers speaking at the event that attracted attendees from around the globe.

On invitation from Ron to collect the documents, a visit ensued with myself and the CEO Martin Baynes to his home in Cheshire.

Over coffee and lunch with Ron a, we got a brief overview of his career working for world-leading global corporations such as Unilever.

Stepping foot in his living room, an array of documents and memorabilia reached out across the coffee table - it was a BIPP treasure trove! As we explored the possessions, the ex-president told the stories behind each one; they included BIPP passports, member registries listing over 64 the PHOTOGRAPHER / 2021 / Issue Three

2400 photographers, honorary medals awarded from international photography associations, past examination structures, letters of correspondence and more.

Although retiring as a formal photographer decades ago, Ron’s enthusiasm hasn’t faded towards his vocation, which became apparent as photography featured everywhere in his home. Original prints of pioneering female photographer Madame Yevonde hung on the walls leading up to his study - a room lined with shelves full of catalogued photobooks documenting his travels from around the world.

Ron focuses mainly on Applied Photography, a practice that produces pictures for the purpose of study and education; it avoids photo manipulation to give as an accurate depiction as possible of a subject.

The method blends with Ron’s passion for geology - demonstrated best in his project documenting Britain’s standing stones, which are ancient rock formations, such as Stonehenge.

Not only did Ron application of practical photography extend into his later years, but so did his knowledge when studying for his PhD. The research focused on Vero Charles Driffield, a British photographer and chemical engineer and Ferdinand Hurter, a Swiss-born chief chemist. Together, the pair published papers about scientific research into photography, invented an instrument called the actinograph (an initial version of a light meter), and contributed to the popularity of the early days of photography.

In 2012, Ron published a book titled Mr Driffield and Dr Hurter: Their Lives & Times in Picture, produced from his decades of research on the once-forgotten pioneering photography figures.

Ron’s efforts to preserve the BIPP’s history over his 61-year membership has given me - a new generation - resources to help mine the past, to build a future.

The Ede & Ravenscroft group provide photography for students and families on the most special days of their lives at schools and graduations.

Would you like to photograph next years graduates?

We are looking for professional photographers

Our team of professional portrait photographers ensure our customers receive an exceptional image of themselves and their loved ones to cherish.

We are currently looking for new members to join our team with many events in 2022 already scheduled.

• Full time or freelance positions available • Competitive rates of pay • Events held across the United Kingdom • Basic kit required including a camera capable of large images with a fixed lens 50mm or 35mm for cropped sensor. F2.8 zoom lenses preferred. Two 500 watt flash heads with wireless trigger. Tripod and two posing stools or equivalent.

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