the Photographer - Issue Four 2023

The Magazine of the BIPP / 2023 / Issue Four

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ISSUE FOUR, 2023

International Awards 4 Take a look at the award-winning images from the BIPP’s International Competition 2023/24 and check out insights from the photographers who captured the shots

From Domestic to Wild 40 Frankie Adamson takes us through her Fellowship panel and the technical, creative and practical processes behind shooting wildlife out on safari

Organise: Alchemy of Marketing 54 Richard Bradbury FBIPP continues his business advice series with an article looking at preparing your company to take on more customers

Canine Choreography 46 Specialist pet photographer Jessica McGovern gives an in-depth breakdown of dog portraiture and the thorough method implemented in her impressive Fellowship panel

Small Town Huge Heart 60 Jennifer Charlton takes us to Coldstream, a place on the Scottish Border, as part of her project documenting the town’s annual traditional celebrations

Obituary 52 We take a look back at the life and career of Steve Walton FBIPP, after he sadly passed away this November

Capturing Memories Forever 64 Jeremy Price shares his wisdom around the importance of wedding albums and their role for future generations

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

CEO: Martin Baynes

Editor: Joel Hansen, editor@bipp.com

President: Jeff Brown

Advertising: Tel 01772 367968 E-mail: admin@bipp.com

T: 01772 367968 E: admin@bipp.com W: www.bipp.com

Directors: FBIPP Paul Reiffer (Chair) ABIPP Monir Ali ABIPP Barrie Spence FBIPP Jessica McGovern LBIPP Matt Curtis FBIPP Johnson Wee

UK Subscribers £30, Rest of the World £60

Photographer of the Year 12 Find out how the winning image was put together and about the man behind the shot, Graeme Hewitson Qualifications 26 See the highly successful sets of panels from the second qualification of 2023

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

Neither the BIPP nor any of its employees, members, contractors or agents accept any responsibility whatsoever for loss of or damage to photographs, illustrations or manuscripts or any other material submitted, howsoever caused. The views expressed in this magazine are the views of individual contributors and do not necessarily represent the views of the BIPP. All advertisements are accepted and all editorial matter published in good faith. The publisher makes no warranty, express or implied, that any particular product or service is available at the time of publication or at any given price. No part of this publication may be reproduced by any means whatsoever, or stored in a retrieval system, or broadcast, published or exhibited without the prior permission of the publisher. This magazine is the copyright of the BIPP without prejudice to the right of contributors and photographers as defined in the Copyright, Designs and Patents Act 1988. All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2023

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

D

ear member,

Welcome to the winter edition of the Photographer. This edition is a real celebration of our members as we end what has been a challenging year for many of them.

We are able to celebrate the annual International Print Awards, which was a great success and saw a number of members becoming successful in their category and a lucky few becoming Photographer of the Year in their category.

Also, a special mention to our three new Fellows, which is the highest achievement you can reach in our three-tier qualification process. Jessica McGovern FBIPP, Frankie Adamson and Brian Morgan.

In Brian’s case, he went for his LBIPP, but the panel was so strong it was re-assessed at ABIPP and then awarded after further assessment at FBIPP. If you are thinking of going for qualification, please call as we are filling the February dates of the 27th and 28th of February, with the next being in October.

A special mention to Graeme Hewitson, who walked away with both Fine Art and Digital Creation and Newborn Photographer of the Year as well as winning Overall BIPP Photographer of the Year.

I want to thank Jessica McGovern as she comes to the end of her time on the Board for doing exactly what she said she would do in the time frame she said she would do it and for all the work updating our brand and website. Her work rate was something to behold.

My thanks to Paul Wilkinson and his team of judges for two very intensive days of judging back in October, and while I am thanking Paul Wilkinson, congratulations to Sarah Wilkinson, who was awarded the Conboy - Beer Award for services to the BIPP while supporting Paul in rounding up and organising judges who kindly give up their time and expertise to help us with judging and qualifications.

With the new website and branding from the 1st of December, all our working members are now covered by our insurance company for Public Liability and Professional Indemnity as part of the membership. This further increases the benefit of being a member of our organisation for professional photographers, and our hope is to attract new members as we become the hub for professional photographers.

John Miskelly was honoured by the association with his Honouree Fellowship for his service to the BIPP, as he was key in saving the BIPP a few years ago and also re-wrote the articles of association in 2022.

This is the highest achievement that can be awarded to one of our members, with less than 20 other people in the world with this title.

We are excited for next year and to continue to evolve the BIPP for its members and the professional photography sector. We will kick off the year with our new monthly image competition, which will ultimately lead to the Photographer of the Year award.

A huge congratulations to our members who qualified in October. It is a fantastic achievement, and the panels in this cycle were fantastic; we have included a taster of them in this edition of the magazine.

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Have a wonderful Christmas and a prosperous New Year.

PRESIDENT JEFF BROWN

I

t’s the final magazine of the year, and what a great year it has been for the BIPP, a new brand, new direction, lots of new members and an amazing awards ceremony last month in Birmingham to top it all off.

I’d personally like to thank everyone involved for all their hard work behind the scenes, organisation, and, of course, the prior judging that made the International Prints Awards such a success. The board and myself had such a fantastic couple of days – it’s always good to meet so many of our talented members in person. The venue was perfect, the speakers inspirational, the food first class, and yes, there were a few sore heads in the morning.

Apparently, the party was still going strong at 4am!!

It was such a huge honour to present the winner’s trophies for each category, the level of craftsmanship from all the 300+ entries shows the unbelievable amount of talent we can call on as an organisation. I certainly didn’t envy the judge’s job of having to narrow down the selections for each category.

Looking forward to 2024, I see an exciting year for the BIPP and its members as we continue to grow and move in our new direction. As photographers and business owners, the start of a new year is always a time to reflect on what we have achieved so far and what we’d still like to achieve in our businesses, and it’s a time to set ourselves challenging new goals for the coming 12 months.

As many of you who attended my talk at the awards day will know, goal setting and time management are the keys to our success as photographers. Time is what we trade; it’s our

stock, so we must look after it and use it wisely.

Goal setting is an essential part of any business’s success, it’s a roadmap and direction for where we want to be, what we want to achieve and what we need to do to make our dreams a reality. I have a saying that no goal is too great, it’s just some goals take longer to complete than others, but like with anything in business and life, consistency is key. It’s those little daily steps in the right direction that lead to the end reward, you can literally achieve whatever your heart desires if you have a plan and start putting that plan into action. For me, the definition of self-discipline is doing what I know I need to do to achieve my goals and doing it every single day, even when I don’t want to do it.

We have more opportunities available to us now than ever in the history of our industry, we can connect with decision-makers, influencers, leading brands, organisations and celebrities through the power of LinkedIn, social media and email. When you have a strong desire to achieve your goals, you surround yourself with the right people and put your message out there, you’ll often find many opportunities magically aligning to make things happen, but you need to put your ideas into action.

Because goal setting and time management are such an important foundation to your business success, I’ve recorded an in-depth goal setting webinar training session for those who missed my talk at our awards day. You can find the Goal Setting Webinar in the Guide Section of our Facebook Group. Remember, I’m here to help, so if you do have any questions, feel free to reach out to me in the group, or if you prefer, message me directly on Facebook or LinkedIn. Wishing you all a very happy, healthy, and successful 2024.

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I N T E R N AT I O N A L AWA R D S A D V E R T I S I N G & CO M M E R C I A L

Peter Lik

Heavenly Night

“I

am absolutely thrilled and incredibly honoured to have been awarded in this year’s competition.

Winning this prestigious accolade from the BIPP means the world to me, and I can’t express my gratitude enough.

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Photographing the breathtaking sunsets in Mexico was a truly amazing experience. The ocean reflected the vibrant sky in a thousand different shades, while the pier added a perfect touch of character and form. The scene was like a painting, and photographing it was the ultimate reward. This image captures a tranquil beauty amidst the chaos of the world and showcases my deep passion for photography.

Image © Peter Lik

PETER LIK FBIPP H E AV E N LY N I G H T

I want to sincerely thank the judges and the entire BIPP community for their unwavering support. This year’s competition has been exceptional, and I am humbled to be among such talented photographers. The level of skill and creativity displayed has been truly inspiring. Your encouragement and sense of belonging in this remarkable community have been crucial to my journey as a photographer.”

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I N T E R N AT I O N A L AWA R D S ARCHITECTURAL & INDUSTRIAL

Neil McKellar

Usher Hall Spiralling

“M

y Architectural photograph was of a spiral staircase in Edinburgh’s Usher Hall. It had been renovated and had an LED light cylinder installed which is suspended from a skylight and stops approximately three feet off the ground. I used an extensive depth of field and tripod for the slow shutter speed. My only issue was waiting for the stairwell to clear of people stopping halfway up to chat.

I was surprised to hear my name called out at the end of the presentation at the Awards Ceremony. When you see the slideshow of so many new outstanding photographs, I suspect it’s hard to compare your own image to them, especially when you’ve seen your own so many times. However, I was also delighted and honoured to win, and perhaps slightly awkward the second time my name was called out. Thank you to everyone who took part and organised that evening, and to the ongoing BIPP support, especially that of Director Barrie Spence FBIPP.”

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Image © Neil McKellar

I N T E R N AT I O N A L AWA R D S CLASSICAL WEDDING

Jack Wong ABIPP Bride in Central HK

“I

am incredibly grateful to the BIPP and the judges for recognising my work among so many talented photographers.

Image © Jack Wong

I chose to use a 12mm ultrawide-angle lens to create a more dramatic impact in this photograph of a bride standing on a captivating spiral staircase in the vibrant area of Central Hong Kong. This lens allowed me to capture the image with a visually striking S-curved composition. The composition not only introduces a sense of movement to the scene but also establishes a visual connection between the curved line and the bride’s flowing bridal train. The result is a dynamic and aesthetically pleasing image that effectively tells a compelling story.”

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I N T E R N AT I O N A L AWA R D S D O C U M E N TA R Y W E D D I N G

David Bostock FBIPP Growing Up

“W

i nning International Documentary Wedding Photographer 2023 for the BIPP was an absolute highlight of 2023 for me. I only joined BIPP this year, and to have almost all the images I entered appear on the screen as Finalists and to win the overall category was such an honour. The standard of finalists in all the categories in Weddings was incredibly high.

The image was taken during the bridal prep at a wedding in February this year at Hedsor House, a venue where I work regularly. The flower girl was the groom’s young daughter and was involved in the girl’s prep. The image was taken quietly from the next room, and I noticed the door frame would make a really good dark frame for the image. I saw the moment unfolding as the flower girl was in a world of her own looking in the mirror and picking up the lipstick that was on the side. I got three images in quick succession, but the one where she was just about to apply it was ‘the one’. Often, candid, unposed images that happen on a wedding day are the ones that tell the story the most, and I am always on the lookout for them. After 15 years of doing this job, it happens instinctively.

Shot using available light with a Canon R5 with RF 70-200 at f/2.8 1/200 sec and ISO 1600 and processed in Lightroom and NIK Silver Efex Pro with my own recipe of settings. The final image was printed on Hahnemühle Photorag 308 GSM, my absolute favourite monochrome work.”

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Image © David Bostock

I N T E R N AT I O N A L AWA R D S D O M E S T I C AT E D A N I M A L S

Rachel Wood

Do my ears look big in this?

“T

h is photograph, taken during a shoot with Sully, a lively sixmonth-old Staffie, captures his spirited personality and exquisite colouring.

The image was created as a keepsake for the client. Emphasizing the captivating eyes of the dog is a recurring theme in my work, creating an illusion that you can reach out and stroke them and capturing a connection that encourages contemplation of the dog’s thoughts.

I take joy in crafting images that showcase

Image © Rachel Wood

the unique personalities of dogs whilst maintaining a timeless quality, a delicate balance that I constantly seek to perfect. Every session poses a unique challenge, propelling me to continuously expand my abilities. Instead of relying on predetermined plans, I trust in my knowledge and skills to consistently deliver work that leaves clients in awe. Winning this award was an amazing and unexpected moment that truly took my breath away. I’m excited to see what I create next!”

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I N T E R N AT I O N A L AWA R D S E N V I R O N M E N TA L P O R T R A I T

Nagayuki Kojima

“I

n Japan, it is customary to celebrate turning 20; people celebrate by wearing a classic kimono, a traditional garment and the national dress of the country.

I was asked to photograph the celebrations.

Image © Nagayuki Kojima

When wearing a kimono, mannerisms are carried out in the traditional Japanese style, and the subject did an excellent job of expressing this in her pose. There was then a very considered post-production process, as we were shooting only in natural light, I wanted to keep the image as natural as possible.”

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I N T E R N AT I O N A L AWA R D S FA S H I O N & B E AU T Y

Art of the Fairytale ABIPP Kayleigh

“A

big ‘wow’ moment!

We never dreamt that we would be awarded this title for the second year running.

Thank you to all at the BIPP who have supported and believed in us!”

Commissioned by Sally Langdon Hair Model: Kayleigh Makeup & Styling: Art of the Fairytale

Image © Art of the Fairytale

Shot using: Nikon D850 Sigma Art Lens 85mm

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I N T E R N AT I O N A L AWA R D S F I N E A R T & D I G I TA L C R E AT I O N

Graeme Hewitson FBIPP Gothic Vampires

“M

y first time entering the BIPP International Print Competition will be one to remember! My initial goal was to ‘test the water’ and see if I could do well enough to win a category. I entered 20 images knowing an exceptionally high standard was required, so I was thrilled when all 20 made it to the print round. Winning two categories made the 10-hour round trip from Glasgow very worthwhile!

Renfrewshire Council hired me to capture publicity images for their biggest annual event Paisley Halloween Festival, a family event that draws approximately 40,000 to 50,000 visitors over the three days it runs. This year, the theme was ‘Gothic Vampires’. Coming from a graphic design and digital art background meant I started sketching right away and planning ideas. I chose three models, one young boy and a teenage girl from my local PACE youth theatre, for whom I had previously captured headshots for. The adult vampire is a friend of mine who is actually a plumber! But has strong features and great eyes. An award-winning makeup artist, Nicola Blackstock, took care of prepping the vampires, and Cirque Bijou provided amazing costumes.

Before the photoshoot, I created a dramatic scene combining smoke, clouds and a shot of Paisley Abbey that made the perfect backdrop. I put each of the models I captured in front of my Manfrotto greenscreen so that I could drop each element in and build the final piece of work.

I wanted the final result to have a Netflix/movie poster-type feel, so using cold blue tones against warm orange gave the look I was after. The ravens and lampposts were rendered in 3d software and added as final touches. The final publicity image was displayed in shop windows, flyers, magazine covers and giant billboards.”

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B I P P P H OTO G R A P H E R O F T H E Y E A R GRAEME HEWITSON

Image © Graeme Hewitson

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G OT H I C VA M P I R E B E H I N D T H E P H OTO

G

raeme Hewitson, FMPA, FGPP, FBIPP based in Johnstone, Renfrewshire, has built up a list of awards and accolades in the photography industry throughout his career. To add to it, he takes the BIPP 2023/24 Photographer of the Year with a carefully crafted digital creation image, Gothic Vampire. Speaking with the Photographer, Graeme gives us an insight into the creative, technical and entrepreneurial skills that built his successful photography business, Monument Photos.

Originating his creative visual pursuit in the 90s while studying graphic design in college – a course that included learning about and using B&W film – Graeme was first pulled into the world of photography, which soon led to him getting his first camera on his 21st birthday.

He says, “After graduating from art college, I worked for almost a decade for a design agency creating logos, magazine covers, flyers, etc. As technology advanced, I began using 3D software, which coincided with the

Reference shot of Paisley Abbey

Jacco green screen 14 the PHOTOGRAPHER / 2023 / Issue Four

transition of cameras from film to digital – I started combining both, which was quite unique at the time.”

Despite finding success in the field of design, with one commission he recived where he created an illustration of a composite of the city of Glasgow, selling a quarter of a million copies, he decided to set his sights on a different professional path, one that followed his greatest passion: photography.

The two disciplines intertwine in Graeme’s work today. He explains, “Digital art and 3d software gave me an understanding of lighting objects and models – a skillset that works with photography. With graphic design, there is always a thought process where you sketch out ideas to ensure maximum impact for clients. I use the same discipline when approaching photoshoots, and the bold, dramatic household style I have developed definitely had its roots in graphic art.”

Looking through the Monument Photos website, you’ll find expertly lit and composed studio images, ranging from high-end products to narrative-driven portraits, which impressively are all produced at

Raven created in 3D software

Harris green screen

Clouds photographed for sky

Catriona green screen

GRAEME HEWITSON B E H I N D T H E P H OTO

Post process digital art

Graeme’s humble home studio. After commissioning his brother to build a 300 sq ft space in the garden in 2016, the studio offers a relaxed, friendly atmosphere for clients and a convenient location to run a business.

Through years of success, Graeme still strives to maintain consistently high quality in the studio, “I want to be proud of every image that comes out of my studio, so I know if I strive for award-winning standards, then my clients will be guaranteed to recommend my services.”

He says commissions that produce images like Gothic Vampire allow him to put all his skills into practice, from considerate planning on mood boards, sourcing models and assembling his atmospheric custom backdrop, “a Netflix movie vibe was my vision, and when I saw the final image on billboards and magazine covers, I was really satisfied with the outcome.”

Continuing the tendency of keeping work close to home, Monument Media, a video business run

by Grameme’s son Josh, is endorsed via his website along with another close friend’s media-based

company as part of a reciprocal support system, “we are all independent but can confidently recommend each other’s services, which is mutually beneficial.’ he says.

The scope of Monument Photos expands across numerous photographic sectors, too. First starting as a landscapes and cityscapes photographer, Graeme’s business now offers family portraits, weddings, products, portraits and more. He explains, “I always try to excel in any area I work in, so during lockdown, I learned lots of lighting techniques on product photography to make use of my time. It led afterwards to automotive and food photography. But in my heart, I love working with people, so portraiture is what brings me the most joy.”

He adds, “I feel truly blessed to work in an industry I love and work with so many amazing and varied clients. Monday mornings never feel like work. For me, a camera is a tool for channelling creativity. Although I have achieved three Fellowships and have been fortunate enough to win international titles, I have NEVER stopped learning and experimenting with new techniques.”

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I N T E R N AT I O N A L AWA R D S LANDSCAPE

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NEIL MCKELLAR ROLLING SOUTH HILLS

Neil McKellar Rolling South Hills

“M

y landscape photograph was taken in Dumfriesshire in April, where I had been staying for a short break. Sunrise was at 6.30, and when I looked out, it was thick fog.

There was a small hill nearby that overlooked the valley, so I climbed it in the hope of a better view, and I was not disappointed. It was a beautiful scene of the valley below, and the fog appeared to be rolling along the fields and around the one lone tree in the middle, with the sun breaking through and causing shadows from the leafless branches of the line of trees in the foreground. It was a pleasure just to see it, never mind being able to photograph it.”

Image © Neil McKellar

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I N T E R N AT I O N A L AWA R D S N AT U R A L W O R L D

Carol Taylor Hon FBIPP Polar Bear

“I

was thrilled to discover my victory in the Natural World category at the International Awards, especially following its triumph in the Midland Region earlier this year. It’s wonderful to witness an image that not only captivates me visually but also sheds light on the broader narrative of the ice caps melting—an issue I’m glad to bring attention to. The polar bear was photographed in Svalbard, Norway, in September 2022, amidst record-breaking hot temperatures over the ice cap. With much of the floating ice melted, the bears were left hungry as they sought seals that had gathered on the remaining icebergs. Without floating ice, there were no seals to be found. We shadowed this bear from a zodiac boat for a couple of hours as he swam, ensuring both the bear and ourselves remained safe. His emergence onto the shore emphasises his vulnerability in a changing world, depicting the stark reality of his environment.”

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Image © Carol Taylor

I N T E R N AT I O N A L AWA R D S NEWBORN

Graeme Hewitson FBIPP Nap Time

“I

work from a purpose-built photography studio in my garden, where demand for newborn photography has grown rapidly over the last few years. I work in multiple genres, but over half of my studio bookings are now baby-related.

I was delighted when my newborn image, ‘Naptime’ won the category as it was shot in my bold and dramatic signature style. I swaddled the two-week-old baby (Olsen) in an ochre wrap and placed her in a tiny bed prop set against a dark floor for contrast. The teddy and chunky knit blanket were both custom-made by my sister-in-law Anne. I added a sunflower to coordinate the colours. Feathered light from a 110cm octabox is my go-to setup with a strip softbox on quarter power on the opposite side to subtly fill shadows. Congratulations to all the other category winners, and thanks to the dedicated judges.”

Image © Graeme Hewitson

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I N T E R N AT I O N A L AWA R D S NON-MEMBER

Kirsty Bevan Endangered Elegance

“T

I did have to swap an eye out as his forelock had covered his eye in the ideal pose and fix his mane a little to make it neater - which was painstakingly drawn back in strand by strand.

The image was shot in the yard with a brick wall behind it, which was swapped in post for a textured background that I created myself from a tile floor.

The colour of the background was selected to compliment the horse’s coat, to create a more uniform look, rather than a standard black background.

I am incredibly honoured to be recognised by the BIPP. This image is one of my favourites I have ever created, and for it to be so highly regarded by the judges whom I have looked up to throughout my photography career is crazy; it means the absolute world to me. I’m just a 24-year-old girl from out in the sticks of Lincolnshire – I never thought I would achieve something like this.”

h e image was created of my friend’s Suffolk Punch, which is a critically endangered breed of horse, hence the image title ‘Endangered Elegance’. I wanted to create a fine art style image that encapsulates their kind eye. Nothing fancy or complicated, just the horse speaking for itself within the image.

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Image © Kirsty Bevan

I N T E R N AT I O N A L AWA R D S SPORTS

James Waller ABIPP Wet Race

“I

t’s an honour to receive this wonderful award. To have such high praise from such talented photographers and judges left me speechless on the night of the awards, and still leaves me struggling for words today.

This image was captured at Silverstone racing track in the summer, believe it or not!!

Capturing movement with a mirrorless camera is definitely more challenging than with a full frame, but that makes it even more rewarding when everything comes together, as it did in this photograph.”

Image © James Waller

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I N T E R N AT I O N A L AWA R D S STUDENT BIPP

Ayodeji Awoyomi Spirit of David

“B

ecoming a photographer isn’t just about taking pictures but about creating a long-lasting impression in the hearts and minds of the viewers; it’s been an amazing and absolute pleasure to be awarded the Photographer of the Year in the BIPP Student category in the International Print Award, all I have ever wanted is to show the world what I can do, and how much I can create content outside the box.

I remember how much I contemplated before submitting the image for the competition. After many words from mentors, friends and colleagues, here I am, waking up to the reality of being an awardee of the BIPP. Oh yes, for those who don’t know, I am Ayodeji, a Nigeria-born Canon Photographer who, a few months ago, was a photographer in the heart of Africa dreaming of showcasing his work to the world. Today, I am here, in the land of my dreams, living life in the heart of the West Midlands, with my first international award, the first of many to come.”

The image was captured in Nigeria’s capital, Abuja – the shot was purely from a camera setup – no AI and smoke manipulation was used.”

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Image © Ayodeji Awoyomi

I N T E R N AT I O N A L AWA R D S STUDIO PORTRAIT

Art of the Fairytale The Viking

“W

hat an honour to receive this award for a portrait that is truly special to us.

A beautiful young lady who possesses amazing courage and strength.

Portraying her as a warrior, capturing that determination, it just felt so perfect.”

The Viking: Ava Styling & Costume: Art of the Fairytale

Chotu Lal Upside-down © Carl Francois van der Linde.

Image © Art of the Fairytale

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I N T E R N AT I O N A L AWA R D S W E D D I N G FA S H I O N

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I N T E R N AT I O N A L AWA R D S N A G AY U K I K O J I M A

Nagayuki Kojima

“W

h en I first entered the building for this photoshoot, I was struck by the exquisite flooring. As I ascended the stairs, the bannister was elevated so high that it was difficult to see down. Using a stepladder, I had to extend my arms upwards, making it challenging to compose the shot from such an unusual angle. Plus, because of the dimly lit environment, a strobe became indispensable to get the shot I needed. I made good use of it and succeeded in telling a story of this couple’s special moment and their happy future together.”

Image © Nagayuki Kojima

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Q UA L I F I C AT I O N S S A R A R AW L I N S O N

From Darkness to Light

S

Sara’s BIPP assessment showcases 20 images from the series, guiding the viewer from darkness to light, symbolising both the literal and metaphorical illumination inherent in photography and libraries.

Spanning the years 2017-2020, these images, many of which have earned international acclaim and exhibition placements, were compiled into a self-published book in late 2020, now sold out. Employing natural light, a tripod, and a shutter release cable for single exposures,

The photographs illustrate the impact of natural light on the spatial ambience and the enduring presentation of books. Some focus on the classical representation of each room’s beauty, while others highlight Sara’s creative framing and composition. Several images echoing Clive Bell’s ‘significant form’ concept from the 1920s Bloomsbury Group serve as off-centre studies in geometry and shadow, provoking aesthetic emotion in the viewer. The panel’s arrangement, progressing from darkness to light, ensures each light+room pair maintains echoes of geometry, composition, and colour.

ara Rawlinson’s panel features images originating from her project, Illuminating Cambridge Libraries. This photographic series captures libraries from all 31 colleges at Cambridge University and pays homage to the elements facilitating knowledge dissemination and preservation. Emphasising the aesthetic surroundings where books and documents are showcased and safeguarded, the photographs spotlight various facets, including book spines at different stages of preservation, architectural details, and decorative features like stained glass windows and wood carvings.

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Images © Sara Rawlinson

Q UA L I F I C AT I O N S L I C E N T I AT E S H I P

“S

pending so much time in my grandma’s darkroom as a kid, the concept of print has held significance from the age of six.

When it came to submitting for quals, I knew it had to be printed. The challenge to create a panel that worked together was both appealing and daunting. Since I work in two branches of photography (abstract fine art and heritage architecture), I needed to decide which to submit. My mentor suggested I submit the architecture instead of abstract since I was going for the L — evidence that I can take a photo *in focus* was one of the primary objectives.

Aside from setting up the panel in two rows, it was then in the hands of the judges as I left the room and chatted with two other members. I was welcomed back with smiles and awarded the L. I was very grateful, and even more so, for the opportunity to talk with panel members and hear feedback about my work.

Overall, I see the BIPP as an organisation full of incredibly talented professional photographers, and to be honest, now knowing that I’m ‘Qualified’ makes me sit a little bit taller. The qualification itself — well, I suppose I see it as just another step in the process.”

Many thanks to everyone who has helped me thus far, and I very much look forward to meeting the rest of you in due course.”

Issue Four / 2023 / the PHOTOGRAPHER 27

Q UA L I F I C AT I O N S MICHAEL LAING

A

fantasy-inspired panel from Michael Laing in the style of fine-art theatrical portraiture that incorporates dragons as the central theme to unveil a narrative that transcends the visual realm. Although mystical themes inspire the images, they explore and incorporate settings outside the realms of fantasy; this allows Michael to create a more diverse set of photographs and create unique characters based on the colours of different dragons.

The journey into his latest work came from the postCovid inflation issues that impacted his photography business, leading Michael to believe he would not survive if he continued down the same photographic path that he’d been travelling for the previous few years. During this time, Michael decided to go back to university to complete a Master’s degree in Fashion Photography; this allowed him to reassess what he wanted to do in life as a whole and the kinds of photographic work to pursue after completing the course.

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The series incorporates testing measures for Michael as a photographer, with black and white being his forte over colour and historically getting better results capturing men than women. Yet, he used this project to strengthen his weakness in a powerful panel of vibrant and intimate portraits. Now, he is using this qualification as a catalyst to continue expanding his business to new clients and industries.

“I

must admit to having mixed feelings about my Associate qualification. I am happy that I passed but was not happy with the quality of the panel for various reasons. At the beginning of the project, I had hoped to go for my Fellowship, but due to various issues, even before shooting, I realised that the panel would not meet my expectations and I would not achieve my goal. But, being more positive, I did achieve my Associate qualification and gain a Master’s degree with distinction. Most importantly, I learnt a huge amount, that I can take forward to do my Fellowship in the future.”

Images © Michael Laing

A S S O C I AT E S H I P FINE ART PORTRAITURE

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Q UA L I F I C AT I O N S LU C Y N E W S O N

Tales of a Country Life

L

ucy Newson, a passionate photographer with a deep connection to the countryside, unfolds a captivating narrative through her lens, revealing the ever-changing tapestry of rural life. For Lucy, inspiration is woven into the fabric of the countryside - in the people, their unique lifestyles, and the animals and scenery that define farm life.

Choosing to embrace simplicity, Lucy employs minimal equipment - just one camera and one lens allowing her to immerse herself fully in the stories she captures. Using natural light allows her to swiftly seize the perfect moment, and employing a shallow depth of field as a preference serves to emphasize subjects while reducing distractions on the bustling farm. In Lucy’s approach to her subjects, whether they be people or animals, capturing a genuine connection replaces excessive posing to seize authentic moments.

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Spending up to three days with her clients to observe the intimacy of their lives, Lucy’s work is deeply influenced by a discovered suitcase from her late Grandma, which provided a treasure trove of ancestral photographs from 1920 depicting life in her family’s smallholding. This rich heritage fuels her desire to offer clients a timeless legacy, capturing moments that will be cherished by generations to come.

In choosing black and white, Lucy pays homage to the past, eliminating colour distractions and accentuating the textures abundant in the countryside. Her photographs serve as a nod to the snapshots from the suitcase, echoing the joy they instilled in her.

Images © Lucy Newson

A S S O C I AT E S H I P RURAL LIFEST YLE

“I

l eft The Flash Centre on cloud nine… a full Cheshire Cat grin on my face. The entire qualification experience has been invaluable. My panel, ‘Tales of a Country Life’, included photographs taken over the past few years showing the hard work and joy that comes with farming and country life.

The feedback I received on each image was incredibly helpful, and I have already begun to notice an improvement in my photographs since qualification day.

When self-employed, it is easy to fall into the routine of your business, so having a qualification to work towards creates a personal goal that can only lead to selfimprovement, motivation and ensuring that you keep travelling forward.

Thank you to everyone at The BIPP for making these opportunities possible.”

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Q UA L I F I C AT I O N S J A M E S WA L L E R

In Plain Sight

W

hen considering military veterans, BIPP member James Waller noticed the typical mental image often gravitates toward the honourable survivors of World War II, usually elderly people who undoubtedly deserve the utmost respect.

While acknowledging their worthiness, he sees it as crucial to recognise subsequent generations of veterans who equally merit the public’s respect, admiration, and support. This collection of images provides a glimpse into the lives of these contemporary veterans.

Elizabeth, a retired member of the Household Cavalry, is celebrated for her service as The Princess Royal’s Charger. She participated in significant state and ceremonial duties, including the Royal Wedding in 2011 and Queen Elizabeth II’s Diamond Jubilee Parade.

Meanwhile, Stikky, a retired Army High Assurance Search Dog (specialising in bomb disposal), now enjoys a serene retirement alongside his dog handler Sam.

Having a background in the military and hailing from a military family, this compilation holds profound significance for James. Each featured veteran was requested to attend in attire and with objects reflective of their present daily life while also bringing items linking back to their military service. The spectrum of artefacts is diverse, ranging from medals and berets to unique choices like Evan, a retired Regimental Sergeant Major, who brought a chair adorned with the colours of the Green Howards. Notably, Andy, a retired Naval Weapons Specialist, sported a Hawaiian shirt featuring his ship and a respirator acquired upon leaving the Navy. For Jason and Bernard, their military connection is etched in forearm tattoos, serving as permanent reminders of their dedicated service.

One acquaintance of James is ‘Leggy,’ Wayne Skill, a relationship that dates back to 1989 during their initiation into military service with the Royal Electrical Mechanical Engineers. With 19 years of service and six tours, Leggy retired from the Army and transitioned to a career with Mercedes, expressing a longing for the camaraderie unique to military life.

Stikky, retired Army High Assurance Search Dog 32 the PHOTOGRAPHER / 2023 / Issue Four

The images represent the diverse backgrounds and experiences of veterans who have served their country with distinction, as James portrays how the stories are etched in their memories, evidenced by the scars they carry. Yet, they exist all around us in plain sight.

Evan, retired Regimental Sergeant Major

Leggy, Royal Electrical Mechanic Engineer Images © James Waller

A S S O C I AT E S H I P PORTRAITURE

“B

eing congratulated

by Paul was a very proud moment.

It was a real pleasure to have such wonderful and constructive feedback from some of the most talented and respected photographers in the UK. I’m still on cloud nine and cannot wait to continue this work.”

Andy, retired Naval Weapons Specialist Issue Four / 2023 / the PHOTOGRAPHER 33

Q UA L I F I C AT I O N S A R T O F T H E FA I R Y TA L E LO R R A I N E TAY LO R & LO R N A G R I F F I T H S

The Court

P

hotography duo Lorraine Taylor and Lorna Griffiths, aka ‘Art of the Fairytale’, present a panel entitled ‘The Court’, a celebration of their journey as photographic artists and visual storytellers.

In a society that often demands conformity, ‘Art of the Fairytale’ embraces the extraordinary, knowing that their clients are often more comfortable revealing themselves to the world as their fantasy selves rather than their contemporary version.

‘The Court’ celebrates the duo’s love of fine art and Welsh folklore.

Historical references and architecture are woven within the panel, which features elaborate costumes, props and scenes from the local countryside.

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With professional backgrounds in art and design, Lorraine and Lorna instinctively draw on their experience and imagination to breathe life into each image by using their camera to paint with light and shadow while embracing rich textures and tones.

Through each pair of eyes and expression, they have sought to capture stories of heroism, passion and ambition within their subjects to evoke fascination and intrigue for the viewer.

Creating the panel and embarking on the qualification journey has allowed the pair to explore and develop their photographic and artistic techniques. They now move into 2024, wielding an even stronger wand to turn fantasy into reality for their clients.

Images © Art of the Fairytale

A S S O C I AT E S H I P LO R R A I N E TAY LO R & LO R N A G R I F F I T H S

“M

aking the decision to submit for qualifications took a little time; we didn’t feel ready, 20 portraits felt like a mountain to climb, there was always another priority … and then we realised that we had to stop sitting on the fence and simply ‘do it!’

Creating our panel provided us with the perfect opportunity to develop our skills: designing and crafting costumes and props, pushing our post-production techniques and leaving the comfort of our studio to head out on location.

Being awarded an Associateship with the BIPP allows us to share with our clients our commitment to personal development and growth and the fact that the quality of our work is recognised within our industry.

Perhaps most of all, it has given us an amazing confidence boost –affirmation that we are on the right path – we look forward to starting work on the next chapter of our creative adventure in 2024!”

Issue Four / 2023 / the PHOTOGRAPHER 35

Q UA L I F I C AT I O N S FRANKIE ADAMSON

A

panel from Frankie Adamson is informed via in-depth research into the interaction between humans and dogs, after spending the majority of the last decade as a teacher of Literature in Hong Kong, with an intermission to complete her Literature Master’s at the University of Edinburgh in 2019-2020. Frankie graduated with a distinction and made a thesis all about animals, writing a study of ‘The Figure of the Dog as Occupant of Liminal Space in 20th Century Poetry’.

Frankie’s fascination with this subject forms the foundation of her dog photography business, “Hounds of Hong Kong”. It also extends into the panel, which pays attention, particularly to humans’ anthropomorphic tendencies projected onto their relationships with dogs. Frankie highlights this concept by attaching a passage

36 the PHOTOGRAPHER / 2023 / Issue Four

to the panel from Robert Frost’s poem One More Brevity; a story of a stray dog that seeks shelter in a person’s home one evening, departing the next morning abruptly, completely undercutting the one-sided emotional attachment the person had forged with the dog through repeated affirmations.

The work also showcases two different types of locations - dogs in unique urban environments and lesser-known natural environments. These two locations are tied together in the style of the final edits to keep consistency in the images, such as deep, rich colour story and deliberate enhancement of shadows and vignettes to recreate the dramatic ambience of Hong Kong as a location. The dogs’ poses are varied, sometimes captured in a candid demeanour and other times making eye contact with the viewer, aiming to provoke you to forge a connection with the subject within.

Images © Frankie Adamson

A S S O C I AT E S H I P D O M E S T I C AT E D A N I M A L S

“I

am truly astounded and so very proud to have not only achieved my Associate qualification for my artistic dog portraiture, but also to have had my wildlife panel uplifted to a Fellowship. It had always been my plan to submit for my qualification in what I do for my ‘day job’ - I’m a dog photographer at home.

However, taking a big swing at putting in a wildlife panel and have it not only pay off, but wildly surpass any expectations I had is such a huge confidence boost for me.

I have so much more I want to explore and develop in both genres of photography, so to be recognised by the BIPP is such a motivating factor for me to keep pushing myself and growing as an animal photographer in 2025 and beyond.”

“I was to taste in little the grief That comes of dogs’ lives being so brief.”

- Robert Frost One More Brevity

Issue Four / 2023 / the PHOTOGRAPHER 37

Q UA L I F I C AT I O N S BRIAN MORGAN

No Safety Net

B

rian Morgan’s “No Safety Net” serves as an intimate and impactful documentary series, extensively featured in a recent edition of the Photographer. This collection of images offers a glimpse into Morgan’s forthcoming book, ‘No Safety Net’: Messages to a Troubled World from the ‘Otherworld’ of Circus, chronicling his five-year journey with a travelling circus community across North England and Scotland from 2018 to 2023 The title is used as a metaphor for the precarious material and emotional existence lived out daily by the circus troupe. A metaphor, therefore, for the vulnerability (of people) and strength (of purpose) needed to survive in a unique and challenging world. A metaphor also for Brian’s own vulnerability brought on by personal trauma and life-changing illness and the emotional strength he drew from their presence.

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The images are captured after the curtain falls, with the real world of the Circus: no safety net, vulnerable, astringently stripped of its make-up, a world Brian only ever perceives in black and white.

The project created a journey with many ‘stopping places’ (a phrase taught to him by Gypsies). At every ‘stopping place,’ Brian learns more about Circus and himself.

He looks upon each photograph as a postcard from the ‘stopping places’. Each postcard carries its own message.

But seen aggregately, they allude to a dichotomous narrative that sits uneasily between impermanence and belonging. It invokes a broader understanding of the meaning of family and people of every race, place, faith and gender - a diaspora of diversity whose homes are everywhere and nowhere - whose lives are tested daily in extremis both inside and outside the Circus ring.

Images © Brian Morgan

F E L LO W S H I P D O C U M E N TA R Y

“H

aving your work reviewed by such an accomplished and respected Panel and to hear their feedback via the Audio link was an experience I shall never forget. Martin explained the uniqueness of the situation in his experience, which only added to my sense of disbelief and gratitude to the Panel, Martin and the BIPP, for their support in making this happen. It’s a gratitude shared by the Circus community, my Adopted family whose unique and compelling story I seek to tell through photography and writing.

Thank you, BIPP, from the diaspora of diversity whose home is the Big Top. I hope my experience will encourage other photographers at whatever stage they may be in their artistic journey, to explore the many opportunities for personal and professional growth offered by the BIPP.” See more work, at: chasingshadows. photography

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Q UA L I F I C AT I O N S FRANKIE ADAMSON

From Domestic to Wild: A Journey into the Heart of Wildlife Photography

Where did your interest in wildlife photography first start?

I’ve always been a lover of animals, and it was my development as a domestic animal photographer that led me to photograph more wild subjects. After two years of Covid restrictions in Hong Kong, in August 2022, I booked a trip to the Masai Mara in Kenya to immerse myself in a completely different environment. I spent nine days in the Mara during the high season to see what I could capture for my first ‘proper’ go at wildlife photography. I’ve wanted to visit the Mara since I was a child, so it was a dream come true for me, too.

I left that trip having captured one of my favourite images - one that’s not in my panel - ‘Sentry Duty’, a portrait of a male cheetah peering around the trunk of a tree. This image alone was enough for me to see that I had the potential to pursue wildlife photography. I don’t especially enjoy taking photographs for the sake of it - I always try to look for a behaviour or an interaction or distil a particular atmosphere. Sentry Duty is a combination of all those things and pushed me forward to continue looking for those moments in nature.

Shot on one morning of my first week in the Mara, this image shows the male lion Koshoke staring intently ahead as he walks. Captured shortly after sunrise at Bila Shaka (approximately 10 minutes drive out of camp), Koshoke is fixated on his coalition partner Kiok who had emerged from some nearby bushes and lay down within his line of sight. These two male lions are part of a larger coalition of four who have been splitting their time between two different prides: the Marsh Pride and the Paradise Pride, siring cubs with both sets of females. I aimed to capture the power and intensity of Koshoke as he moved forward, enhanced by the natural rim light on his mane caused by rising sun.

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Images © Frankie Adamson

F E L LO W S H I P N AT U R A L W O R L D

What location was the panel captured?

This panel was all captured in the Masai Mara in Kenya between July and October this year. After having stayed at Governors’ Camp twice previously as a guest, I was so fortunate to have been given this opportunity to be based there as a photographer-in-residence during the high season, which meant I had the luxury of extended time in the field not only to shoot but also selfcritique and feed-forward into the ensuing game drives.

How did you put this panel together?

Despite going out to the Mara with this goal in the back of my mind, my ideas for the panel constantly evolved depending on the images I captured during my stint away. Once I got home, I was looking at the contenders for my panel again, and the idea to present it as ‘a day in the Mara’ sprung to mind with the images shown roughly in order of the time of day they were captured. Of course, no day on safari would be packed full of all these photographic opportunities, but I wanted to show all sides of what I experienced - times of day, types of sightings, different skies and landscapes, and I felt this was the best way to show that all off.

A topi standing on a termite mound is one of the most iconic sights of the Mara, and to me this image runs the risk of being a little predictable. That being said, the fact that this male topi has his eyes closed tickled me somewhat, because I really enjoyed the thought of this topi having 40-winks on the job. Male topi typically stand atop of termite mounds to keep an eye on the plains around them, as well as the added benefit of putting themselves on display to maintain a visible presence in their territory. His elevated position against the blue sky, stance and colour of his markings with the environment all come together to give the image a visual cohesion.

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Q UA L I F I C AT I O N S FRANKIE ADAMSON

Did you have a mentor support you in your Fellowship?

David Taylor FBIPP will no doubt corroborate that I went a bit rogue on him in putting this Natural World panel together. Our first mentor Zoom call last year was to discuss my putting together my Licentiate panel for Domesticated Animals (I submitted this panel for Associateship at the same qualification day). His feedback on my dog portraiture was exceptionally helpful and encouraging, and I fed it into that particular panel, deciding to aim for Associateship as a result. However, I only really touched on the fact that I was starting to photograph wildlife with David during that discussion. On a whim, I decided to pay to submit two panels as I knew I’d be going to the Mara for 3-months and wanted to give myself a personal goal to work towards while I had this opportunity. I honestly thought I was taking a huge risk submitting this wildlife panel at Associateship level, and I could not believe the news when it was uplifted to Fellowship.

What type of equipment do you take out on the shoot?

I love to incorporate the wider environment within my wildlife work, so my favourite lens is the Sony 70-200mm 2.8 GMII, paired with my Sony A9ii. This is a ridiculously fast combination of kit, so if there is a chance of action, I’m always ready. I also have a Sony A7iii with a Tamron 150-500mm lens, which gives me greater reach if an animal is further away. Aside from this, I always have a pair of binoculars in my bag.

There are many things working against you when you’re aiming to photograph wildlife, which makes the triumphant moments all the sweeter.

Driving back to camp one evening, I discovered Mbili Bora: Winda and Olonyok. They used to be part of a 5-strong male cheetah coalition, the Tano Bora, an incredible group that could hunt and take down much bigger prey. Now, due to three members having died, these two males are left together but are still hunting large prey. They’re truly magnificent. The evening was blessed with an orange sky underneath a bank of grey clouds. Winda is sitting on a termite mound and had been scanning the surrounding environment. He happened to glance over his shoulder when I captured this shot of him.

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F E L LO W S H I P N AT U R A L W O R L D

What are the biggest challenges when shooting on safari?

Animals do not go about their lives according to a photographer’s schedule, compositional concerns or lighting preferences - you might come across a sighting that is incredible for the eyes but doesn’t work photographically. The light might suddenly change, or the animal may not be particularly engaging in its behaviour, or you’re not able to get into the best position due to obstacles in the frame.

While some might consider being in a vehicle an advantage, it presents many compositional difficulties. In particular, there are times when a shot would be significantly improved by being lower to the ground, but this is not possible in a vehicle and you have to compromise the shot you have in mind.

Being so lucky to have a few months on safari, I really became an over-thinker when it came to pressing the shutter - if something felt off, then I was reticent to take the photo. I love observing wildlife without feeling like I should be photographing everything.

A big challenge during shorter stints on safari is not having this time to wait for a better opportunity or more favourable light because you won’t see another sighting of that particular animal before the end of the trip. Learning how to strike a balance between appreciating a sighting for what it is, as well as responding and reacting to the challenges it presents to capture an impactful image, it is something I hope has made me a better photographer.

This lone bull elephant was walking one morning through the Musiara Marsh just outside of camp. Captured on a morning game drive, I was thrilled to spend some time with this large lone male as he slowly made his way toward the trees behind me. The sun was already very bright when this was shot, but the elephant himself stands strong against the lighter sky. I like the sense of dynamism the elephant is showing us here - one of his back legs trails behind as he stands swaying, sizing up our vehicle. His trunk is flicked to one side, creating a curve pleasing to the eye, and the sun lights up his textured skin to show off all its detail.

Images © Frankie Adamson

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F R O M D O M E S T I C TO W I L D FRANKIE ADAMSON

My guide and I were driving back to camp when the sky was starting to turn. Admiring the dramatic clouds and setting sun, I was on the hunt for something to photograph. To my dismay, the plains seemed almost deserted and we were drawing nearer to camp, until we reached this tree; so instantly recognisable to anybody who has spent time at Governors’ - a sign that you’re almost home. I was thinking I would get a shot without any animals in it, and just focus on the tree, when we saw some straggling zebra walking slowly in our direction. A line of zebra had passed by and I’d tried a few shots, but it was this lone zebra that made the image for me. If you look closely, in the branches of the tree sits a lilac-breasted roller - an iconic bird of the Mara.

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What are important attributes to have as a wildlife photographer?

Patience, a willingness to learn about your subjects and their behaviour, and showing empathy and respect for animals are essential. I believe the stronger shots emerge from reading situations and waiting for the right moment. Spending time with the animals is a vital aspect of capturing better images, as through observation, you start to see things and predict patterns, which leaves you better prepared to capture meaningful images.

Being an empathetic and respectful wildlife photographer is a crucial part of the story behind your images; if you revere and appreciate the animals and their habitat, this radiates through the work and forges a more profound connection with the viewer.

What makes an impactful wildlife shot?

For portraits, it’s all about the look or gaze of the animal - photographer Anup Shah’s hidden camera work is the perfect example of this. His book ‘The Mara’ contains close-ups of animals looking curiously at objects on the ground, drawing you to interact with the environment by becoming a part of it yourself.

Also, incorporating a subject’s behaviour and environment into an image can create an impactful wildlife shot. Close-ups and headshots definitely have their place; however, showing where and how the subject strives for survival often helps to tell a complete story of their daily experiences and interactions with the world around them.

Image © Frankie Adamson

Any tips for someone looking to start photographing wildlife?

Spend time with your subjects and their environment without just photographing them.

Look at how they behave and interact with each other and their relationships with the things around them. Before long, you’ll have a greater sense of what you’re trying to say with your images, the scenes you want to capture will start forming in your mind, and you’ll become a lot more reactive to opportunities as they present themselves instead of shooting and hoping for the best.

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Q UA L I F I C AT I O N S J E S S I C A M CG O V E R N

Canine Choreography:

Exploring Jessica McGovern’s Approach to Dog Portraiture Step into the enchanting world of canine photography with acclaimed photographer Jessica McGovern. In this article, we delve into the intricacies of her innovative techniques, exploring how she freezes the subtle movements of dogs in still images, capturing them from unconventional perspectives and carefully choreographed poses. From the challenges of predicting a dog’s motion to the artistry of shaping their behaviours, Jess shares behind-the-scenes insights into her Domesticated Animal Fellowship panel. Alongside her go-to equipment, the differences between studio and outdoor shoots, and the post-production process that brings her vision to life.

Technique

E

ach image in the panel aimed to capture different shapes and paths that occur when dogs move. To infer motion in a still image whilst retaining sharp areas, I used a second curtain sync with mixed continuous light and flash.

one of my own or past clients, was captured doing five or six different behaviours, and then the best final shapes were shortlisted, totalling around 60 images. After this, it was a case of selecting the best images to work together in the two rows of 10 prints.

In all honesty, I thought it would be fairly simple.

Technically, the concept isn’t that tricky, but it is next to impossible to predict where a dog is going to be within seconds. Often, the subject’s face was not illuminated by the continuous light source, which meant using manual focus and guessing the focal plane the subject would be on at the second curtains. To make it even more difficult, I didn’t want to use a black or low-key background, which is very commonly paired with the technique, as it makes light control and visibility easier.

The most difficult images to capture are also some of my favourites though. The border collie spinning in a circle, shot from above, took days to get right. Thankfully, it’s my dog – if she weren’t – it wouldn’t have been possible!

We had to retrain her spin behaviour to do three circles chained together because, with one or two, the shape in-camera was more of an oval with an out-turned head.

The camera, suspended on a boom arm above the studio floor, and the light placement were the easy parts of this image.

I drew around 25 different ideas for shapes of dog movements, a mixture of innate genetic behaviours alongside trained behaviours. Thankfully, 21 of the rough sketches worked in practice. With dogs, you have a short window of engagement before the dog may become bored, stressed or tired, so planning and preparation is key, and knowing when to call it a day or switch ideas is just as vital.

She is an incredible working dog who adores trick training, so she got progressively more excited each time we re-attempted the shoot. That threw up its own set of challenges, because the shutter needed to be pressed precisely one second before the milliseconds that her head came towards the strobe on a spin to hit the second-curtain perfectly. Because she was getting more excited, she also got faster, so the timing was always slightly different. When I knew I’d finally got the shot, I could’ve cried. Piper just wanted to go again, though, so she didn’t share my desire to collapse in a heap with relief!

We had more dogs photographed for the project than shown in the images, with many shoots taking place over two weeks in early February 2023. Each dog, either 46 the PHOTOGRAPHER / 2023 / Issue Four

F E L LO W S H I P D O M E S T I C AT E D A N I M A L S

Image © Jessica McGovern

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Q UA L I F I C AT I O N S J E S S I C A M CG O V E R N

Aspiring dog photographers

L

earn everything you possibly can about dog behaviour, train your own dogs to do things that they’ve never done before to test your knowledge, then learn how to run a sustainable business, and never rely on retouching. An old mentor of mine in business once said, “you might be able to roll it in glitter, but you genuinely can’t polish a turd”, and they couldn’t be more correct. It applies to all things in life – business, photography and more.

Aim to get everything, including the final composition/crop, as correct in camera as you can and seek training from those who have the results to prove their skills because there as so many tiny tips that when put together are totally transformative.

Remember that training in any capacity is a business expense so think carefully about the investment vs the potential return on that investment long term.

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Working with rescues is a really good way to get good fast. In my early years I photographed thousands of rescue dogs, each in a 5 minute window for multiple full days each month and nothing gets you working faster on your canine behaviour and shooting skills than a dog that desperately needs a photograph to find its forever home. I then ended up taking the bite dogs and “red” dogs for foster so just be careful, because you might end up with a new best friend too!

The final thing to remember is just warning – you might be photographing dogs but really your communication with the human on the end of the lead is far more important.

Don’t forget that.

Images © Jessica McGovern

F E L LO W S H I P D O M E S T I C AT E D A N I M A L S

Printing

T

he printing of the panel is slightly controversial, and if nothing has been controversial to this point, then something has to be, right?! I’m a brand ambassador for Digitalab so of course the lab printed my work. I already knew from early test prints exactly which paper I wanted, and I created a reverse engineered set of adjustments to apply to the files to ensure they printed exactly as was seen on my screen. Each paper reacts slightly differently to the inks and the tones in my work so I have multiple sets of these actions prepared for printing for competitions too.

I never allow the lab to do any colour correction on any of my work, so that I can trust my preparation and tests fully to end up with the result I want. I

also felt that I wanted a slightly chunkier matt for these images because I thought it would add to the fine art feel of the panel. I’m really happy with my choices because goodness me, they look incredible in print! I can promise that they look 10 times better in their final mounts that they do anywhere else, especially on a screen.

The main thing to remember if anyone is doing this themselves is to get test prints and fine tune, then print again and fine tune. It can get expensive though, so don’t print everything if you don’t have to. And ensure you check every print very carefully before you take them to the qualification day, you may need to reprint if there is a mark or a slight defect somewhere.

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CANINE CHOREOGRAPHY J E S S I C A M CG O V E R N

Equipment

Posing

F

W

or my normal work, my equipment selection is probably incredibly simple. Wherever I am, I’ll probably be with my Sony A1. Outdoors, you’ll usually find me with a 70200 f2.8 GM Mk II lens in natural light because nothing beats the versatility or flexibility when you’re working with something that moves unpredictably. I have hEDS and PoTS along with a few other medical conditions that hide in plain sight, so physically I can’t get up and down as frequently or as easily as other people might be able to. For this reason, a zoom lens gives me the legs I don’t have and saves me having to move to reframe an image. It is very rare that I’ll shoot wider than 100mm on this lens. In certain situations, I may have a 35mm f1.4, a 105mm f1.4, 135m f1.8 or a 20mm f1.4 handy.

Indoors, for most dogs in studio it’ll be a 24-70 f2.8 GM lens, which leaves me close enough to interact but not totally on top of them. With horses, the situation changes because you really need the compression for their proportions, so the 70-200 comes back in here to shoot at 135mm or more.

Lighting wise, we currently use Pixapro studio lighting and modifiers, with my main tool being the 600w Citi600 Pro heads. They are wireless, have a short flash duration and have enough power to allow scope for getting eyes and noses in focus for our four-legged friends.

Vision & Aesthetic

T

he aesthetic of the panel was partly down to my desire to not have it be a black background panel and I really enjoy some ICM images that are created with lighter tones.

The aesthetic was somewhat fixed because the aerial images couldn’t have a backdrop – all options were too slippery for paws with fast movement. Therefore, the only option was the sealed screed concrete studio floor, which is exactly the colour it appears in the images. Thankfully, I was able to find a backdrop paper called Cappuccino which is the exact same tone when lit evenly and so the rest of the images blended almost perfectly with the two aerial shots.

I adore balance in general, and a polished feel to most things, so the actual panel layout came from some rough sketches that were organised and then reorganised to feel “just right”. There were some risks though on images that go against the normal panel advice but I felt confident that and I trusted my gut. Thankfully, it paid off!

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hen it comes to posing dogs, my main rule is nobody touches the dog. What I mean by that is that the dog will always find the position themselves and they’ll never be moved by human hands or legs into that pose. The easiest way I can explain it is to just be super clear in your head what you’d like, and make the dog finding that specific position the easiest and most rewarding thing possible.

That often involves breaking something like standing on a log into baby-steps. I’m not looking for the dog to climb on the log immediately, I’m looking for the dog to interact with the log and then we build from there. The result is a very chilled happy subject which always makes for better photographs.

Put into the context of this panel, some of the images show trained behaviours that the dogs knew before they came. The Labrador Mia giving its paw, knew how to do that before she came for her shoot.

However, what she didn’t know was how to give her paw if her owners hand wasn’t within arm’s reach.

So, I worked with the to train their dog to add distance to the command, and in no time Mia was waving her leg in the air.

The poses were fairly easy to get the dogs to do because they’re movements, not static poses. The tricks are usually positively trained so the dogs are keen to complete the behaviours for their reward item. The main difficulty with capturing the movements was purely down to the timing because of the delay to the flash, so we needed to do a few repetitions of each behaviour for me to be able to get the perfect moment in the right part of the frame for everything to be spot on.

The owners do provide assistance by being present, by being willing and by taking direction, but more often than not an owner can actually add pressure for the dog to “behave” which tends to make the dog uncomfortable. Luckily, I’m fairly firm from the very start of the session in a (hopefully) kind and supportive way, so they tend to just trust that whatever I suggest is the right thing to do. So far, that’s working out ok!

Images © Jessica McGovern

Issue Four / 2023 / the PHOTOGRAPHER 51

S T E V E WA LTO N F B I P P O B I T UA R Y

Remembering Steve Walton FBIPP It was a great sadness to many to hear about the passing of Steve Walton FBIPP in October, after a tragic accident while on a cycling safari holiday in Eswatini (formerly Swaziland), Southern Africa, with his wife, Nelly.

S

teve’s lifelong love of photography began after his grandad first taught him how to use a camera as a child.

For him, photography was not just a vocation but an inseparable thread woven into every aspect of his life.

Steve began his working life as a lithography apprentice in Leicester and worked for a number of print studios in his early career. Later, he became a full-time wedding photographer. When shooting weddings, Steve prided himself on his mastery of the traditional and fundamental parts of the genre.

With a distinct vision and meticulous ability to manage composition, lighting, posing, colour and tones, his stunning images captured memories cherished by newlyweds, their families and friends.

Throughout his photography career, Steve gained multiple awards for his work, co-authored the book Contemporary Wedding Photography, and was an esteemed speaker in professional photography circles. Steve’s career highlights included becoming a Fellow of The British Institute of Professional Photography, a Fellow of the Master Photographers Association, and President of the Master Photographers Association.

Yet, his love of the outdoors and nature most compelled and connected Steve to photography, which is evident in his breathtaking landscape imagery.

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The genre resonated with his innate appetite for exploration and provided him with personal and professional fulfilment while binding him to his Wife, Nelly, through their shared interest of the outdoors.

With an innate photographic eye, he could bring the viewer into epic scenes and feel absorbed in the rich atmospheres captured through the camera.

In a digital world, he persisted in utilising film photography throughout his career and trialled out specialist cameras like the Fujifilm Panorama GX617 F and Ondu Rise 5x4 Pinhole. He would even upload detailed equipment reviews and share knowledge of these industry antiques.

This fanatical knowledge and in-depth understanding of the practice was further shared through his teachings, first at a college, until Steve decided to break free of the confines of a classroom and began running a highly sought-after photography workshop in Scotland’s Isle of Harris and Isle of Lewis.

Nelly and Steve married in 2019, and together, they embraced a life-changing move to the remote Isle of

S T E V E WA LTO N F B I P P O B I T UA R Y

Scalpay in Scotland’s Outer Hebrides in 2021 – a place deeply rooted in their hearts.

It allowed the couple to make their home available for a tranquil Airbnb getaway, where Steve offered the chance for photographers to stay for bespoke learning opportunities that would provide specialist direction from analogue processing to guided walks.

Photography was Steve’s all-encompassing passion. Rarely without a camera, he consistently transformed ordinary situations into opportunities to capture images. For him, the primary focus in taking pictures was the love of the art itself, serving as a therapeutic outlet for expressing emotions. This creative pursuit not only enriched his own life but also had a lasting impact on those around him.

Images © Steve Walton

An adventurous soul to his last day exploring rural Africa with Nelly, indulging in their shared thrill-seeking spirits, equipped, as always, with a camera close to hand.

Steve died ten days after his 69th birthday.

He is survived by his wife, Nelly, as well as his three children, Daniel, Sophie and Joseph, and his four grandchildren.

His memory will live on in everyone who knew him. For the world of photography, a true student and master of the craft may have captured his final frames, but the timeless art he leaves behind will continue to captivate generations to come.

Issue Four / 2023 / the PHOTOGRAPHER 53

RICHARD BRADBURY FBIPP T H E A LC H E M Y O F M A R K E T I N G

THE ALCHEMY OF MARKETING: LEARNING TO R.O.A.R. Part 2 – Organise

In the previous issue, I explained how important it is to create your personal marketing plan, ensuring that you target not only some clients but the right clients for your business. Using the R.O.A.R. system of Research, Organise, Action, Response, you can do this in a cohesive and professional manner. ‘Research’ is the first part of the process and in this issue, I will explain how to ‘Organise’ the information you now have in preparation for actioning your campaign.

RESEARCH ORGANISE ACTION RESPONSE

You might have heard the old property developer’s adage that: ‘You don’t make money when you sell your house – you make it when you buy it.’

So hopefully, by now, you have done enough research to build a pretty accurate picture of who your clients are, what you are hoping to sell to them, and where they can typically be found. You have created a perfect blueprint for your marketing strategy. It is now time to prepare yourself for the work ahead. This comes in two forms: Product preparation and mental preparation.

Always have two or three options for essential goods like printed leaflets and frames, and let the supplier know that you have other options. That way, you will get a better price and always have a fallback position if you are let down. Don’t screw your suppliers into the ground as you want to have them on your side but get a good deal that works for both of you. Remember this applies to services as well as products, so be prepared to do deals with assistants, re-touchers, accountants and media agencies. Online creative sites such as Upwork and Fiverr are great places to get excellent, well-priced design, web building and retouching done. Always give a clear brief and ask for test examples before you commit.

THE ART OF THE DEAL Now you know what you are selling and how you want to communicate with potential clients, so you need to find the right suppliers and do all the deals to ensure that your proposition is appropriate and profitable. Us Brits are generally terrible at this, as we find asking for a discount more embarrassing than admitting to a sexually transmitted disease.

If you want a lesson in doing deals, then speak to an American. They have a much more clearly defined sense of the deal than we do and are far more comfortable talking about money. There’s no easy solution here. You have to be bold and honest with your suppliers and don’t be afraid to ask for a discount. They will soon tell you if you are asking for too much and will respect you all the more for being upfront.

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Your research should help you build a picture of the type of campaign you should be running, and your creativity will help ensure your choices are original and different enough to get you noticed. Organise the details of your website and social media campaigns, and if you find it all a bit daunting, then use an agency. There are many good small to medium-sized agencies around, and they may be less expensive than you think. I use a couple of agencies because I understand that my time is better spent taking photographs than slaving over my computer trying to get the best criteria for my social media analysis.

RICHARD BRADBURY FBIPP ORGANISE

Ask yourself this question: If you want to find out about something, anything at all that you don’t know, where do you go? Answer: THE WORLD WIDE WEB! A good website is an extension of the best version of you! How important is your website to your business?

WWW.VERYBLOODYIMPORTANT.COM Every client you have will go to your website at some point. Either to actually make contact with you or just to check in the background who you are and what you offer. It is your shop window to the world, so use it wisely and update it regularly. There are a huge amount of template sites available online now so there really is no excuse for being unable to produce a professional website. I explain about how to build the best site in the Websites, Pricing and Complaints chapter in Rich Photographer Poor Photographer book three – few things are more important to promote your business.

The next part of the organisation is preparing yourself, your staff and your building for the onslaught of new clients flocking to your door.

You must believe in your ability to make your business successful, so prepare the business to be busy because you won’t have time once the phones start ringing. Design and print order forms and prepare your viewing room. Purchase whatever technology you require to make your client’s viewing experience the best it can be. ProSelect has transformed my viewing experience, making client viewings incredibly smooth and great fun for the client. Pay special attention to any area on display to your clients, whether portfolio cases for commercial work or the viewing room for social photographers.

Use your research to produce a price list that is relevant, affordable, and, most of all, profitable.

This may sound obvious, but it is important that you analyse every aspect of your sale to ensure you are making enough money to be in profit. You should already have made a business plan based on your research, so refer to it and remember to add in your fixed costs and variables to come up with a price list that makes sense.

I am not very technical, but I spent many hours

devising the most comprehensive pricing Excel spreadsheet, using YouTube to teach me how.

It has been the most useful document to have alongside me. It took a long time to get it right, but I recommend you sit down with a large pot of coffee and create your own Excel pricing document. It tells me exactly how much profit I make from every print sale and what’s more it means that my assistants know the figures too.

We use it like a pricing bible, and it also means that I know which products to push and which I can discount when having viewings with my portrait clients. By the end of the year, every sale has been fed into the Excel document, so I know my net profits and gross. At a glance, I can see how many A3 prints, frames, and digital files were sold. If I change my supplier or get a better price, I just insert the new figure, and it is automatically re-calculated.

Design and print promo cards to give to your clients after the job, as well as ‘Congratulations on a great shoot’ cards with details of the studio address and a place to write in their viewing time, etc. All these items must be organised before you send out any marketing material.

Design and print checklists for your commercial shoots so you don’t forget to bring essential equipment with you on location jobs and make sure your kit is catalogued and kept in good order. On commercial shoots and time-critical shoots like weddings, it is crucial to have backups for as much kit as possible. It is one thing to have to re-shoot a portrait session due to a technical failure, but it’s another to fail to be able to shoot a commercial or wedding because your only camera body didn’t work that day.

Pre-production on commercial shoots is an essential aspect of getting the job done correctly.

If you work with a professional producer, they are obsessed with lists of locations, telephone numbers, and timings. Co-ordinating a team of people, locations, equipment hire, etc., can be a massive undertaking, so teach your assistants to write lists so everything is remembered.

Use a producer for the bigger jobs; you will find the whole thing is just so much smoother leaving you to do what you are good at...taking photographs.

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RICHARD BRADBURY FBIPP T H E A LC H E M Y O F M A R K E T I N G

“You only get one chance to make a first impression!” (Cliché alert!!!)

It might be a cliché, but it is so true that it hurts! You pour all your money into a fantastic marketing campaign, and the phone starts ringing off the hook. The only problem is that you didn’t prepare yourself, so your response is just totally inadequate. Your first contact with a potential client is critical, so be prepared to impress them. There are several forms of valid enquiry you are likely to encounter. You must have a prepared response strategy for every enquiry. You need to develop an obsessive mindset to analyse every aspect of your client interaction, ensuring there are no gaps.

Telephone enquiries “Allo?...yeah, dis is Richard’s photo studio and he does great portraits an everyfink... I fink ees really great! What dyou want?” That is the sound of you losing a perfectly good new client’ Countless marketing studies have shown that a telephone contact is ten times more likely to go through with the sale than an email response. It’s all to do with the commitment someone has to have for them to dial your number and have a person-to-person conversation.

It is important to prepare a script for anyone who answers the phone in your studio. Do not allow this week’s work experience girl to answer the phone unless they are trained and prepared. Just in case you didn’t get that…

DON’T ALLOW ANYONE TO ANSWER THE PHONE UNLESS THEY ARE TRAINED! It will feel strange at first, but practice the exact telephone response until it becomes second nature. Take a morning to sit down with all your staff members and practice this so they know how to answer the phone.

Here is a quick tip: I have several different businesses running from one studio number. It would be inappropriate for one of my advertising clients to be greeted by someone saying “Hello! Children Of London, can I help you?” so when the phone rings we simply say ‘Hello! Studio!” This sounds professional, creative, 56 the PHOTOGRAPHER / 2023 / Issue Four

efficient and busy. We then quickly ascertain who the client is ringing for and go into one of several scripts for the appropriate business.

Other studios have different phone numbers for different businesses, and some even have different numbers for different marketing campaigns to help them keep track of which is more effective. Information is key here, so make sure you get everything you need from every telephone enquiry you receive.

One of the most common mistakes that people make after learning about the telephone answering principle is to think that there is a standard way to answer the phone, and that is the only way. What I am talking about here is the classic, almost ‘cartoonlike’ telephone receptionist voice. Modern marketing is based on the real world; people just don’t speak like that anymore. The BBC now has presenters with regional accents for the same reason...because people don’t need to be impressed by a set telephone voice. All they need to feel is that they are speaking to a professional person and they are in safe hands.

The best way to sound professional is to be yourself, or rather, the best version of yourself. An effective way to approach this is to think of the way you would speak to your new boyfriend’s or girlfriend’s parents when you meet them for dinner the very first time. You don’t want to come across as some insincere, smarmy creep, but you will naturally be polite, witty, kind and helpful.

That’s who you need to be on the phone.

Because we all have different personalities, each person in your studio may come across differently but you all need to present the same commitment to professionalism in a friendly, honest way and make sure they get the answers that are required to ensure you sign up the client. Produce a written single-page document with all the standard questions that need answering, insist that they are all answered, and leave it by telephone. This way, you will never have a situation where you don’t have the correct name, contact number and details of the specific job.

RICHARD BRADBURY FBIPP

Image © Richard Bradbury

L E A R N I N G TO R . O. A . R .

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RICHARD BRADBURY FBIPP T H E A LC H E M Y O F M A R K E T I N G

BE CONFIDENT ENOUGH TO SAY “I DON’T KNOW THE ANSWER TO THAT QUESTION” Make new staff members aware that they don’t need to know all the answers all the time.

“Actually, I’m not sure about that; let me find out, and I’ll get back to you.” is a perfectly good response. Admitting that you don’t know the answer to a question rather than fumbling about and giving a badly guessed answer is always the best option. It comes across as sincere and honest. In pre-production meetings with ad agency clients, often spending vast sums of money, I have a strange technique that I often employ. I actually LOVE to say that I don’t know the answer if a client asks about some detailed requirement of the shoot. If you are confident enough to say, “I don’t know.”

Then everything else you say must be the wellinformed truth. You have just proved to your client that you will only give them information when you know it is correct, and they will respect that. Nobody likes a smart arse, and people will respect you if you are big enough to admit that you don’t have all the answers.

“How much do you charge?”

One of the most common questions I get asked in seminars and during mentoring sessions is how do I respond when clients ask: “How much do you charge?”

We all know this is a loaded question with hidden meaning, and I have various suggestions for treating it. I discuss, in detail, how to cover the most common, awkward questions like this as well as how to deal with problems and complaints in the Websites, Pricing and Complaints chapter of Rich Photographer Poor Photographer book three. You need to rehearse your response to this question as it will crop up.

Email enquiries - Personal In many respects, the correct way to reply to a personal email enquiry is similar to a telephone enquiry. Personal emails are characterised as emails sent as personal messages to you or your studio enquiring about the services you offer, usually with regard to a specific job they have in mind. The only difference is that statistically speaking, they are slightly less likely to be committed to using just you because they are probably emailing several photographers. It does not mean they are not sincere, just less likely to be – remember these are not rules – they are guidelines, so treat them with the same level of respect. In my opinion, this factor is changing as we all get more and more used to booking almost everything without having to talk to someone. But it’s still the case that serious people ring up and speak to you; phishers often email.

If you regard everyone who emails you as a phisher, then frankly, you have missed the point. You just have to be more careful in the way you handle them.

I believe in a personal response to a personal email, so it is inappropriate to use autoresponders. You can use the principle of the autoresponder but create the response yourself. Have a set email response to help guide your information, but always customise it to suit your client. This way, you don’t have to write up every single response, but you still give the impression of a personal reply. You will be certain to include all the correct information, and it also means you can train assistants to handle email responses in the way that you know is effective.

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RICHARD BRADBURY FBIPP ORGANISE

Email / Social Media enquiries This type of email enquiry applies only when you have sent out some marketing material with a specific response button to be pressed. It could be built into a website or a particular web offer but is usually a reply to a social media marketing ad.

There are several different ways of configuring the response, but it is usually a good idea to have some form of landing page to act as a filter for people who need some other information to explain the details of your proposition before committing further.

Landing pages are an essential aspect of most social media ads as they force the enquirer to be more specific about their situation and provide a method to give them more detailed information about what you offer. Think of landing pages as a mini website ad that funnels your potential client through and collects the essential information you require about their needs. It should be specific enough to get the essentials but not so complex that it becomes a barrier for them. I explain in my first book when I talk about social media marketing. It’s a huge topic and a true art form in itself.

Remember that your objective is not to get as many hits as possible; it’s to get as many relevant hits as possible, so filtering is a good idea. It is extraordinary how many people will either just click on anything that flashes up in front of them or get entirely the wrong idea about what they are signing up for. This can waste a huge amount of time and energy, so a good, well-designed landing page is a helpful feature of every social media marketing campaign. The further you get from the personal phone call, the more anonymous the person becomes. The interaction is less relevant to their daily life, so they are far less driven to buy. These are known as hot or cold leads and it’s the hot ones you want.

In the end, you still want to talk to your client directly, so you need to design an auto-reply system that registers their contact details and always asks the right questions. As I have mentioned many times, information is the key to great marketing, and organising it into a usable, efficient system will help you become more professional and, ultimately, more profitable.

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

To purchase a copy go to www.richardbradbury.com/RPPP

Issue Four / 2023 / the PHOTOGRAPHER 59

S COT T I S H B O R D E R S J E N N I F E R C H A R LTO N

Small Town Huge Heart Jennifer Charlton delves into the cultural and historical significance of the annual Borders Festivals in the Scottish Borders, particularly focusing on the town of Coldstream.

The festival has days of vibrant activities tied to local culture and tradition, and each year gives the crown of the town’s prestigious ‘Coldstreamer’ title to a proud local.

Jennifer intimately documents the celebrations through her camera.

H

aving lived in the Scottish Borders for twenty years, I wanted to understand more about the annual Borders Festivals, from their cultural, social, and historical significance to their meaning to the communities that host these rich celebrations.

Every year, each town that trails along the Scottish Borders has a civic week or common riding during the summer months. The events reaffirm the town’s unique identities, as each festival follows a slightly different format for local nuances and historical references. Even long-lasting regional rivalries are laid aside to unite people under this shared tradition.

The summer break from my degree at Edinburgh College before progressing to the BA Hons gave me the time I needed to produce this personal project.

With a bit of perseverance and luck, I happened upon the ‘mum’ of this years, Coldstreamer (the leading figure in the town’s festival), Fiona Shepherd, who could not have been more helpful. The research began in earnest – I was not prepared for feelings that flourished for Coldstream throughout the week. By the end, I felt as if I had known them intimately – they had taken me as one of their own – it was the most rewarding and beautiful experience. The magical gift photography can give.

Coldstream is a small town on the border of England and Scotland, which played an essential part in the two countries’ history. One point in the river can be forded, becoming a vital crossing point for the Armies during centuries of conflict. The Coldstream Guards are the only regiment in England named after a Scottish town. In 1660, a regiment marched from 60 the PHOTOGRAPHER / 2023 / Issue Four

Coldstream to London, resulting in the restoration of Charles II and every year during Civic week, the guards return for the week to perform duties such as the laying of wreaths on war memorials, Dub Dash race (aka running drunk down a road), and ladies night. The Coldstreamer title is revered here, as young children still dream of one day carrying the standard across the hills representing their hometown.

The ex-Coldtreamers all still play an essential role in the festivities each year. The pride felt during their time representing the town does not pass when the next safe pair of hands are adorned with the sash and flag – it stays with them forever, as described by exColdtreamers Martyn Law.

CO L D S T R E A M J E N N I F E R C H A R LTO N

Images © Jennifer Charlton

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S COT T I S H B O R D E R S J E N N I F E R C H A R LTO N

“Forty-two years ago, I was a Coldstreamer, and I’m as proud today as I was all those years ago. Even though work took me away from Coldstream, we were always ‘hame’ for Civic week. Now I’m retired we, or course, moved back hame where we belong and so it has been our joy and privilege to support out nephew Harry across the ‘rolling hills O the borders’”. Martyn law The border festivals, on the whole, offer younger community members a history lesson to honour their past. It is a time to pay respects to the fallen, celebrate community, drink vast amounts of alcohol, and even meet their future wife or husband! Traditional songs and reels are performed, and relocated townsfolk bring their new families back to their home soil.

Open houses are plenty, garages are transformed into makeshift bars, and tables are bulging with homemade items from locals up at first light to pull together much-needed sustenance.

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The sound of the pipe band adorned in tartan can be heard all week, warming up in dark carparks and backstreets before leading the numerous processions through the town, with dozens of horses following behind to start the ride out.

The Coldstreamer carries the flag as he rides on horseback flanked by his left- and right-hand men.

Other local towns, such as Duns and West Linton, have a lad and lass called Cornets or Standard Bearers.

The towns have slight differences, but all remain true to the same rituals yearly.

One of the main ride-outs of the week is the one to Flodden Fields to honour the dead from the battle in 1513 - one of Scotland’s costliest military disasters.

As I waited with my camera, I heard the sound of the hooves approaching as nearly 200 horses galloped towards me. It was deafening; it gave me an innate sense of what it must feel like to witness armies riding into battle all those years ago.

CO L D S T R E A M J E N N I F E R C H A R LTO N

The only visibility of the police throughout the week were those having good-natured banter with the locals and overseeing the road closures for the ride-outs. In a town brimming with people, locals, ex-lovers, and inquisitive visitors alike, there was never a hint of any trouble, just people pulling together.

The week costs a whopping thirty thousand pounds to stage, and the townsfolk have to raise it. This is achieved through raffles and events, and a generous benefactor covers some of the horse rental fees. The fundraising starts imminently after each event, with Facebook posts advertising the next “masked singer”, bingo night or tea dance.

The success of such a project is a team effort. When people show trust in the photographer and are generous with their time and stories, something wonderful happens. I want to thank the People of Coldstream and the Coldstream Guards – this is as much their project as mine.

Images © Jennifer Charlton

Issue Four / 2023 / the PHOTOGRAPHER 63

GRAPHISTUDIO JEREMY PRICE

Capturing Memories Forever:

The Vital Role of Album Sales for Wedding Photographers In the evolving world of wedding photography, professionals are continually adapting to meet the changing preferences of couples. Now digital photography dominates, it is easy to be led by the client who knows no better, as many younger couples (and photographers) have never seen the beauty of a professionally printed, well-crafted wedding album. The timeless allure of physical wedding albums remains unparalleled, and it’s photographers who should keep this tradition with clients.

I'll explore in more detail below why wedding photographers need to prioritise selling albums in today's age.

1.

Tangible Memories in a Digital Age: In an era dominated by fleeting social media posts, wedding albums offer a tangible and lasting representation of a couple's special day. Unlike digital files, albums become a cherished heirloom that withstands the test of time, allowing couples to relive their wedding day whenever they open it. In a recent interview, Vint Cerf, Vice President of Google, warned of the unreliability of cloud storage for images, warning: "If you have a photo you really care about, you should print it."

2.

Artistry and Personalisation: Wedding albums provide photographers with a canvas to showcase their artistry and storytelling skills, and they can build albums to match their client's needs.

Once set as a print, the digital image becomes the photograph representing exactly how the photographer saw and created it; no added filters, no distortion and not dependent on the screen.

3.

Client Satisfaction and Referrals: Presenting clients with a beautifully designed and professionally printed album enhances their overall satisfaction. A stunning album becomes a tangible representation of the photographer's commitment to excellence, leaving a lasting impression on clients, their families and friends. Satisfied couples are more likely to recommend the photographer, leading to increased business. Even taking a short video of your client opening their wedding album can become an invaluable part of your marketing.

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4.

Upselling Opportunities: Selling albums provides an opportunity for additional revenue.

By offering album collections, photographers can upsell their services, increasing the overall value of their bookings, thereby needing to do fewer weddings.

5.

Differentiation in a Competitive Market: With the proliferation of digital media, many photographers focus solely on delivering digital files. By prioritising the sale of wedding albums, photographers can differentiate themselves in a competitive market. Couples seeking a unique and memorable experience are drawn to photographers who comprehend the value of signifying the beginning of married life with a beautifully crafted album.

6.

Preserving the Art of Photography & Creating Heirlooms: Wedding albums celebrate the art of photography that goes beyond the click of a shutter.

They encapsulate vision, skill, and dedication to capturing moments that tell a compelling story.

By championing the sale of albums, wedding photographers contribute to preserving their art form in the dominating digital landscape, but more importantly, they create a stunning family heirloom for generations to come.

In an age where images are abundant but tangible memories are just as precious, wedding albums hold a special place by honouring our place in time.

Photographers creating them commit to preserving the magic of love in a physical, enduring form, ensuring their place as storytellers in an everevolving industry.

Membership 2024 The BIPP is heading into 2024 with new member benefits and opportunities to support your growth as a photographer commercially, creatively and collectively.

We encourage everyone to get involved and take full advantage of what the BIPP membership offers

Competitions

Insurance

Qualifications

New International Monthly Image Competition, leading to the annual Photographer of the Year Awards ceremony.

The BIPP has got you covered! You will now get inclusive public liability and indemnity insurance as part of your membership.

Contact the BIPP if you're interested in booking your slot for the qualification days at The Flash Centre in Birmingham

It runs for ten months, from January to October 2024

Follow the information detailed in the member's area to get set up

The next dates will be 27th and 28th February 2024

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