the Photographer - Issue One 2025

The Magazine of the BIPP / 2025 / Issue One

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ISSUE ONE, 2025

The Magazine of the BIPP / 2025 / Issue One

Monthly Competition 7 Learn the techniques and approaches behind the high-scoring images from this year’s monthly competitions.

AI in Photography Competitions 32 Paul Reiffer FBIPP explores the potential use of ChatGPT as a tool for analysing and receiving feedback on images.

Mastering Studio Portraits 12 Find out how the BIPP’s Print Master 2024 winner approaches her portrait sessions.

In Conversation with… 34 A look back at the life and career of BIPP member Nigel Hicks FBIPP, and his exploration and documentation across the world.

Photographing Pets 24 Helen Spiegl FBIPP delves into the method behind how she captures impactful and intimate pet photography for clients.

the Photographer is published four times a year by the British Institute of Professional Photography, The Artistry House, 16 Winckley Square, Preston, Lancashire PR1 3JJ T: 01772 367968 E: admin@bipp.com W: www.bipp.com

Nothing Lasts Forever 44 A look at the upcoming exhibition from Peter Mitchell featuring images documenting the streets of Leeds.

Still Standing 48 During retirement, Dr R. M. Callender FBIPP pursues documenting the standing stone phenomena across the UK with his camera.

Remaining Consistent 52 We speak to BIPP’s overall Photographer of the Year 2024, Katie Brockman, about staying consistent.

Venture in Bangalore 56 Venture Studios has expanded its photographic services to India – we find out more about the latest studio in the vibrant city of Bangalore.

Head of Operations: Carmel Fanning

Editor: Joel Hansen, joel@bipp.com

President: Jeff Brown

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

Directors: Paul Reiffer FBIPP (Chair) Barrie Spence FBIPP Matt Curtis LBIPP Johnson Wee FBIPP Martin Hillary FBIPP

UK Subscribers £30, Rest of the World £60 ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts

Treasurer: Mary McClymont ABIPP

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 2025

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PRESIDENT JEFF BROWN

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he year 2025 has got off to a flying start for the BIPP with our presence at the Societies of Photographers Convention, only to be followed by an even bigger and stronger presence at The Photography Show in London. Unfortunately, due to other commitments, I wasn’t able to personally attend the show, but I did follow our progress daily through social media posts and the Directors’ WhatsApp Group.

A huge thank you to all those who attended and lent a hand, from setting up the exhibition stand to manning it, giving talks, and interacting with attendees and stand visitors. Thanks to the directors, our members, and ambassadors – we put on a great show positioning ourselves as the leading photographic association for professional photographers or those starting out on making photography their full-time vocation.

We feel now that after a rocky couple of years, the BIPP is back on track and moving forward with a clear mission and vision for our future, with you, the members, at the heart of it. A big thank you to Carmel, who has turned around the office and admin side of the Institute following Kat’s long absence through illness.

The Board of Directors has given an amazing amount of their own time freely to steering the ship through rough waters, because both the team and I are passionate about the future of the Institute. But with any organisation, it’s the members that make it what it is, whether that means attending events in person, coming along to our online coffee mornings 2 the PHOTOGRAPHER / 2025 / Issue One

and Zoom meetings, or supporting each other inside our private Facebook Community. The Photography Show was the perfect example of members, ambassadors and directors coming together, stepping up to make a difference for the Institute and for the industry – it’s something we should be proud of.

Remember that it’s your Institute and it’s here for you. We are always open to suggestions, and we’d love to hear from you, especially if you’d like to become more involved as a member. We can all do our own bit for the organisation, and coming together in our Facebook Community is the perfect example of how members can make a difference. It’s a place to support and encourage each other, share your wins, inspire, motivate and help fellow members. Everyone can learn from each other; no question is a stupid question.

The Institute has such a diverse range of members, so the chances are, if you have a problem that needs a solution, whether that be a business one or a creative one, there’ll be another member who has experienced the same problem and has the exact answer that you’re looking for.

Together, let’s make 2025 the year for moving forward, taking our businesses and creativity to the next level, supporting our fellow members, and also stepping out of our own comfort zones and trying something new. Photography is constantly evolving; the industry is constantly evolving, and the way we market and promote our businesses is constantly evolving through social media and our online presence.

You can’t move forward if you’re standing still.

If you have an idea, a problem that needs a solution, or an experience to share, then share it with us. We are here for you, and collectively we are all here to help one another.

CHAIR OF JUDGES S U K AY E F B I P P

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was really honoured (tinged with a bit of trepidation) to be asked to take on this position. It carries great significance for me as it’s a role my father Paul Kaye held for many years, which adds an extra layer of pride. As with many previous chairmen, his dedication to the craft, his fairness in judging, and his passion for photography set a high standard – one that I will strive to uphold. I’ve chaired many judging panels and overseen qualification assessments in the past, so I feel very comfortable stepping into the task ahead.

Photography is a fundamental part of our lives, offering far more than just beautiful images.

It preserves memories, tells stories, captures emotions, and serves practical and artistic purposes across multiple fields. I believe that what we do has immense value and whether you offer portraiture, commercial, landscape or wildlife photography etc., the images we create have tremendous importance for numerous reasons.

As I chair this panel, I have the privilege to see the very best work produced within our industry and the whole team I work with will ensure that every entry, at every level, is given the opportunity, respect and acknowledgement it deserves. Judging should be a process that not only recognises brilliance but also provides insight and direction for growth.

This ‘process’ is more than simply evaluating images – it’s about upholding the high standards of the BIPP, ensuring fairness, and recognising artistry and technical skill at their finest. It’s a role that allows us to nurture talent, offer constructive guidance, and inspire photographers to reach their full potential. I hope we are

raising the bar while fostering an encouraging environment where talent can flourish.

Whilst many people question the value of qualifications and competitions with comments such as ‘Well, what will it do for me or my career?’, the answer from a personal level is that it has not only pushed me to be a far better photographer than I would have been, but it has also given me a lot more self-belief. As a result of this, it has opened doors, given me more confidence and, in return, more desire to achieve more for, and of, myself. I set myself targets for gaining my Associateship and Fellowship because it meant a lot to me to feel more involved. I have been part of many judging panels for many years but have also stepped aside at times to enter competitions to ‘prove’ myself and my worth, never expecting to win but always wanting to keep up to date and to push myself creatively.

Photographic awards and qualifications hold so much value and through these, we are ensuring that photographic excellence continues to be recognised and celebrated at the highest level.

They are not just accolades – they represent dedication, mastery and artistic vision.

Achieving a qualification is a milestone, proving that a photographer has reached a professional standard of excellence. Winning an award can be life-changing, bringing recognition, credibility and confidence. These achievements inspire us all as photographers to push our creative boundaries, refine our skills and continue to strive for the highest levels of quality in our work.

Photography has always been a real passion of mine, and it is more than just a profession for me. I want to contribute to this industry, not just as a photographer, but as someone who helps shape its future – and this is both humbling and exciting.

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BIPP NEW TEAM

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he year 2025 has already brought many positive changes to the BIPP, not least of which is the creation of the Head of Operations role and the recruitment of a suitable candidate to help steer the organisation in a fresh direction, building on the strong foundations laid in recent years.

With rebranding, a new website, updated competitions, new directors, and more implemented over the past few years, the BIPP is excited to welcome Carmel Fanning as Head of Operations.

Her appointment marks a continued commitment to supporting the BIPP and its members as a leading photographic association.

Already, we are seeing the tenacity and organisational drive Carmel brings, along with a wealth of experience gained from assisting the Irish Professional Photographers Association in recent years. As a certified Head of Operations, her goal is to streamline our existing processes and enhance our response to members’ evolving needs.

While she is currently focused on many behind-thescenes tasks, we look forward to seeing Carmel take on a more public-facing role as the year progresses.

Alongside this, we have also appointed a new Chair of Judges, Su Kaye FBIPP. Many members will already be familiar with Su and her achievements in the photographic industry. Notably, she won the BIPP’s overall Photographer of the Year 2022 with a striking black-and-white pet portrait. Having such a highly regarded and skilled practitioner leading this vital role is something we are proud to announce, and we are confident in her ability to oversee upcoming qualifications and competitions while maintaining the professional standards the BIPP and its members uphold.

members. They support the organisation by driving collaborative initiatives, meetings and gatherings; assisting with qualifications by answering queries and welcoming new members; and providing guidance on genre or brand-specific questions wherever possible.

Exciting times lie ahead in 2025, and we look forward to the new members of the BIPP team making a positive impact, supporting our community, and helping to grow the Institute while continuing to champion the highest standards of photography.

Richard Cook LBIPP

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’m Richard Cook and I have been a qualified member of the BIPP since 1990, and I have been involved with the photographic industry, professionally, since 1983 when I began as an inhouse photographer, for the Civil Service.

Some of you will know me from my involvement with the BIPP-NW region.

My qualification was under the category of ‘Photography in Government Service’, a nice “catch all” category that covers everything from documenting plans to architecture and portrait work.

I have been self-employed, as RCPPhotography, since 2004 and I specialise in portraits, commercial and architectural photography.

We have also recruited a team of BIPP Ambassadors from across the UK. These members have kindly stepped forward to support the Institute and its membership.

These days I do quite a lot of work for local and national businesses as well as producing headshots. Also, with the help of my wife, who is a wiz with make-up, I produce beauty work for individuals and couples.

BIPP Ambassadors play a crucial role in promoting the BIPP brand to both existing and prospective

I live in Sittingbourne, Kent, with my wife Sarah, who is a travel professional

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BIPP AMBASSADORS

James Robinson LBIPP

Kerry Steyn

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B

’m a proud member of the BIPP with a passion for capturing life’s most cherished moments. After 12 years of military service, I transitioned to wedding photography full-time in 2018.

Over the past six years, I’ve had the privilege of photographing over 400 weddings, including an extraordinary 122 in 2024 alone. This journey has been marked by dedication, creativity, and a relentless drive to tell the unique story of every couple I work with.

In 2024, I achieved my LBIPP and LSWPP (Licentiateship of the Society of Wedding and Portrait Photographers), recognising my commitment to the craft and the high standards I uphold in my work. Looking ahead to 2025, I am excited to pursue my ABIPP qualification, further cementing my expertise and passion within the industry.

Specialising in documentary-style wedding photography, I focus on capturing genuine, emotive moments that tell the authentic story of a couple’s day. My advice to those exploring this genre? Master the art of preparation, embrace adaptability, and remember that the connections you create with your clients are as important as the images themselves.

As a member of the BIPP, I’m always eager to support new members. Whether you’re seeking guidance on mastering technical skills, navigating client relationships, or building a sustainable business, I’m here to share the lessons I’ve learned along the way. From pricing strategies and marketing to streamlining your workflow, I offer practical advice to help you thrive in the ever-evolving wedding photography industry.

Photography is more than just capturing moments; it’s about creating memories that couples will treasure for a lifetime. I’m excited to connect with fellow professionals who share this passion and contribute to the growth and excellence of our craft.

ased in West Lothian, Scotland, I have over 20 years of experience in photography and a deep passion for capturing the energy of live performances.

I’m proud to be an Ambassador for the British Institute of Professional Photography. My work is driven by a love for music and storytelling, striving to capture both the intimate moments and the raw emotion that make every event unique.

As a member of the BIPP, I’m always here to help with any general enquiries or questions you might have. Whether you need guidance on membership or information about the Institute, I’m happy to be your first point of contact.

Photography is both my profession and my creative passion, and I consider myself fortunate to combine these while helping others navigate the world of professional photography. Please don’t hesitate to reach out – I’m always ready to connect!

Mike Ward ABIPP

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ike Ward is a retired photographer who has a lifetime of professional experience that has resulted in a wealth of knowledge in the photographic industry.

On leaving school, Mike became the industrial photographer for a leading whisky company and attended university on a day-release basis. He gained his City & Guilds of London Institute Advanced Photographic Technician’s Certificate with distinction and thereafter an Associateship of the BIPP. More recently, in 2017, he was awarded an Honorary Fellowship of the Master Photographers Association for services to the photography industry.

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BIPP AMBASSADORS

Mike developed his role with the whisky company over 22 years until the company closed. This marked the start of his very successful business, Mike Ward Photography. Although qualifying initially as a commercial photographer, Mike became better known as a social photographer and was very successful in the wedding and portrait genres. After 22 years, Mike decided to retire and moved to a villa with his wife, Marilyn, in South West France, where he pursued his hobby of gliding and power flying.

On one of his visits from France to Focus on Photography at the NEC, Mike was approached to be one of the pioneers for the Mentoring for Qualifications scheme that had just been introduced. This was a very important incentive for companies to provide and was recognised by the UK government. Mike was very passionate about his role in mentoring as he had always been enthusiastic about helping others and seeing them achieve their goals.

His experience in photography, together with his passion for mentoring, allows him to guide candidates successfully towards their goal at all levels (L, A & F) and across many genres.

Mike is delighted to have been asked to be a BIPP ambassador, welcoming new members to the Institute.

Michael Laing ABIPP

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ichael is an experienced professional photographer with over fifteen years of industry experience in corporate documentary photography, events, studio headshots and theatrical portraiture.

Michael is currently an Associate member of both the British Institute of Professional Photography and the Society of Wedding and Portrait Photographers. With a Master’s degree in fashion photography and recognition as the former MPA South East Photographer of the Year, he brings a wealth of knowledge and creative insight to the industry.

Currently, much of Michael’s time is dedicated to furthering his own education, as he works toward passing his Maths and English GCSEs. His goal is to pursue a PGCE in Further Education, specialising in teaching photography, where he hopes to share his expertise and passion with the next generation of photographers.

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Beyond photography, Michael has a background in television as a cameraman and director – though he admits he has long since left that world behind. He is also an avid movie enthusiast, with Jaws and Time Bandits among his alltime favourites. As a dedicated audiophile, he enjoys electronic music, film scores and classical compositions, and he has a deep appreciation for photographic monographs. His favourite photographers include Yousuf Karsh, Nick Brandt and Eugenio Recuenco.

Lauren Irving ABIPP

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’m Lauren. I love pizza, Bowie and being a mum to my 2 (notso-little-anymore) dudes.

You can usually find me either with a camera in my hand, rummaging around a charity shop or wild swimming under the full moon.

Photography has been a deep and constant passion of mine, and I truly love my work and the adventures it has taken me on. From my college darkroom days to the vibrant wedding seasons, from corporate clients to drag queens, I’ve met some incredible people and it’s been a pleasure to tell their stories through my images. Having the ability to record a brief moment in time and make it a lasting memory, or capture a simple smile that provides a glimpse into a whole personality, lit a fire in me that is still growing after 20 years.

My work has been included in several exhibitions around Europe, and my fine art prints are also currently available from local retailers and my online store.

My passion for capturing characters has led to work in events and portraiture, and has now blossomed into showcasing properties and interiors that themselves have unique identities.

In 2023, I received my Associate qualification with the BIPP and it is great to be a part of this fabulous association, whose support and sense of community are truly unique.

M O N T H LY CO M P E T I T I O N 2025

Richard Bradbury FBIPP

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ichard Bradbury has been a working photographer for over 30 years. He began his career in Nottingham where he ran a busy commercial studio. He moved to London in his mid 20s and soon established himself photographing high-end Advertising and Editorial campaigns throughout the world.

With agents in both Europe and America, Richard has been responsible for creating some of the most prestigious poster and press campaigns in the world, including such names as Virgin Media, M&Ms, NatWest Bank, Pizza Hut and Channel 4 TV. He is also well known for shooting mad images for The Guinness Book of World Records across the globe.

In 2010 Richard began a charity based book project called The Children of London which has grown to become a hugely successful child portrait business.

The Children of London book is retained by His Majesty The King and the Prime Minister amongst many other collectors.

The BIPP Monthly Competition

© Andy Farrer

© Colin Brister

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he 2025 BIPP Monthly Image Competition has begun with great momentum following an incredibly successful first year. Throughout 2024, we saw an outstanding calibre of imagery submitted each month, culminating in Katie Brockman being named the overall winner for her consistently exceptional entries.

As we step into 2025, BIPP members have continued to impress, submitting a remarkable variety of photographs that have been carefully reviewed and scored by our esteemed panel of judges. The competition has received an overwhelmingly positive response, offering an exciting glimpse into the exceptional talent and creative vision we can expect throughout the year.

In this issue of The Photographer, we are delighted to showcase the two Gold-awarded images from January and February – two strikingly different photographs from distinct genres, yet both demonstrating an extraordinary level of technical mastery and artistic creativity. We spoke with Ian and Mary, the talented photographers behind these winning images, to learn more about their inspirations, techniques and creative processes.

He has published five books on photography covering Child Portraiture, Lighting Techniques and his trilogy business guide for photographers ‘Rich Photographer Poor Photographer’.

While these two images represent the highest-scoring entries of the competition so far, they are just the tip of the iceberg. We have also seen a wealth of Silver-and Bronze-awarded photographs, spanning a wide array of styles and subject matter, each showcasing the skill and dedication of our members.

He is contributing editor of Professional Photographer magazine and has won multiple awards with the BIPP, SWPP, MPA, AOP, WPPI & The World Photographic Cup.

As we move forward, we eagerly anticipate even more inspiring submissions. Remember, in 2025, the top three scoring images in each category will be acknowledged as winners. We look forward to seeing this competition continue to celebrate and elevate the very best in professional photography throughout the year. Enter now!

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M O N T H LY CO M P E T I T I O N GOLD

Ian Boichat LBIPP Pets & Domesticated Animals

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t’s all too easy to create the same style of images over and over again, especially when you have a reputation for a certain style of dog portraits. That’s no bad thing, as it’s often the reason that clients book you in the first place! However, in my opinion, if we don’t push ourselves creatively to experiment with new ideas, then repeating the same old formula can quickly become a bit stale— though, perhaps, more for us as photographers than for our clients.

That’s not to say I didn’t create some lovely portraits of Wilf – for that is the name of the greyhound in this photo – before I took this one, because I did, but once I had those photos in the bag, it was time to have fun.

I have, for the last year or so, been challenging myself by adding an extra 30 minutes to my dog shoots in order to experiment with some more creative images. At first, these were just some ideas I wanted to try, and if the clients (and, more importantly, the dogs) were happy, then I was able to experiment without any pressure. As time went on, I began to ask clients to bring along additional items that would allow me to create more personal images of their dogs, although, in this instance, I have to admit the skateboard is mine! It’s actually an electric one that can do about 25mph, and in the spur of the moment, I thought it would be funny to put a dog breed known for its racing prowess onto it. I’ll be honest, although the skateboard is quite large and stable, I was surprised that Wilf managed to stand still long enough for me to get the shot – he was a star.

Shot in my studio on a Canon R5 with the RF24-70mm at 45mm, f/5.6, and ISO 160, the scene was lit with a 6x4ft softbox as the key light to the camera right. The camera was locked off on a salon stand, and I actually managed to get about 20 images of Wilf altogether. I selected this one and another one with his owner holding his tail in the position seen in the photo. I removed her in post-production, and the helmet was photographed separately, with the final image created by compositing the images together. I also added a radial blur on the wheels and some subtle colour grading in my current style.

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M O N T H LY CO M P E T I T I O N J A N UA R Y

Image © Ian Boichat

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M O N T H LY CO M P E T I T I O N GOLD

Mary McClymont ABIPP Studio Portrait

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ashion has always been an interest of mine, and I wanted to create a set of images that showcased my styling skills and to demonstrate that styling doesn’t need to cost an arm and a leg.

I also wanted to expand on my Gatsby-styled panel, showcasing the beauty and style of women in a Vogueesque front cover style. The hat was bought from Etsy for £85. The jewellery was from Shein; I managed to get £118 worth of jewellery for £18. The top was also from Shein at a cost of less than £2.

The model was sourced via Purpleport. On the day, I explained to the model what I was looking for, including showing her a storyboard that I had created from Voguestyle shoots. I gave her simple instructions regarding posing and placement of hands: elegant hands, wrists slightly turned out towards the camera, and to have fun playing with the hats. I ensured that only one eye could be exposed or no eyes to be exposed. The shoot lasted about four hours with numerous costume and hat changes.

After the shoot ended, I imported the images into Adobe Bridge, creating two folders within the file, one marked raw files and the other chosen.

This image was the first one I worked on; it needed very little done to it – lightening the nose and lips a little, a little darkening of the chest, and evening the light out on both hands. It was then imported into Nik 7 Silver Efex and converted to black and white. A few further adjustments were made to the image and applied. Once back in Photoshop, a mask was added to reveal the red lips.

The equipment used was the Nikon Z9, NIKKOR 85 F1.2S lens. The main light was a Profoto B10 with a large softbox, and another B10 was placed on the floor in front of the model and angled up, with a rectangular softbox attached. The camera settings were F5.6, 1/125 sec, ISO 160.

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M O N T H LY CO M P E T I T I O N F E B R UA R Y

Issue One / 2025 / the PHOTOGRAPHER 11

MASTERING PORTRAITS S T E P H A N I E T H O R N TO N A B I P P

Mastering Studio Portraits BIPP Print Master 2024/25 Stephanie Thornton ABIPP won BIPP Print Master 2024/25 with a striking black and white studio portrait that showcased her technical skill and photographic expertise.

Known for her high energy and enthusiastic persona in studio, Stephanie is able to spontaneously produce memorising scenes on set and create striking authentic photographs for clients has become a unique speciality. Growing up in a family who ran an entertainment agency, she developed a deep love for theatre, performance and storytelling – an influence that now defines much of her photography.

Based in Pontefract, near Leeds, Stephanie created a studio with her partner and photographer, Steve Howdle, and was given the presidential award and the Peter Grudgeon award for best associateship.

Stephanie now runs her studio with other award-winning photographer Rachel Wood. Her work spans fashion and portraiture to performing arts photography, blending design, lighting and a creative imagination.

With her portrait gracing the front cover, we learn more about her process behind the lens in this feature.

Winning image from BIPP’s Print Master Awards 2024/25

BIPP Print Master 2024/25 Award

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It was absolutely unexpected! It was a significant year for me – it was 10 years since I started entering awards, that year, but it was also one year since the industry lost my mentor, Len Dance. For a moment like this to come together in that year felt everything fitted together.

Len was a mentor in the ethos of my craft, as much as the type of photography I do – I’m very old-fashioned in my approach really, I believe in honouring our craft and doing as much in camera as possible. I love the power of lighting. I believe I’m a photographer first, editor second – it’s got to be good in camera. I feel it’s important we understand our craft. I have Len to thank for that mindset that has pushed me to be the photographer I am today.

MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Winning Image This image was actually part of a dance portfolio: I was capturing the boy’s dance shots and trying different poses, and his mother requested a classical headshot. It was something I just captured unplanned, but it still incorporated my signature style. It goes to show, minimal planning can sometimes be the better route – just play, be creative and see what naturally unfolds. With this subject, he had the most beautiful curly hair. I used specific lighting to enhance the curls and kept it simple so it’s all about the shape of his face.

We have our own lab, so everything is printed by me and my partner Steve – we do absolutely every element of it in-house. It gives us the opportunity to experiment with different papers. For the winning image, it was about making sure we paid attention to the finer details, like bringing out the texture in the stitching of the jumper; a small detail but it needed to be shown properly in print. We settled on Permajet Portrait Rag 285 in the end. As a photographer it’s about being responsible for what you’re putting out there and printing it yourself gives you absolute control of the outcome.

Preparing for a Photoshoot It is not what people expect. The way I describe it, it is like having a carousel in my head filled with ideas.

These ideas just pop up – they don’t develop, grow or change – they’re just there. I simply pluck them off the carousel as and when I need them. The natural chaos that comes with an ADHD brain is quite useful when it comes to creativity.

When clients arrive at the studio, we don’t follow a rigid shot list or pre-planned creative concepts.

Instead, we allow the session to evolve naturally, responding to the individuals, energy and creative inspiration in the moment. While we always ensure the shoot is well-prepared and professional, we leave room for spontaneity, which often leads to the most unique and authentic images.

Images © Stephanie Thornton

It’s a process that keeps things fresh and exciting – not just for us, but for our clients too. Some people expect a strict formula, but we’ve found that embracing natural creativity leads to the most unexpected and powerful results.

I’m also incredibly high energy and very excitable, so I think clients get excited by me getting excited. I do say “I can judge my shoot on how much fun I’m having, which isn’t really how you should do it”, but it works for me as my energy rubs off on the subject. I also never stop; I’m always creating or editing stuff in the studio from morning to night. However, in the 20 years I’ve been doing photoshoots, I’m still nervous before going into a shoot, but the second we start I love it!

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MASTERING PORTRAITS STUDIO SET-UP

Studio Set-up I have two studio spaces in my studio: one large one for all my creative shoots, the other, the other slightly smaller but still a decent size, that is set up to be newborn-specific but any shoot can still happen there.

I always make sure I have access to 11 backgrounds in the studio. Why 11? I’m not sure – I wish I could tell you. I hand-paint the walls myself with different textures, create my own backgrounds, I always have paper rolls, a couple of popup backgrounds and with a storeroom full of stuff to ensure I have as much variety as possible. I have every modifier under the sun. If I want to use a particular beauty dish for a shoot, I want to have it ready to go. I’m a massive geek, but it is about having the tools for the job. If I just shot one style I wouldn’t need everything, but I genuinely love playing with hard light, soft light, large and small modifiers, simple and very complex lighting set-ups.

Set-up wise: it’s big, it’s weird and a crazy working studio. We don’t have any white background safety sets – everything is deliberate and has a mood to it. I’m always adjusting the studio set-up too; it’s about constantly changing the environment to keep things fresh. There’s nothing worse than business owners becoming complacent – keeping things fresh is a creative hack and keeps your brain alert looking at new things. I also prefer that all shoots don’t look the same so by changing the studio it creates new looks for old clients.

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MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Images © Stephanie Thornton

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MASTERING PORTRAITS EQUIPMENT

Lighting Preferences I go through phases incorporating my favorite set-up for a few months, then I’ll change things up. Currently we’re using the Elinchrom Deep 70 Octabox and shooting a lot with an overhead brolly with a curved reflector underneath – that’s what created the BIPP winning image. I’m always alternating – it can fluctuate from an eight-light set-up and go back to one light.

I also use a visualisation method where I imagine how light will travel and illuminate a subject in my mind’s eye; it’s a way of connecting to light and the process on a deeper level. When a subject comes into the studio, I know almost immediately how I want to light them.

Although, I have a saying that’s either ‘pose for the light’, or ‘light for the pose’ – you can’t do both. For example, if I have lighting in my head, I will work out how I can pose my subject within that lighting, or if I want a subject doing a certain pose, I’ll work out how to light for the position. It’s simple but important.

I know my style well, and I know what I like; my style isn’t always exactly one type of image. However, I like cheekbones, I like collarbones, I like glossy looks, contrast and colour – if you start putting my images together, it’s all quite obvious the way my style works – so it can be easy to fit a new subject into that just by looking at them.

Using Backdrops & Props I have a rule – every session includes at least three distinct set-ups to offer variety and creativity. But once I start styling, inspiration tends to take over, and it’s not uncommon for a shoot to evolve into six or seven different looks. The choice of backdrop and setup is always guided by the client’s wardrobe, the overall style we’re aiming for, and the lighting that best enhances the concept.

Prop wise, the general rule is to keep it quite simple.

I don’t like to over-complicate the images. However, we have a whole wardrobe of all different things: head pieces, outfits, so I’ll just throw things together - I say I’m still playing with dolls, but I’ve just got a bigger doll’s house.

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MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Images © Stephanie Thornton

Issue One / 2025 / the PHOTOGRAPHER 17

MASTERING PORTRAITS WORKING WITH SUBJECTS

Camera Equipment I shoot on a Pentax 645z medium format. I used to shoot Canon years ago, then started doing some work for Pentax, and I was always using their kit, so I decided to move over. I just loved the detail in medium format. The 120mm macro lens is my favorite by miles, however I can’t shoot on that all time, so it’s a whole range of different lenses depending on the nature of the shoot.

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MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Working with Subjects For me, it’s about taking full control over the shoot.

To make subjects feel comfortable getting their picture taken, they need to feel like they couldn’t possibly do anything wrong. Every little movement they do, they’re instructed, but in a way that takes the pressure off them, so they can relax. The worst thing you can do in a shoot is say, “What do you guys want to do?” You’ve got to take charge and be the artist.

When I photograph actors for headshots, I’m not just looking for lighting that flatters their face – I’m thinking about how to help them land a specific role.

Having studied Film and Media, I bring a strong understanding of cinematic lighting into my work, almost envisioning characters as I shoot. Each image needs to tell a story and reflect the roles they want to be cast in.

But this approach isn’t just for actors – it applies to every subject. Whether it’s a business professional, a dancer, or a grandparent stepping in front of the camera, my goal is always the same: to capture their essence and bring out their personality in a way that feels natural and true to them. Some of my favourite sessions have been with grandparents – they bring so much character and life to a session, making them an absolute joy to photograph.

During a shoot, I never show clients the back of the camera. Not because I don’t want them to see – it’s because I want to keep them in the moment, in the fantasy. If I’ve styled someone to channel Marilyn Monroe, for example, and they see a photo mid-shoot, even if they love it, they don’t see the lighting, the pose, the final vision – they just see themselves, and suddenly the magic is broken.

Keeping them in that space allows them to truly embody the energy of the shoot without second-guessing themselves. And while some people come in thinking they want control, they quickly realise they don’t need it. I see every detail, every angle, every nuance – and because I’m such a perfectionist, they know they’re in safe hands.

The best images happen when clients let go and trust the process – and that’s exactly what I create in every session.

Images © Stephanie Thornton

Issue One / 2025 / the PHOTOGRAPHER 19

MASTERING PORTRAITS POST-PRODUCTION

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MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Post-production My editing process is all about enhancing what’s already there. I shoot in RAW, then move to Lightroom for refinement and colour grading, and finally refine the details in Photoshop – but the majority of the work happens in-camera. I know exactly what I want from an image, so editing is never about fixing mistakes; it’s about fine-tuning what’s already been carefully crafted in the studio.

That said, I’m a bit of a Lightroom geek – I love playing with colour grading and creating depth, but always in a way that stays true to the original image. The goal is never to change a photo beyond recognition, just to bring out details that can’t be achieved in-camera.

Ironically, I became really fast at editing because I used to hate it! I wanted to be finished as quickly as possible, so I trained myself to work efficiently without over-processing. Funnily enough, the first award I ever won was actually for post-production – despite doing everything I could to avoid editing at the time!

Editing Tips for Print It’s an old one, turn your pictures upside-down and see if anything is distracting, Len taught me that years ago. If you’re in Photoshop, zoom out as well. You can also squint your eyes. Also checking and understanding your levels is crucial, especially when it comes to understanding printing. Especially these days with mattified looks being popular, they can print hideously if not prepared correctly.

Finding Clients & Marketing I wouldn’t say I’m a natural at marketing – I’m happiest in the studio, creating beautiful images, rather than shouting about them. But over the years, word of mouth has been our biggest strength. Our work speaks for itself, and because we offer such a diverse range of styles, clients trust that whatever they need – whether it’s fine art portraits, family sessions, or something more creative – we can bring their vision to life.

We do use social media and attend events, but our studio runs a little differently. Instead of focusing on one-off bookings, we’ve built a studio membership system – a space where clients become regulars, not just customers. This means we see families again and again, watching their kids grow up, capturing milestones, memories and moments over the years.

For us, it’s not just about marketing – it’s about community, connection, and creating a space where people want to come back.

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MASTERING PORTRAITS B I P P P R I N T M A S T E R 2024/25

Shoots for the Future I always say my client base is anyone with a face – whether it’s people or animals, I love the challenge of working with all kinds of subjects. Over the years, I’ve covered a huge variety of photography, and honestly, I wouldn’t have it any other way.

Recently, I’ve been drawn back into performance and promotional work, an area I spent a lot of time in when I was down south, working with theatres and production companies. It’s something I’ve always loved, and now that I’m doing more of it up here, it feels like the perfect time to push further into that world in the North.

As for the future? More of the same, because I love what I do. Every shoot brings something different, and that’s what keeps it exciting. Whether it’s portraits, performance or something completely new, I’m always looking forward to what’s next.

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D ATA CO LO R B I P P PA R T N E R

LightColor Meter:

Precise real-time measurement

B

IPP Partner, Datacolor, a global leader in colour management solutions, announces the release of its Datacolor LightColor Meter, a multifunctional device that measures both light and colour temperature for any light source, including changing outdoor light, tungsten, LED, HMI, fluorescent, strobe, and more.

This innovative device is therefore more than a traditional light meter. The measurement of colour temperature – the warmth or coolness of a light – provides users with essential information to choose the most appropriate lighting and exposure for a specific application, ensuring consistent colour appearance.

Additionally, filter libraries from Profoto, LEE and Rosco are included to help users select the right colourcorrecting gels.

Used with the free Datacolor LightColor Meter app (iOS/Android), the Bluetooth-connected device continuously streams data to your phone for timesaving remote flexibility and pinpoint accuracy.

Photographers, cinematographers and hybrid photo/video shooters can easily fine-tune lighting and exposure without leaving the camera, and can sync multiple LightColor Meters for simultaneous readings from several locations for enhanced workflow

efficiencies and precise exposure – a feature that comes in handy when, for example, shooting at large events.

“The Datacolor LightColor Meter is like a portable, on-set personal assistant that fits in your pocket. Its wireless feature eliminates the need to run to and from your camera to your metering location while receiving precise light and colour temperature data in realtime, even in shifting light conditions such as those outdoors,” said Heath Barber, Director of Product Management, Consumer at Datacolor. “The LightColor Meter takes the guesswork out of exposure settings for those new to using a light meter, and experienced users will appreciate the added advantage of being able to measure colour temperature and DUV, as well as light, with one powerful and convenient product.”

The LightColor Meter retails for £379 and is available for purchase on the Datacolor website, Amazon, and through authorised retailers. The free Datacolor LightColor Meter app is available for both iOS and Android.

For more information about the product, visit: datacolor.com/lc Issue One / 2025 / the PHOTOGRAPHER 23

P H OTO G R A P H I N G P E T S HELEN SPIEGL FBIPP

Photographing Pets with Helen Spiegl FBIPP

From a country studio on the north-west edge of the Peak District, Helen runs a photographic service specialising in highlighting every pet’s unique personality, combining authenticity with playfulness.

Helen earned her BIPP Fellowship in the last qualification round with a panel inspired by her fascination with cats, showcasing their remarkable traits and personalities. In this piece, Editor Joel Hansen speaks with Helen about her process, drive and creative vision in animal photography.

The Reason You Shoot Animals, Emotional Connections & Why Professional Pet Photography Matters: ‘Shoot’ makes me sound like some sort of crazy animal assassin!

The bond between humans and their pets provides a unique and powerful emotional connection. I believe that pets are more than just animals; they bring companionship, affection, joy and happiness combined with unconditional love and support. Affection from a pet has proven positive mental health benefits – it has been shown many times that pets reduce stress and lower anxiety.

This deep emotional connection is why I believe that professional pet photography matters so much. All our pets have their own unique personality that evolves over the years and they are truly valued members of the family. Often, after a beloved pet has died, their owner contacts me to thank me again for their pet’s portraits that have now become even more precious. Although everyone has hundreds of snaps on their phones, I believe having quality professional artwork to enjoy every day is on a totally different level.

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P H OTO G R A P H I N G P E T S W H Y P E T P H OTO G R A P H Y M AT T E R S

Preparation for a Photoshoot: I know that some photographers streamline their systems and do everything via text or email so that they don’t actually speak to the client before the day of the session, but this wouldn’t work for me. I like talking to people, and it is so important to me that their experience is fabulous from start to finish. I want clients to feel that they and their pets are really important, and I want them to trust me. I like to find out as much as possible about them and their pets, what they are looking for from their session, and any concerns or questions they might have. Often, their main concern is that their pet won’t sit still for long enough. I reassure them that I have plenty of little tricks up my sleeve, and I only need a fraction of a second. I guarantee them that we will get some beautiful images of their pet!

Equipment: I shoot with a Canon R6 mirrorless, and my goto lens is the RF 70-200mm – I have the f4 purely because it is a lot smaller and lighter than the f2.8.

But sometimes I play with other lenses, such as an 8-15mm fisheye for a different viewpoint. My lights are Elinchrom ELB 400, for the flexibility of using them on location. Before the Covid lockdown, I could count on one hand the number of dogs ever in the studio that were freaked out by the lights, but since then, I have encountered loads more! (Cats never seem to be phased by flash.)

I don’t know if it is the increased number of dogs, or more people owning dogs who have never had them before and possibly those who often have a tendency to treat them like babies and don’t train them or instil any boundaries. I cannot abide the term ‘fur babies’ or ‘pet parents’. I adore my animals as much as anyone, but I feel that it’s often these dogs that don’t seem to develop any resilience and are often incredibly needy and scared of everything. Sorry, but that’s just my opinion!

I invested in some Godox continuous lights for the nervous dogs. They aren’t ideal as I need to use a very high ISO, but if the dog doesn’t move around, then they are fine.

Images © Helen Spiegl

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P H OTO G R A P H I N G P E T S HELEN SPIEGL FBIPP

Planning the Photoshoot & Working with Animals: I am very lucky in that my studio is in the garden of my cottage. It was originally a concrete prefab garage that flooded whenever we had a downpour, so we knocked it down and built a studio in local stone on its footprint in 2013. I would like a bigger space as it’s very small, but it works, so I can’t complain.

We are situated on the very edge of the Peak District and are about ¾ mile from the nearest road, so we have fabulous locations from the door of the studio. This means that we can often combine a session in the studio with location images – weather and time permitting.

I aim to provide a variety of images and backgrounds. I’m trying to get away from the plain black background, but my clients keep asking for it, so I can’t lose it completely!

In the studio, I have a selection of different chairs and other props, but my favourite is an old leather chair that was my grandmother’s and is more than 100 years old - it is very popular with clients who want a vintage look. I find that most dogs and cats are happier on soft furnishings rather than a hard floor, so I also have a small ‘click-clack’ sofa bed which is useful.

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P H OTO G R A P H I N G P E T S P L A N N I N G P H OTO S H O OT S

Images © Helen Spiegl

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P H OTO G R A P H I N G P E T S HELEN SPIEGL FBIPP

Methods & Madness: I believe that understanding animals, their personality types, and knowing how to build trust with them is so important.

Firstly, I never approach the dog when they arrive.

I meet and greet at the gate, addressing the client, and I wait for their dog to come to me. If they don’t want to, then that’s fine. I don’t pressure them. It normally only takes a few minutes of ignoring them for the dog to realise that I’m not going to intimidate them, and then they come and say hello. It’s more or less the same for cats, although obviously they are in cat carriers. I wait until we let them out in the studio, but they just like to explore anyway. I ensure all gaps are filled to stop them hiding behind furniture, and the door is locked to prevent any escapes.

I feel it’s really important to be able to read each pet’s body language and understand when they’re feeling stressed, anxious or scared. Sometimes, the owner feeds their dog’s anxiety with their own, as they are desperate for their pet to ‘perform’ for the camera. It’s worse still if the owner gets cross with them if they won’t do as they say. Even the besttrained dogs may not understand what is required – it is such an alien environment to what they’re used to. To pre-empt this, I always explain in detail before we start how we are going to proceed and also explain that the dog (or cat) will dictate what we do, and the shots we get. I have lots of patience, so nothing is rushed. We have lots of breaks for treats and cuddles (for the pets, not the owners!).

If I have to use a lead on a dog, I use a slip lead and try and encourage the owner to place it right below their jawline, not around their neck so it is hidden and is not only easier to edit out but also ensures we don’t get rolls of skin folding over it with short-coated breeds such as Frenchies or Staffies.

As far as treats go, I do provide treats but always ask the owners to bring their own pet’s favourites too, such as small pieces of ham, chicken 28 the PHOTOGRAPHER / 2025 / Issue One

P H OTO G R A P H I N G P E T S METHODS & MADNESS

or cheese. Some dogs or cats may find mine suspicious or simply not an adequate payment! It’s also important to ask if their pet has any dietary limitations before offering a treat. They may be on special diets to manage disease or sensitivities. I learned very early on not to use gravy bones or biscuits as treats – very messy and far too many crumbs to edit out!

It’s important to me to make it a fun experience for everyone. If the owners want ‘snapshots’ of their dogs catching treats or balls, or just some playtime, I leave it until the end so that it doesn’t matter if they get giddy, panting with lolling tongues. (Dogs, not owners, hopefully!)

I love cats. They can be notoriously difficult to work with, but I really love the challenge. Having bucketfuls of patience really comes to the fore here. I have a basketful of toys, but often the best one is a piece of string! Something to bring out their predatory behaviour often dispels any nervousness and makes for some great images. Something else I have found that works is catnip bubbles. Most cats (and dogs) are intrigued by them, and since they are designed for cats, they are safe if the bubbles burst near their face. I would never use anything that might be irritant like washing up liquid. Boxes, baskets, etc., are always good to have for cats as they like to feel safe.

Images © Helen Spiegl

Issue One / 2025 / the PHOTOGRAPHER 29

P H OTO G R A P H I N G P E T S HELEN SPIEGL FBIPP

After the session: I aim to show the client around 30-40 images depending on the session. If it’s a mix of studio and location, then invariably it’ll be on the higher side.

I create a slideshow in ProSelect and encourage clients to send me their wall photos to design their artwork with them. They always spend more if they use this facility. It also helps me gauge how serious they are about buying wall art.

I use Lightroom and Photoshop. Although I am a bit of a tech dinosaur, I do try and improve my retouching and editing skills with training courses and YouTube.

Any retouching beyond my skills are outsourced.

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I found out only quite recently that my maternal great-grandparents were not only both professional photographers in London in the late 1800s - 1900s, but my great-grandmother was also a professional retoucher. I was so thrilled to discover my love of photography was in the blood somewhere!

My only regrets are that my dad, who died in 2003, never knew about my success as a photographer, and my mum, who is 97 and virtually blind, has never seen any of my work. She still thinks it’s odd that people want portraits of their pets as: “doesn’t everyone have cameras on their phone things these days?” Oh well…

DEUTSCHE BÖRSE T H E P H OTO G R A P H E R S’ G A L L E R Y

DEUTSCHE BÖRSE

PHOTOGRAPHY FOUNDATION PRIZE 2025 Image © Cristina De Middel

The Photographers’ Gallery announces the Deutsche Börse Photography Foundation Prize 2025, running from 7 March to 15 June in London. The exhibition features shortlisted artists Cristina De Middel, Rahim Fortune, Tarrah Krajnak and Lindokuhle Sobekwa.

Recognising outstanding photography in exhibitions or books, the £30,000 Prize is one of the world’s most prestigious awards. The 2025 shortlist explores migration, community, family histories and identity through documentary, performance and self-portraiture.

Projects Featured:

Image © Rahim Fortune

The winner of the £30,000 Prize will be announced at an award ceremony at The Photographers’ Gallery on 15 May 2025, with the other finalists each receiving £5,000.

Image © Tarrah Krajnak

Image © Lindokuhle Sobekwa

• Cristina De Middel captures Central American migration as an epic journey.

• Rahim Fortune reflects on Black American traditions.

• Tarrah Krajnak reinterprets photographic history through performance.

• Lindokuhle Sobekwa examines loss and memory in South Africa.

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PAU L R E I F F E R F B I P P A I I N P H OTO G R A P H Y CO M P E T I T I O N

Exploring AI’s Role in Photography Competitions: A Perspective from Paul Reiffer FBIPP As the debate around AI and photography continues to evolve, BIPP Director and photographer Paul Reiffer FBIPP shares his thoughts on how tools like ChatGPT could potentially assist photographers entering awards and competitions. While acknowledging AI’s limitations, Paul explores whether it could offer an additional layer of critique and benchmarking – helping entrants refine their submissions before facing the judges.

Could AI (and specifically ChatGPT) be used as a viable photography awards/competition pre-check tool?

So, I know the “friend or foe” debate will continue for years to come on AI and Photography, but with my director’s hat for The BIPP on (and following some discussions with others), I got to thinking about how ChatGPT could potentially help those who enter awards and competitions to improve their chances.

(After all, the whole reason for entering those things is to be able to promote your best work, right?)

For all its flaws (and questionable scraping!), what these systems do potentially give us is a way to gather an additional, relatively independent review and benchmark of our own work.

Better still, through good prompting, it has the ability to explain the whys and hows of any critiques and scores it offers, as a “final check” prior to submitting images to be judged.

Granted, the reference pool would be more “average” than only top-level entries, but if requesting feedback on a selection of your own images, it’s at least all relative.

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PAU L R E I F F E R F B I P P A I I N P H OTO G R A P H Y CO M P E T I T I O N

A lot of photographers struggle with independent image critiques, and the practicalities of running competitions with tens of thousands of entries mean it’s rare to be able to give every single entrant a thorough review – so could tools such as ChatGPT not help to bridge that gap?

there yet, but it could get close.

Is this an acceptable alternative to full-on competition judging?

Absolutely not.

What is ChatGBT missing from those scores, critiques and assessments?

But while it might not be able to offer a professional, considered, warm (and therefore, biased?) score – it could certainly deliver a decent, cold and logical “starterfor-10”...

Well, the human element, for sure.

There is a path where such tools can learn what images out there do provoke emotional reactions – meaning they could apply those observations to other images for consideration. I’m not sure we’re quite

While I’m personally against a lot of what the AI giants are inflicting on our industry (and how they’re doing it), in the same way that we’ve learned to make the best use of other tools.

Maybe it’s time for us to discover new ways to make AI work for us, not always and only against us?

I would love to see other people’s outputs, thoughts, concerns and anything else that springs to mind.

A few notes:

–

No, this article was not written

by AI in any part – all my own brain-dump, errors too!

–

Free versions of ChatGPT have a limited number of image uploads per day, after which you’ll need to either wait or pay to upgrade.

–

It is, of course, possible to ask these tools to be nicer or nastier in their opinions – so I’d say take “areas for improvement” more seriously than its “opinion” in isolation.

Issue One / 2025 / the PHOTOGRAPHER 33

RETROSPECTIVE A P H OTO G R A P H E R ’ S B E G I N N I N G S

In Conversation with Nigel Hicks FBIPP

For over three decades, Nigel Hicks FBIPP has built an impressive career as a travel photographer, capturing landscapes, wildlife and people across the world. With his lens framing everything from animals in the dense jungles of the Philippines to the expansive landscapes of Iceland – he executes all his shoots with a thoughtful approach that pays respect to the environment and cultures he explores.

In conversation with Editor Joel Hansen, Nigel reflects on his journey and the defining moments that shaped his path.

Nigel in 1999, with his local mountain guide, in rainforest on the slopes of Mt Apo, the Philippines’ highest mountain

A Photographer’s Beginnings Nigel’s passion for photography ignited at the age of ten when his parents handed him an old Box Brownie camera.

Despite its light leaks, the magic of capturing moments fascinated him. For his 11th birthday, he received a Kodak Instamatic, which accompanied him on his first overseas school trip to Norway and Denmark. This trip unknowingly set the tone for his future career that blended travel and photography into a lifelong vocation.

Yet, his path into the profession wasn’t immediate. Nigel first pursued a career in biomedical science, earning a PhD and conducting postdoctoral research in Cambridge. However, the pull of adventure was too strong to ignore. At 27, he left the UK in 1984 with nothing but a backpack and a camera, venturing through Sri Lanka and India before settling in Taiwan, Japan and later Hong Kong. In the initial years abroad, he taught English and edited scientific papers before paving a career through his camera.

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

Reading the day’s newspaper in a pool of light; inside a Buddhist temple in Ho Chi Minh City, Vietnam. Shot in 1991 for Singapore Airlines

Images © Nigel Hicks

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RETROSPECTIVE TRANSFORMING LANDSCAPES

A household kitchen in rural Nepal, shot in 1990 as part of a reforestation research project. With rural Nepalese still cooking mainly on open fires at this time, this hearth was a revolution, greatly reducing the amount of both wood burned and the harmful indoor smoke

Breaking into the Professional Market Hong Kong, a thriving hub for English-language publishing in Asia, gave Nigel the freedom to live there as a British citizen while continuing to write and edit scientific papers - creating an ample overseas home base. It also served as an ideal setting for him to sharpen his photography skills and immerse himself in the fast-paced media landscape.

By 1990, Nigel made the leap into full-time photography. He began contributing to the South China Morning Post, Asiaweek and several travel and airline magazines, often crafting full editorial packages of both text and imagery. His scientific background gave him a strong foundation in this field, allowing him to approach subjects with analytical precision and present clear, engaging narratives. In Hong Kong’s business landscape, talent mattered more than formal qualifications and this meritocratic environment allowed him to thrive without formal media qualifications.

His first major project took him to Nepal, where he documented deforestation and reforestation efforts while immersing himself in the local communities’ rural way of life. These experiences resulted in a series of articles that he successfully sold to various publications and picture libraries.

With more assignments across Taiwan, Japan and Thailand, followed by commercial architectural and interiors work in Hong Kong, Nigel’s reputation grew. But his next move into one of the world’s rising superpowers would be a defining moment in his career.

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

Exploring a Transforming Landscape As China embraced economic reforms and started integrating with the global market in the 1990s, Nigel was commissioned to document the evolving landscape of the Pearl River Delta, a rapidly developing region linking Hong Kong and Guangzhou. Shortly after, the World Wide Fund for Nature enlisted him to capture conservation efforts in Xishuangbanna, a tropical region bordering Laos.

His most ambitious project arrived in 1993 with Wild China, commissioned by New Holland Publishers. This was the first comprehensive documentation of China’s wildlife and conservation efforts in over a century. Over 18 months, Nigel traversed the country, from the frozen permafrost of the northeast to the towering Tibetan plateau, even reaching Everest Base Camp. His growing Mandarin skills, coupled with the assistance of a string of local drivers, helped him navigate remote regions where few foreign photographers had ventured.

While in Xi’an, he also managed to gain exclusive access to the legendary Terracotta Warriors – a privilege rarely granted to photographers. How? A simple conversation and multiple cups of tea with the museum’s manager, proving that in photography, connections and communication are just as valuable as technical skill.

The nightlights of Nanjing Road, downtown Shanghai, China, 2013

Sunrise over the Pudong district of Shanghai, China, 2014

Images © Nigel Hicks

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RETROSPECTIVE PHILIPPINES

Venturing into the Philippines His work in China paved the way for extensive commissions in the Philippines, where he immersed himself in the country’s vibrant culture, lush landscapes and remote wilderness. From traditional guitar manufacturers to animals in the dense jungles, Nigel captured it all, often venturing into uncharted territories to document life untouched by tourism.

By the early 2000s, he had produced multiple books on the Philippines, eventually culminating in Wild Philippines published in 2019. His deep connection with the region cemented his reputation as a leading photographer of its conservation efforts and landscapes.

Learning to dive in southwest England, he later applied this skill to underwater photography, exploring the Philippines’ spectacular coral reefs and marine ecosystems, mostly as an integral part of the Wild Philippines project.

The world’s smallest primate, the Philippine Tarsier, is unique to the southern Philippines. Shot in 2011 for John Beaufoy Publishing

Teenagers are the same everywhere.... At a beachside cafe in Miagao, on the island of Panay, the Philippines. Shot in 2011 for John Beaufoy Publishing 38 the PHOTOGRAPHER / 2025 / Issue One

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

When the subject of your photography turns the tables. Curiosity gets the better of a Buddhist monk, peering into my Mamiya RB67 camera. On the summit of Mt Emei, Sichuan province, China. Shot in 1994 for the Wild China project

Issue One / 2025 / the PHOTOGRAPHER 39

RETROSPECTIVE THE NOUGHTIES

The Noughties and the Digital Revolution By 1995, Nigel had returned to the UK, but his career remained deeply tied to international travel. Regularly commissioned by publishing company Dorling Kindersley (DK), he journeyed across continents to provide imagery for their travel guides. From the Amazon to Kenya and the Caribbean to Iceland, he navigated logistical challenges and cultural nuances, ensuring each destination was portrayed with authenticity. His work with DK granted him access to exclusive locations, from a lively Elvis wedding chapel in Las Vegas to rare encounters with remote tribal communities in Kenya.

While back in the UK, Nigel joined the BIPP and diligently progressed through the qualification tiers, ultimately achieving a Fellowship in Landscape photography.

As the industry transitioned from film to digital, Nigel initially resisted the change, valuing the superior quality of film. However, in 2004, he invested in the Canon EOS 1Ds and realised that digital had finally caught up to analogue cameras.

From that moment on, he never shot another roll of film.

A Maasai chief posing outside the entrance to his village, ensuring that everyone knows I have his permission to photograph everything. Maasai Mara, Kenya. Shot in 2007 for Dorling Kindersley

A glacial iceberg melting on the beach at Jökulsárlón, Iceland, 2015

During the 2000s, Nigel also began contributing photography to National Geographic in the United States, initially for their travel guidebooks and later for their renowned image library, which eventually became the National Geographic Image Collection. During this period, stock photography was a profitable revenue stream, but the 2008 financial crash led to a sharp decline in earnings. As royalties diminished, Nigel focused increasingly on commissioned assignments, book publishing and workshops.

A Dendronephthya species soft tree coral, just a few centimetres long, off the coast of Panglao Island, Bohol, the Philippines. Shot in 1999 for New Holland Publishers 40 the PHOTOGRAPHER / 2025 / Issue One

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

Establishing a UK Presence Although he was based back in Britain, Nigel’s assignments remained largely international until the late 1990s, when he took on a major UK project documenting the Team Philips Millennium yacht.

This commission saw him photographing the construction process, PR events and even a royal naming ceremony attended by Queen Elizabeth.

During the late 2000s he started to shift focus (apart from his regular overseas DK assignments) closer to home, launching photography workshops across the UK. Specialising in landscape and travel photography, he later also founded his own publishing house, producing five books on the South West of England, showcasing its stunning scenery and rich culture.

Inside the hull of Team Philips while under construction, with the mast-step being installed to perfection. Shot in 1999 for Pete Goss/Team Philips

A lone shoreline rock at sunset; Ayrmer Cove, south Devon. Shot in 2022

The newly completed Team Philips undergoing sea trials off south Devon. Shot in 2000 for Pete Goss/Team Philips.

Images © Nigel Hicks

Issue One / 2025 / the PHOTOGRAPHER 41

RETROSPECTIVE 35 - Y E A R T R AV E L J O U R N E Y

Mastering the Craft, Navigating the Industry & Looking Ahead For Nigel, travel photography is a delicate fusion of landscapes, architecture, culture, wildlife and human stories.

He highlights the importance of harmonising these elements – a skill that has been central to his success. But beyond technical expertise, he emphasises that strong communication, business acumen, and networking are just as essential for a photographer’s career as the images themselves.

His time in Japan profoundly shaped his artistic vision. Inspired by Zen minimalism he integrates this philosophy into his workshops, teaching that a great photograph is not just about what is included in the frame but also about the elements that are left out.

Reflecting on his 35-year journey, Nigel acknowledges the highs and lows. From swimming alongside whale sharks in the Philippines to being arrested in China for venturing into a closed area, his career has been a tapestry of adventure and discovery.

Looking forward, he plans to continue photography, expanding his workshops and possibly reviving his international tours. His deep ties to Asia, particularly the Philippines, remain an integral part of his future plans.

An abnormally cooperative rainbow arching out of Scorhill Stone Circle, Dartmoor National Park, Devon. Shot in 2011 while running my Dartmoor in Autumn photography workshop.

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O B I T UA R Y S TA N L E Y M ATC H E T T

Remembering

Stanley Matchett HON FBIPP

B 92.

IPP Honorary Fellow Stanley Matchett MBE FRPS passed away peacefully at his home in Carryduff on 14th March 2025, at the age of

A former photographer for the Belfast Telegraph, Stanley Matchett was a leading figure in the photographic profession in Northern Ireland for over 40 years.

Throughout his career, he built a portfolio featuring some of Northern Ireland’s most iconic images.

Among them, his most famous photograph remains that of Bishop Edward Daly waving a bloodstained handkerchief on Bloody Sunday – widely recognised as the defining image of the massacre.

Matchett also became known as “the man who shot the Beatles” for his renowned photographs of the Fab Four during their visit to Belfast.

Spanning four decades, his portfolio captured the major social, economic, and political changes of the time, along with the harrowing realities of the Troubles and the traditions of Irish life.

His work also extended beyond Northern Ireland; he travelled to London to cover the weddings of Prince Charles and Diana Spencer, as well as Prince Andrew and Sarah Ferguson.

Matchett’s exceptional talent earned him the title of NI Sports Photographer of the Year three times, as well as Press Photographer of the Year at the Rothmans Press Awards for Northern Ireland. In recognition of his contributions to photography, he was awarded an MBE in 2003.

He is lovingly remembered as the devoted husband of Maureen, much-loved father of Karen, Joanne, and Gavin, a cherished grandfather and great-grandfather and a dear brother to Norma.

Image: Children of the troubles, Hooker Street, Crumlin Road, Belfast – following a bomb explosion, 1969. © Stanley Matchett

The BIPP previously celebrated Stanley Matchett’s remarkable career in the Photographer, Issue 3, 2019, detailing his early days in photography and the many unforgettable moments he captured throughout his action-packed career. You can follow the details below to read the article.

Read the full article by scanning the QR code: Access Code: K3VFZE5Q Issue One / 2025 / the PHOTOGRAPHER 43

P E T E R M I TC H E L L T H E P H OTO G R A P H E R S’ G A L L E R Y

Peter Mitchell: Nothing Lasts Forever A retrospective of work by one of the leading early colour photographers of the 20th century opened at The Photographers’ Gallery.

7 March – 15 June 2025

P

eter Mitchell (b.1943, UK) is widely regarded as one of the most important early colour photographers of the 1970s and 1980s. A powerful storyteller and social historian, Mitchell unfolds in his photography a longstanding and poetic connection with Leeds. He has chronicled the people and fortunes of the city with warmth and familiarity for over 40 years.

Born in Manchester in 1943, he studied at Hornsey College of Art in London, then moved north to look for

44 the PHOTOGRAPHER / 2025 / Issue One

work and never left. Living and working in Leeds for much of his life, Mitchell treats his surroundings with a unique sense of care.

With Mitchell described as ‘a narrator of who we were, a chaser of a disappearing world’ (Val Williams, British curator and author), his work reveals his love, and at times quirky, off-beat vision, of the people and changing face of Leeds.

Images © Peter Mitchell

P E T E R M I TC H E L L N OT H I N G L A S T S F O R E V E R

“I

know there was no point in keeping Quarry Hill flats. But what it stood for might have been worth keeping.”

Issue One / 2025 / the PHOTOGRAPHER 45

P E T E R M I TC H E L L T H E P H OTO G R A P H E R S’ G A L L E R Y

The retrospective exhibition explores the breadth of Mitchell’s photographic practice.

It brings together his famous series ‘A New Refutation of the Viking 4 Space Mission’, which imagines England as seen through the eyes of an alien from Mars, demolished flats, shopkeepers and their shops, and boarded-up and disused buildings, as well as his portraits of scarecrows. The exhibition marks a return to The Photographers’ Gallery for Mitchell – he first exhibited at the Gallery in 1984.

A chronicler of a changing city, he said of his work photographing the demise of the iconic Quarry Hills Estate in Leeds: “I know there was no point in keeping Quarry Hill flats.

But what it stood for might have been worth keeping.”

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Calling himself “a man of the pavement”, Mitchell continues to regularly walk the streets of Leeds to photograph his beloved hometown today.

Peter Mitchell: Nothing Lasts Forever will include rarely-seen works from Mitchell’s own collection, along with personal ephemera and found objects. Presented in collaboration with Leeds Art Gallery, the exhibition offers a unique insight into his artistic journey.

Book Your Ticket Here: The Photographers’ Gallery 7 March – 15 June 2025

M A N DY B A R K E R P H OTO G R A P H S O F B R I T I S H A LG A E

Cyanotype Imperfections: Mandy Barker’s Stunning New Book Explores Fast Fashion’s Environmental Impact Award-winning photographer Mandy Barker presents Cyanotype Imperfections, a striking new book that blends art, science and environmental activism.

Inspired by Anna Atkins’ pioneering 19th-century work Photographs of British Algae, Volume 1, Barker reimagines the cyanotype process to highlight one of today’s most urgent ecological crises – fast fashion and its devastating effect on the planet.

The book features 202 ‘specimens’ of discarded clothing, collected from 121 beaches, arranged to resemble different species of marine algae. This haunting visual parallel underscores the impact of synthetic plastic clothing, a major contributor to global climate change.

In a nod to historical techniques, Barker has created a 203-page cyanotype series, accompanied by eight cyanotype text pages, using original 1800s J Whatman paper from the Turkey Mill in Kent – the very same material Atkins used.

Jacket lining (Rhodomenia ignotus)

Coat lining (Dichloria vestis)

Patterned blouse (Laminaria materia)

Jersey boxers (Gigartina sunday)

Nylon tights (Conferva tibia)

Two Blouses (Asperococcus indusium)

The result is a compelling fusion of art and environmental storytelling that challenges how we perceive waste and its consequences.

The book Photographs of British Algae: Cyanotype Imperfections is set to be published in April 2025 by GOST Books.

Find out more by scanning the QR code: Images © Mandy Barker

Issue One / 2025 / the PHOTOGRAPHER 47

S TA N D I N G S TO N E S DR R M CALLENDER FBIPP

Still Standing:

A retirement activity Dr R M Callender, FRPS, FBIPP

I

n looking forward to retirement after a career in applying photography to the assessment of company products, I realised I had to find a new outlet for my enthusiasm. Recalling the time when I worked on Salisbury Plain, Stonehenge became my inspiration… that is, to find more ancient stone structures and document them photographically. At the time, little did

I know that Great Britain contains over a thousand Neolithic sites of standing stones and stone circles.

Keen to develop my newfound interest, I used the internet’s Megalithic Portal to locate standing stones and circles in other corners of Britain, but to start with, I began documenting a few near my home in Cheshire and North Wales.

It did not take long to develop a technique. There was a need to devise a standard approach when encountering a range of stones or a standing stone.

The first requirement evolved as observation. It often took time and physical energy to locate a stone circle and, before beginning photography, it was prudent to view the stones and the background so as to utilise the landscape in the composition.

It was also important to recognise distractions and modify the technique so as to eliminate such features as chimneys, motorways and tourist groups.

Assessment of lighting always makes sense. Neither the light nor the subject matter can be altered, but it remains a challenge to secure the maximum effect. Occasionally, some features on standing stones dictate the exact camera position and the photographer’s task is to overcome this difficulty… possibly at a later date by manipulation with a computer programme.

Anxious to photograph the tallest stone in Britain, the author visited Rudston, East Riding, but to demonstrate the scale, it required a picture by ten seconds of delayed action.

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The initial photograph ought to be a general view of the site to show the ambience, the surroundings and a hint of the location. Two lenses also help the photographic tasks. A standing stone or circle can often be observed in the distance, but approaching it is out of the question. It may be securely fenced, on private property or simply, there may be a bull guarding the stones. A lens of long focus will often save the day and provide a high-quality result.

Close inspection of the stones often indicates features that ought to be recorded for scrutiny and analysis at a later date. With most standing stones, there is merit in documenting the stone from four directions: that is, north, east, south and west. Doing so generally captures all the detail and often proves valuable for illustrations in books, portfolios and lectures.

Taken during the approach to Bryn Cader Faner, in North Wales, a view that features the slanted position of the stones, which mimic a crown on the hilltop.

Occasionally, it is not uncommon to find that important stones, on occasion, have been taken indoors for protection. On such occasions, a tripod is useful, or it is time to improvise, and a chair sometimes steadies the camera for indoor exposures. Another technique relies on computer backup. Stones of merit are sometimes enclosed in huge glass cages and a frontal exposure will feature the photographer. On the other hand, by using flash-on-camera and making the exposure from the side, the result is distorted but captured.

By using the simplest of computer programmes at a later date, such an image can be rectified to produce a satisfactory picture.

It goes without saying, but the computer is a valuable asset, inasmuch as contrast, brightness and colour features allow modest changes to be applied. On rare occasions, a conventional photograph will lend itself to extreme manipulation, such as posterisation, poster edges or sketch, to produce an unusual yet appealing print.

On the Isle of Mull, this stone at Aridhglas Farm (and others) probably indicated the route to the Isle of Iona and thus encouraged travellers on a pilgrimage.

Since initiating this project in 2000, there have been benefits. These include exercise, investigation and the gathering of knowledge. As a general rule, standing stones and stone circles were erected by people in Neolithic times; that is, from 3000 BC to around 500 AD. Time and again, learned authorities have proposed reasons for building the stones in the first place. There is a likelihood the purpose was for religious ceremonies, which tends to explain a specific entrance to a stone circle. Or it may have served as a grave for members of a community because circles often reveal a stone feature at its centre.

On very rare occasions, a standing stone bears Ogham script, a very early attempt at communication. The author travelled to the Republic of Ireland to secure this example.

Images © Dr R M Callender

The recumbent stones found in Scotland suggest an altar, that is, a feature used by chiefs to address their communities. Or it may have had a ceremonial purpose. The precise positioning of two standing stones is regularly interpreted as the key to astronomical observation, whereas the Issue One / 2025 / the PHOTOGRAPHER 49

S TA N D I N G S TO N E S DR R M CALLENDER FBIPP

After determining the time of day-break, the author departed his accommodation at 5am to compose photographs of the stones known as ‘Callanish I’, on the Isle of Lewis.

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S TA N D I N G S TO N E S DR R M CALLENDER FBIPP

obvious entrance to a stone circle is often situated in relation to the rising moon or sun.

Walking around a circle prompts questions – where did the stones come from, what tools were available, how were the stones moved or carried? Time and again, a single standing stone is located near the sea, which suggests it helped fishermen to identify their communities.

In Britain, there are many “leaning stones” which are described as “having fallen over”, but one argument says they act as guides to direct hunter-

gatherers back to their communities. On the other hand, cows relish the opportunity to scratch themselves on the stone; over time, this action displaces the stone.

To summarise: While standing at the site of a stone circle or a standing stone, it is not out of the question to ask oneself, “Why? Where? Who?” What did the Neolithic peoples think when they saw a rainbow or viewed the changing appearance of cloud forms?

After all, the builders of ancient stone circles and standing stones slowly evolved into ourselves.

The Kindle Stone that stands in HRH Princess Anne’s Gatcombe Park is protected by security, but two young boys assured the author he could inspect and photograph the stone.

The Bachwen burial chamber (or Dolmen) by the coast of North Wales is protected by a fence. By combining a wide-angle lens and an awkward posture, it is possible to achieve a good record.

The project began at Stonehenge and a simple computer programme refreshed an early colour photograph taken on 120 roll film.

Touring the Kingdom of Fife, the author hoped to photograph the three standing stones at the first hole on Lundin Links golf course. In spite of gale force wind and rain, success!

Images © Dr R M Callender

Issue One / 2025 / the PHOTOGRAPHER 51

K AT I E B R O C K M A N P H OTO G R A P H E R O F T H E Y E A R 2024/25

Remaining Consistent Katie Brockman

American based member Katie Brockman won the BIPP’s overall Photographer of the Year 2024/25 with her incredible imagery, ranging from stunning pet portraits to powerful, narrative-driven images conveying deep social and political messages about her country.

Katie is the first photographer to win overall Photographer of the Year through the new BIPP Monthly Competition, which recognises the end-of-year winner based on consistency in entering images each month.

In this piece, Katie shares her insights and advice on maintaining consistency and perseverance as a photographer – key factors that contributed to her success in the Monthly Competitions.

Were there any specific challenges or setbacks in 2024 that tested your perseverance? How did you overcome them?

My mental health has been a challenge for me over the past several years, and it’s something that has bled into my photography career as well. Depression, anxiety and imposter syndrome have made it difficult to keep going, not just with photography, but with daily tasks as well.

I can’t say that I’ve necessarily overcome those obstacles, but channelling those feelings into photography with personal projects has helped. At the very least, sharing those images and hearing from other people that my stories resonated with them has made me feel less alone and encouraged me to keep going.

Photography can be a lonely career at times, and I think building connections with others can go such a long way in staying resilient. Whether it’s bouncing ideas off each other or just being there to listen and vent on the rough days, my friends in the photography community have been such a blessing, and I owe so much to them.

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K AT I E B R O C K M A N R E M A I N I N G CO N S I S T E N T

Can you share an example of a time when persistence led to a breakthrough moment in your work/career?

When entering photography competitions, I’ve had several images that didn’t score well when I initially entered them – only to go on to see major successes after reworking them a bit.

Sometimes these were highly personal images that I’d worked so hard on and that meant a lot to me, so it stung even more not to get the results I wanted. In these cases, I took a couple of months to let the image sit, then I reworked it with fresh eyes. Sometimes this meant starting back with the RAW file and re-editing it completely, while other times I tried to tell the same story but from a completely different angle, reshooting the image with a new concept.

While I still get discouraged when an image doesn’t score well, I try to take all results as a learning opportunity rather than a “failure”. Looking back on my images that didn’t do well the first time around, I’m grateful in a way that they scored the way they did. Otherwise, I wouldn’t have had the chance to examine areas that I could improve. Plus, when they scored better the second (or sometimes third) time around, the success was so much sweeter.

Images © Katie Brockman

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K AT I E B R O C K M A N P H OTO G R A P H E R O F T H E Y E A R 2024/25

How do you approach work when creativity feels stalled or shoots become repetitive?

I tend to get bored easily, and I can quickly lose interest in things I’m passionate about. For me, experimenting as often as I can – even if the results are absolutely atrocious and should never see the light of day – has helped me fall in love with photography over and over again.

Whether I’m trying a new genre of photography or practising a technique I’ve never done before, any type of passion project or stepping outside my comfort zone has helped reignite creativity.

It has also allowed me to view my normal work in a new way.

Talking with other people (both photographers and non-photographers) about my work has also helped. Whenever I get a chance to talk about why I love pet photography, it reminds me of why I started in this industry to begin with.

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K AT I E B R O C K M A N R E M A I N I N G CO N S I S T E N T

Where do you draw inspiration from, especially during challenging times?

During challenging times, I tend to draw inspiration from my own feelings. Whenever I feel myself getting overwhelmed by life, I see if I can pour those emotions into a photography project. Even if it’s nothing award-worthy or even something I want to share, just having an outlet for those feelings is so incredibly helpful.

When it comes to pet photography, my own animals are often my biggest inspirations. My dog is such a character and a total goofball, and my foster kittens have larger-than-life personalities in tiny packages. A lot of my images are centred around animals and their personalities – from regal dogs to curious puppies to cats with major attitudes – I love being able to tell these animals’ stories through photography.

Images © Katie Brockman

Issue One / 2025 / the PHOTOGRAPHER 55

VENTURE STUDIOS S T U D I O L AU N C H

New Venture Photography Studio Launches in Bangalore, India!

By Alicia Hall, Creative Director at Venture Studios

Photography in India Takes an Exciting Leap with Venture Studios Venture Photography Studios, a BIPP corporate member and partner, has officially launched in the bustling city of Bangalore, India, marking an exciting new chapter as we expand into this fast-growing market. The photography industry in India is set for significant growth, driven by technological advancements, increasing disposable incomes and the influence of social media.

This makes Bangalore an ideal location for Venture’s bespoke photography services.

Our new Bangalore studio is more than just an additional location – it represents our commitment to delivering world-class photography experiences. Designed to inspire, the studio is equipped with the latest photography technology, creating the perfect environment for clients to capture their most cherished memories. Every detail of the studio’s layout has been thoughtfully planned to foster a welcoming atmosphere that allows for natural and genuine moments to be captured. At Venture, providing an enjoyable experience is at the core of what we do, and we’ve trained the team on each step and how to make it the best experience every time.

Our team of photographers in Bangalore is both highly skilled and deeply passionate about their craft. They have already hit the ground running with numerous shoots, including unique sessions involving pets (four cats in one shoot), families, newborns and more. The team is eagerly working toward their Licentiate (LBIPP) qualification, which will be proudly displayed in the studio to showcase their achievements to clients.

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VENTURE STUDIOS B A N G A LO R E

The Photographers

Yestin

Akash

Elishiba

Issue One / 2025 / the PHOTOGRAPHER 57

VENTURE STUDIOS S T U D I O L AU N C H

A Global Vision with Local Flair The Bangalore studio is part of a global network of 21 studios spanning the UK, USA and Hong Kong. This new addition strengthens Venture’s international presence and allows us to reach diverse audiences while incorporating local cultures and aesthetics. It’s been inspiring to learn about the country, its people and their love for capturing beautiful memories that become treasured wall art in homes throughout Bangalore. We look forward to seeing photography entries from this studio in both our Venture awards and the BIPP competitions. It’s exciting to be part of a global community where unique photographic styles and approaches are shared across borders, adding to our collection of captivating images.

As a trainer, seeing methods and techniques I’ve written and practised in the UK translate into amazing images in a new cultural setting is incredibly rewarding.

Everyone in Venture is really excited to see customers having a Venture shoot in this new frontier, and often seeing one of their images shot in the UK now on display in the Bangalore studio – it’s ace to think our work is being seen on billboards and displays in such a vibrant city.

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VENTURE STUDIOS B A N G A LO R E

Training Excellence and Team Dedication A seamless client experience is essential to Venture’s success, and the Bangalore studio upholds this tradition. From initial consultations to the delivery of portraits, every step has been meticulously refined to ensure an enjoyable process for our clients. The Bangalore team has received extensive training in our photography techniques, business operations and customer service standards under the guidance of experienced leaders.

Brodie Weatherill LBIPP, our Photographic and Operations Training Manager, spent five weeks in Bangalore preparing the team. Reflecting on her experience, she said: “The entire experience has been filled with ‘pinch me’ moments. I’ve had the privilege to travel to a beautiful city and train an amazing team in a new culture, all for a brand I love so much that it basically runs through my veins. The team’s dedication and passion for photography made training them an absolute joy.

I have no doubt that Venture Bangalore is going to be one to watch!”

Brodie began her career with Venture nine years ago at our London studios.

She completed advanced photography training, earned her LBIPP, managed the Fulham studio and won multiple awards from both Venture and the BIPP. Since joining the head office team in April 2024, Brodie has delivered training in the UK, Bangalore and Hong Kong. Her role in preparing the Bangalore team ensures that every photographer upholds Venture’s high standards of quality, professionalism and creativity. I’m really proud of her and what she’s achieved with Venture so far. It’s a real joy to have her in our team and representing Venture across the globe – Brodie you’re ace, and I’m so proud of you, girl!

Why Bangalore?

Bangalore, known as India’s Silicon Valley, is a city teeming with creative energy and innovation, making it the perfect setting for Venture’s latest studio.

The city’s vibrant arts scene and cultural diversity creates an ideal environment where traditional and contemporary styles intersect. Bangalore’s appreciation for storytelling through photography aligns seamlessly with our mission to create meaningful, lasting portraits.

The city’s unique blend of technology and cultural heritage allows us to merge cutting-edge techniques with timeless artistry, enhancing the client experience.

Bangalore attracts a diverse clientele, including both locals and expatriates, who seek high-quality photography services to capture their special moments.

Establishing ourselves in this city allows us to engage with a community that values creativity and innovation.

Issue One / 2025 / the PHOTOGRAPHER 59

VENTURE STUDIOS S T U D I O L AU N C H

Looking Ahead: Our Vision for the Future The Bangalore studio is not just another location; it’s a key part of Venture’s vision to build lasting relationships with local communities, foster creativity and provide exceptional client experiences.

We’re excited to grow alongside Bangalore’s vibrant photography scene and continuously innovate to meet our clients’ needs.

Over the next few years, we aim for the Bangalore studio to be more than just a place for photography; it will be a space where families come together, moments are celebrated and memories are preserved. We’re committed to creating portraits that families will cherish for generations while contributing to the city’s thriving artistic landscape.

We also love creating opportunities for UK-based Venture team members to travel and work in our international locations and vice versa. As Creative Director, I have had the pleasure of visiting our studios in Hong Kong and the USA, witnessing firsthand how the Venture model successfully adapts across the globe. Our community’s ability to share skills and creativity on a global scale is inspiring, and providing photographers with the opportunity to travel and work internationally is equally fulfilling.

If you’d like to learn more about joining our global community, scan the QR code for more information.

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VENTURE STUDIOS B A N G A LO R E

Issue One / 2025 / the PHOTOGRAPHER 61

EXHIBITION J O N TO N K S

A FISH CALLED JULIE BY JON TONKS Martin Parr Foundation 3rd April - 22nd June 2025

F

or a year and a half photographer Jon Tonks journeyed to the coast of Cornwall – Newlyn, the Isles of Scilly, Mousehole, Cadgwith – spending time both quayside and at sea. One day, when inspecting the catches, he was drawn to a fish ambiguously labelled ‘Julie’. To the photographer, this one fish succinctly illustrated the immediacy of the local ocean-to-plate journey – a stark contrast to the anonymous vacuum-packed fish on supermarket shelves.

At a time when there is an increasing discontent between the food we eat and its origins, the photographs in Tonks’ forthcoming exhibition – A Fish Called Julie – show the communities who have fished 62 the PHOTOGRAPHER / 2025 / Issue One

the seas off the coast of Cornwall and the Isles of Scilly for generations, sharing their stories, traditions and challenges.

Cornwall is a place of folklore and traditions – from Stargazy pie to the pagan Montol winter solstice festival. The work of the fishing communities is dictated by the elements and the seasons – knowledge and respect for both are passed down the generations. The project is a continuation of Tonks’ previous work, telling the stories of those whose lives are shaped by geography and history. He was drawn to small towns and islands because by focusing on a microcosm, he could tell a wider tale.

EXHIBITION M A R T I N PA R R F O U N D AT I O N

“B

eing a small-scale fisher in Cornwall is a metaphor for how to live your life.”

The images in the exhibition show the lives of those who fish – the contrasting stillness and calm of the sea to the wind, rain and unrelenting swells; the nimbleness of the fisherfolk navigating chaotic tumbles of nets and ropes on evermoving fishing vessels, their strength and skill to captain a boat; the yellow trousers punctuating the ocean grey; the mounds of fish, hungry gulls and the warm community back on land. Tonks heard stories of fishermen of 50 years who have witnessed the cod moving north because of rising sea temperatures; of pilchards thrown to the birds in thanks for guiding boats to the shoals as effectively as sonar; puffins starving for lack of the sand eels that have been overfished and fed to chickens. Climate change is only adding pressure to that from the tidal wave of giant vessels – devastating populations and habitats through overfishing, bycatch and bottom trawling, legitimised by laws that spawn profit rather than sustainability.

“We are delighted to have this opportunity to show the new and commissioned work of Jon Tonks, one of the key emerging documentary photographers of this period.” – Martin Parr Images © Jon Tonks

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EXHIBITION J O N TO N K S

“Being a small-scale fisher in Cornwall is a metaphor for how to live your life. When the weather tells you not to fish, listen. Allow the seas to replenish.

Sustainable fishing means something different to everyone, but real sustainability teaches us not to be greedy, to give nature a chance and leave enough for the next generation.” – Jon Tonks Tonks was commissioned by The Gaia Foundation for We Feed The UK, a national storytelling campaign connecting photographers and poets with our most inspiring food producers, to raise public awareness of their positive solutions to climate change, wildlife recovery and social justice.

A Fish Called Julie will coincide with an exhibition of the complete We Feed The UK collection of photographs and poetry to be exhibited at The Royal Photographic Society, Bristol from 3rd April – 22nd June 2025. A book bringing together all ten photography collections and poems will be published by Papadakis on 1st June 2025.

Scan the QR code to find out more: 64 the PHOTOGRAPHER / 2025 / Issue One

About Jon Tonks Jon Tonks is a British photographer based in the UK. Originally from the West Midlands, Tonks studied design before pursuing his interest in visual storytelling as a newspaper photographer. He progressed to study a Master’s degree in Photojournalism and Documentary Photography at London College of Communication, and embarked on an influential trip to Ascension Island during his studies.

His work has been featured in The New York Times, Le Monde, GEO (FR), Capital (DE), National Geographic (CN), The Guardian, Sunday Times, Telegraph, FT Weekend Magazine, Monocle magazine, the British Journal of Photography and Source amongst others. He has been selected for the Taylor Wessing Photographic Portrait Prize exhibition three times, twice for the Terry O’Neill award, and in 2014, Tonks was presented with the Vic Odden Award by the Royal Photographic Society for his first book Empire – a journey across the South Atlantic exploring life on four remote British Overseas Territories.

His work is now in a number of collections including Stanford University, California; Martin Parr Foundation, Bristol; The Hyman Collection of British photography, London; and the Houston Museum of Fine Arts, Texas.

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BIPP member offer: £1000 discount on fees* Photography MA (Online)

Find out more Photography MA (Online)

“The course was life-changing to my artistic practice and is absolutely responsible for helping me find my artist voice to tell my story.”

Jacy Wilkes, MA Photography (Online) graduate

falmouth.ac.uk/online *Terms and conditions apply.