the Photographer - Issue Two 2025

The Magazine of the BIPP / 2025 / Issue Two

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ISSUE T WO, 2025

The Magazine of the BIPP / 2025 / Issue Two

Qualifications 4 We take a look at the latest qualification panels and the technical methods and creative approaches behind the images

Emerging Talent 34 We speak to student Ritchie Elder from Edinburgh College about his photographic projects and outlook on the professional market

FEP Awards 2025 12 After another successful year for the BIPP in the FEP Awards, we take a closer look at the winning images and explore the benefits of joining the FEP

Blogging in 2025 42 Guest writer Zoe Hiljemark gives us a breakdown of how to create effective blogs to boost your business in 2025

The Way We Were 58 Professor John Hannavy FBIPP reflects on the Institute’s past as seen through some of the items in the archives in Birmingham Library

WWII Veterans 46 Allen Thomasson LBIPP tells the story of a deeply personal photographic project capturing the portraits and recorded tales of WWII veterans

Exhibition 64 A look behind the scenes at the latest exhibition at Impressions Gallery, Everything In The Forest Is The Forest, exploring the power of nature

Print Handlings 33 Helen Spiegl FBIPP provides insight into her recent experience as a print handler in BIPP qualifications

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

Post-Wedding Blues 56 Iain Waterston LBIPP gives us insight into the importance of printing images for your own creative fulfilment

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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ummer is here at last; the promise of decent weather means lots more opportunities for enjoying the great outdoors and getting out in nature with our cameras.

Taking time out for ourselves is just as important as working on our businesses or developing our photography skills. Time away from the business gives us more time to think and be creative. I’ve crafted some of my best ideas while on a hike or out on my motorbike.

One of my more recent ideas that transformed into a project, then a book, was to write a complete 377-page, full-colour travel guide for my home county of Northumberland, showcasing its history, must-see places – of which there are many – and the best venues to eat and drink. After a year of writing, researching and photography, my book “Plan Your Ultimate Northumberland 250 Road Trip” was published. The feedback and sales so far have been very positive. I believe that creating a project like a book is a great way to take more time out doing photography for you and you alone. However, the big bonus is once your book is published, this then opens doors for more opportunities, as well as creating a steady passive income stream for your business.

Book publishing isn’t what it was like 20 or even 10 years ago. Print-on-demand publishing through the likes of Amazon and BookVault makes the route to seeing your book out there in print easy and affordable; there are literally no set-up fees or minimum orders. It’s something I encourage all the photographers I mentor to do. Many of them have now published multiple titles, positioning themselves as experts and thought-leaders in the field. So, could this summer be the season for a passion project that you could monetise into a book?

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Summer is also a good time for meeting up with others – spending a few hours with another photographer or fellow entrepreneur over coffee, to brainstorm ideas and set accountability goals. If you surround yourself with like-minded successful people, it rubs off on you and also opens doors to a lot more opportunities. Sometimes, we photographers can become rather shut off from the rest of the world. Many photographers work on their own, and this can also lead to a closed mindset. This means not always seeing things from different perspectives and seldom trying different activities to market your services.

Not only is the BIPP an organisation built around help and support, it also offers members many opportunities to connect with each other – and one of those opportunities is our annual image awards evening and Big Bash party.

This year we’ve started planning our event earlier than usual. We want 2025 to be a little different from our previous events. We are also going to be actively encouraging non-BIPP members to enter selected categories, as well as inviting non-members to our awards evening if their images make the final cut – the more the merrier.

It’s impossible to cater for everyone’s schedule, but by releasing our date and venue a lot earlier than in previous years, we hope this will allow more photographers to plan ahead and attend this amazing, once-ayear big get-together.

Keep your eyes peeled for our awards evening release date and grab your tickets in good time – it would be great to see you all there. Let’s make this an awesome event to remember.

Wishing you all a very successful and enjoyable summer.

E D I TO R JOEL HANSEN

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y columns have become a little sporadic, usually just dependent on whether I get the opportunity to fill a spare page. That said, it always feels worthwhile to reflect on the content featured in the magazine and to share a few musings and personal updates for those interested.

For me, life continues as a ‘digital nomad’ – taking trips to work freelance in different countries for stretches of time. This edition has come together across India and Thailand.

I actually motorcycled across North India for about five weeks with my laptop in my bag, replying to emails while sitting in mud huts in the forest surrounded by monkeys, or sipping chai overlooking a barren Himalayan landscape.

I’m sure many of you know I was in a pretty bad motorcycle crash a few years back while working for the BIPP, which meant I missed an issue of the magazine that year. So, my two-wheeled adventures might not fill you with the most confidence about receiving your next edition… but the fact you’re reading this means I made it back still intact. And that was my last motorbike journey for a while. Maybe.

This was followed by a few weeks’ respite at a Buddhist retreat in the forests of Northern Thailand (yes, I’ve become that Westerner on a “spiritual journey”), but I’ve since returned to city life. I’m writing this Editor’s column from an Irish pub in Chiang Mai – unashamedly ordering a full English breakfast, a sacred ritual I find keeps me grounded in my cultural roots after such experiences.

In this edition, I found a strong sense of synergy between my recent travels and Ritchie Elder’s project Faith. Religion has always interested me – especially since visiting ancient Tibetan monasteries, witnessing vibrant Hindu festivals, or learning about the animistic belief systems of

mountain tribes in Vietnam. It’s a reminder that, even as traditional religious allegiance fades in the UK, faith in a higher power remains deeply rooted in human nature. Visually, religion offers particularly rich material for photographers, from grand architecture and intricate artworks to ceremonial attire. Ritchie draws from these traditional aesthetics through his camera, portraying religious figures in clean, honest portraits that feel both respectful and revealing.

Another standout feature in this issue comes from Allen Thomasson’s work documenting WWII veterans. His portraits and video interviews serve as a powerful reminder of the past and the extraordinary experiences of those who lived through it. As I get older (I know – 31 hardly qualifies as ‘old’ to many of you), I’m always struck by how young so many of these men were when sent into unimaginable situations. It feels especially poignant now, as conflict continues to escalate across the world – a sobering reality captured starkly in the words of Sgt Tommy Bunn, a passage I know will stay with me. For Allen to encapsulate these men through classical portraiture does justice to their character and efforts – and shows the power of photography in honouring and preserving life.

It’s also great to see the achievements of BIPP members in the FEP Awards. For the Institute to have so many top-ten-ranking images across the categories – particularly with such a high volume of entrants from across the continent – is a true reflection of the calibre within the membership.

Arun Mohanraj has enjoyed much success in the FEP Awards over the years, and again this year. It was enlightening to catch up with him and gain perspective into his approach. I’m always amazed by the patience required to capture wildlife.

Alongside a deep respect and appreciation for nature, that presence with your surroundings seems essential to creating truly impactful images.

The more in tune you become with the natural environment, the more you’re gifted rare and special glimpses into a world largely unseen – in a beautiful, symbiotic process.

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BIPP Q UA L I F I C AT I O N S

Edyta Bathgate LBIPP Portraiture

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his panel is deeply personal to Edyta Bathgate – a reflection of her journey, her growth, and the passion she’s carried since childhood. She only picked up a professional camera in 2023 and began photographing in the corner of her living room, using basic lighting and hand-painted backdrops. There was no studio, no expensive gear – just a dream, determination, and the belief that it’s never too late to start.

Many of the portraits in her panel are of children, drawn by the honesty and wonder in their expressions. There are also portraits of young women, along with some self-portraits. Edyta used herself as a model not out of vanity, but to learn.

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She wanted to experience what it feels like to be in front of the lens – exposed, vulnerable, uncertain – so she could better support her clients, helping them feel relaxed and connect with them on a deeper level.

Lighting played a key role in her work. Inspired by classical painters like Rembrandt, she focused on how a single light source or even just a simple window light, could reveal emotion and soul without distraction. Her goal was to create portraits that would remain just as relevant and beautiful in years to come.

This panel isn’t about perfection – it’s about honesty. It’s full of love, courage, and a deep desire to grow. Edyta says she’s still learning, but she knows with absolute certainty that this is where she’s meant to be.

Images © Edyta Bathgate

L I C E N T I AT E S H I P E DY TA B AT H G AT E L B I P P

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BIPP Q UA L I F I C AT I O N S

Michael Willatt LBIPP Wedding

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ichael Willatt’s panel reflects his signature approach to wedding portraiture – capturing authentic and intimate moments that reveal a couple’s unique connection, both together and as individuals, through a thoughtfully guided process.

The images featured here are often the ones that clients refer to when they first reach out – photographs that resonate with the couples. For Michael, it’s reassuring to know that these images are being recognised as part of his personal style. He believes that what draws couples to his work is the emotional connection they see in the photos. It’s something he works hard to nurture, starting from the very first conversation. By building trust and rapport early on, he helps his couples feel relaxed, allowing their true selves to come through on camera.

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His aim is to observe and capture those subtle but deeply meaningful moments – fleeting glances, shared smiles, gentle gestures – that speak volumes about the couple’s bond. Each image is taken in a calm, natural setting, using soft direction and prompts to create a blend of candid spontaneity and thoughtful posing. For Michael, it’s about going beyond the standard portrait to create honest, emotionally rich imagery.

Lighting, composition and physical interaction all play a key role in how he frames each story. He pays close attention to body language, eye contact, and how the couple relate to one another within the chosen setting. In bridal portraits especially, there’s a focus on capturing individual beauty and moments of quiet reflection.

Michael also credits the mentorship of Martin Hillary FBIPP as a major influence in shaping his understanding and approach to wedding photography.

Images © Michael Willatt

L I C E N T I AT E S H I P M I C H A E L W I L L AT T L B I P P

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BIPP Q UA L I F I C AT I O N S

Helen Tabor ABIPP Architectural & Industrial

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or Helen Tabor, photographing architecture is all about the artistic pursuit: experiencing a building in its entirety, and then selecting a particular detail or angle to transform into something visually striking.

Whether it’s beautiful, impactful, or graphically powerful, every image is crafted with the intention of making it look as perfect as possible. She views her work as a continuation of the architect’s original aims, hoping to reflect the same emotional connection and creative intent that went into designing the structure in the first place.

At the heart of Helen’s process is the ability to see the shot – to recognise a moment or a composition that might otherwise go unnoticed. She sees the creative eye as the priceless element – something money can’t buy. Her “happy place” is being in a city surrounded by architectural opportunity, with visual possibilities on every corner – especially at golden hour or under a bright blue sky, where strong sunlight and deep shadows create dramatic contrasts.

She describes her photographic instinct as a kind of default setting – driven by the desire to capture something special, something different. When the light is just right, when the symmetry clicks, and when the technical aspects fall into place, there’s a deep satisfaction in knowing the image speaks for itself. And if that image can help someone else see a familiar building in a new way – perhaps even one they walk past every day – that’s the ultimate reward.

Helen’s panel includes a wide range of architectural subjects, from globally recognised landmarks designed by icons like Zaha Hadid and Santiago Calatrava to more everyday scenes, such as a Premier Inn bathed in golden light or a garden centre café bustling with life. For her, each holds its own significance and beauty.

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A S S O C I AT E S H I P H E L E N TA B O R A B I P P

Image © Helen Tabor

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BIPP Q UA L I F I C AT I O N S

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A S S O C I AT E S H I P H E L E N TA B O R A B I P P

Images © Helen Tabor

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BIPP F E P AWA R D S 2025

Federation of European Photographers: A Gateway to European Recognition

In this piece, we take a closer look at the BIPP’s involvement with the Federation of European Professional Photographers and the benefits of joining. This follows recent success

by BIPP members at the FEP Awards 2025, where they achieved three Gold Camera awards (category winners), two Silver Awards (second place), and ten other awardwinning entries.

We also had three BIPP members on this year’s judging panel: Paul Wilkinson FBIPP, Panikos Hajistilly FBIPP and Tracey Lund FBIPP. Contributing to the feature is Barrie Spence, who holds a Fellowship with the BIPP and a Master QEP with the FEP. Barrie is also a Director of both the BIPP and the FEP, representing the Institute on the European photographic stage. In addition, he was recently announced as President Elect of the FEP, a role that will take effect next year when current President Truls Løtvedt steps down.

What is your role as an FEP director, and when did you take up the position?

Other than online meetings, the board normally meets in person at the biannual judging events, and there is a “General Assembly” for all the different organisation representatives as part of the awards event weekend. The responsibilities are centred around representing the BIPP and generally trying to steer the direction of the organisation. Most of the time it’s mundane and not overly exciting.

How to Join?

Membership is automatic with BIPP membership.

Registration via the FEP website normally happens when members enter a competition or apply for qualification. Any qualified members are listed in the FEP find-a-photographer page (don’t underestimate the “SEO juice” of links from the BIPP and the FEP sites to our own websites – and these should be supported by backlinks to them).

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Image from Ninth Place trio – People & Portrait

As a BIPP director, I defaulted to being the BIPP representative when I turned up to the awards in Prague in April 2023 (that wasn’t my plan for a weekend in Prague!). I was formally voted onto the board in April 2024.

F E P AWA R D S 2025 BARRIE SPENCE FBIPP

Image from Tenth Place trio – Fashion and Beauty

Can you tell us about FEP Qualifications (EP, QEP, MQEP)?

Consider these levels roughly equivalent to our L, A & F – EP is assessed digitally (and online) multiple times per year.

Print quals, QEP and MQEP are normally assessed in June and November – the events are hosted by one of the member organisations, so they tend to tour Europe.

A QEP (print) panel consists of 12 prints (normally two rows of six) and is assessed by five judges (MQEP or QEP). Standard BIPP qualification prints are perfectly acceptable for QEP. The MQEP (print) panel consists of 20 prints. Typically, two rows of ten, but there is scope for some flexibility in presentation. The print requirements also allow more flexibility in presentation, but, again, BIPP standard qualifications prints are perfectly acceptable for MQEP. The MQEP could be considered slightly more challenging to achieve than FBIPP because it is assessed by seven MQEP judges and requires the assent of five of the seven to pass (we judge our qualifications with five judges, but only require the assent of three for a panel to be successful).

Images © Barrie Spence

You can convert any BIPP qualification to an FEP EP (European Photographer) simply by paying an admin fee, and you can of course make a direct application (it is possible to skip EP and apply directly for QEP, but it’s not possible to apply directly for MQEP). Qualified members get a free competition entry of three images in one category, so over time it can help neutralise the cost.

Why should UK/BIPP photographers care about being part of a European network?

That’s always a difficult question (why be a member of any organisation?), and we all have our own needs. For me, it’s all about community and friendship – the qualifications and competition are just a route that has worked for me to enter and be part of that community. I’ll always stress the need to make an effort to engage to get the real benefits back.

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F E P AWA R D S 2025 BARRIE SPENCE FBIPP

What kind of support or guidance can BIPP offer members who want to apply or enter?

What would you say to a BIPP member who’s unsure about applying?

I’m always happy to take time to discuss the qualification process with members (for BIPP and/or FEP). BIPP member Jim Lowe (past-president, FBIPP), the FEP Head of Qualifications, is also on hand.

Qualifications: the FEP qualifications are a natural extension of your BIPP qualifications, putting you on the map in Europe, exposing you to a larger audience – again, a larger network of your peers and a chance to make friends.

Regarding the competition:

Competitions: scoring an award in a large European competition is great for confidence and a good brag. Just making it to top-ten in Europe is awesome, no matter your final place. If you can attend an awards event, you will make friends.

• Each image is eligible for an individual award (merit, distinction or excellence with score bands similar to our competition bronze/silver/golds). Too many entrants overlook this when they don’t place as a top-ten finalist – individual awards are still a significant achievement.

How has earning your MQEP supported your career and creative development?

• Top-ten places are decided on an entrant’s top three scores for that category. Don’t just enter three images – add at least one spare (personal lesson learned from that one in 2024).

I actually “recycled” my fellowship panel for my MQEP (which is perfectly permissible) – I did, however, incorporate feedback with a couple of tweaks, and I reprinted it on a different paper.

Achieving the MQEP has given me opportunities to judge European competitions (Sweden, Finland, and an upcoming competition in Ireland so far). I’ve also taught workshops in Austria and Denmark – the Austrian workshop was booked on the basis of my MQEP panel (and then positive feedback from Austria led to the workshop in Denmark).

• Don’t enter images based on what won last time. Judges can only award based on what is entered – just enter your best work.

• Play the categories. As a portrait photographer, and if I try, I can find suitable work to enter into four categories using images of people. That got me three top-ten places for 2025 (I only entered three categories this year… I didn’t think I had strong enough contenders for the Commercial category).

• Be ready to supply original files (if you’re asked for these, you’re close to being a top-ten finalist).

• Read the rules.

Have you noticed any particular trends or changes across European photography through your FEP involvement?

My main observation is that different regions can exhibit quite different styles in their work. You can see that in the FEP Instagram feed which showcases the awarded competition images.

It does vary by genre, but you can see more and more women dominating the awards (nine of the top-ten finalists in People and Portrait were women this year).

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Image from Ninth Place trio – People & Portrait

• If you are a top-ten finalist and can’t attend, you’re likely to have me as your stand-in (somewhat awkward this year for the Wildlife category when we had three finalists!).

BIPP E U R O P E A N R E CO G N I T I O N

In your view, how do awards and qualifications impact things like client perception, personal growth or even pricing power?

FEP qualifications will get you noticed in Europe. Participation (and success) in the awards raises your profile.

How has it been for you to be involved in a larger European network?

I’ve made a huge number of good friends: friends whose work I can respect and admire, friends to compete with, friends to support and support me (even when we’re competing). Just genuinely nice, genuine people.

An interesting observation is that the wider European community is generally more supportive of each other, both in person and on social media (which I don’t really find to be the case in the UK – are we afraid to support one another?).

Upcoming Dates FEP qualifications: October 2025 in Propad, Slovakia. (June & November 2026 locations TBA) FEP Awards 2026: Reykjavik, 25th April – entries open December 2025/January 2026 Images © Barrie Spence

Image from Tenth Place trio – Fashion & Beauty

Judging: Each year, we are asked to nominate judges for FEP, and the member organisations are always looking for judges (and speakers). We nominate based on participation and reliability (a poor nomination reflects poorly on us), but everyone is always looking for fresh faces.

Image from Eighth Place trio – Illustration & Fine Art

It may vary by genre, but for my market (social/ portrait genres) I don’t think clients care about qualifications (and everyone appears to be “award-winning”). That said, achieving the qualifications has pushed my development immensely, and that is never a bad thing. They are also a massive help with imposter syndrome – ignoring the shallowness of social media “likes”, these qualifications are your peers rating your work and telling you that you are worthy.

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F E P AWA R D S 2025 ARUN MOHANRAJ

Capturing Nature & Wildlife: Arun Mohanraj BIPP member Arun Mohanraj earned two Golden Cameras in the Wildlife and Nature categories, along with a Silver in Sports. We spoke to Arun to learn more about his approach to photographing the animals and insects of the natural world – from the ethical principles that guide his work to the technical decisions behind capturing award-winning images.

Image from First Place trio (Golden Camera) – Wildlife

Behaviour Wildlife photography is a blend of skill, patience and a bit of luck – but preparation is everything.

Understanding the habits and behaviour of your subject significantly increases your chances of capturing a compelling image. You need to be ready for action at any moment, with your camera set appropriately – especially when it comes to shutter speed and exposure settings – to respond quickly when an opportunity arises.

I always invest time in researching the species I intend to photograph. This usually starts a few 16 the PHOTOGRAPHER / 2025 / Issue Two

months before any trip. Learning about their daily rhythms, habitats and behavioural cues helps me anticipate their movements and position myself for the best shot. While field experience and instinct definitely play a role over time, there’s no substitute for doing your homework beforehand – it often makes the difference between a missed moment and a powerful image. I also take notes from previous experiences with the same species so I don't make the same mistakes again when I shoot them the next time.

GOLDEN CAMERA WILDLIFE

Equipment For wildlife photography, my setup typically includes a fast, long telephoto lens paired with a camera body that performs exceptionally well in low-light conditions – crucial for capturing images during the golden hours when wildlife is most active. This genre shares many similarities with sports photography in terms of gear requirements: both demand speed, reach and precision.

Image from First Place trio – Wildlife (Golden Camera)

A high frame-rate camera with strong autofocus capabilities is essential, as is a lens with a wide aperture (such as f/2.8 or f/4) to handle challenging lighting and create pleasing background separation. I also experiment with flashguns equipped with extenders to help fill in shadows and manage contrast, especially when shooting into bright light or during sunrise and sunset.

I'm also deeply passionate about macro photography and have travelled to biodiversity-rich countries like Indonesia and Ecuador to capture detailed images of insects, frogs and other small wildlife. For this type of work, a dedicated macro lens is essential – ideally one that allows for 1:1 magnification or greater. Lighting becomes even more critical at close distances, so I often rely on remote flash setups or diffused twinflash systems to bring out detail and eliminate harsh shadows without disturbing the subject.

Patience and precision are key in macro work, but the results can be incredibly rewarding.

Images © Arun Mohanraj

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F E P AWA R D S 2025 ARUN MOHANRAJ

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GOLDEN CAMERA N AT U R E

Image from First Place trio – Nature (Golden Camera)

Timing Patience is at the heart of wildlife photography. Unlike sports photography – where action is fast, frequent and often predictable – wildlife moments are fleeting and never guaranteed. In sports, you can often correct a mistake the next time a similar play happens. In wildlife, that moment might never come again.

I once spent three consecutive days in a bird hide in Hungary waiting for the red-footed falcon, only to leave without a single image. That’s the reality of this craft – you can prepare extensively and still come away with nothing. Yet, I approach each trip with the mindset that if I come back with just one strong image, I’ll be satisfied. Anything beyond that is a bonus.

While golden hours and seasonal migrations offer the best chances, I also enjoy experimenting during off-peak times – like the rainy season – which can reveal scenes and behaviours most photographers overlook. Even if I return empty-handed, I’m grateful for the privilege of simply being present in nature.

Ethics & Respect Respect for wildlife is non-negotiable in my work. Beyond photography, I’ve also been involved in conservation efforts – observing anti-poaching teams in action in Africa, and last year I curated a gallery exhibition in France to raise both awareness and funds for Game Rangers International, an NGO supporting frontline conservation work.

As wildlife photographers, we must always remember that we are visitors in their world – not the other way around. Just like humans, every species has its own comfort zone and space. It’s our responsibility to observe those boundaries and never put an animal under stress for the sake of an image. Once we give wildlife the space and respect they deserve, over time many animals begin to trust our presence and allow us closer. A great example of this is elephants – they’re incredibly intelligent and social creatures that, with patience and respect, often become more comfortable around photographers. Building that trust is a slow process, but it leads to more genuine and intimate images, all without compromising the wellbeing of the animals.

I follow a strict “leave no trace” approach, minimise noise and movement, and avoid any form of baiting or disturbance. The best images come not from intrusion, but from patience and quiet respect.

Image © Arun Mohanraj

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F E P AWA R D S 2025 PAU L R E I F F E R F B I P P

Finding Landscapes:

How to Choose the Right Location and Setting

BIPP Director Paul Reiffer was awarded a Golden Camera at the 2025 FEP Awards for his standout work in landscape photography. Known for his structured compositions and attention to detail, Paul shares how planning, timing and returning to the same location over many years all play a role in creating his images.

In this Q&A, he talks us through his approach and mindset when it comes to capturing landscapes.

Do you scout/research your locations extensively in advance, or work more spontaneously? Can you tell us a little about your planning process?

What typically draws you to a particular scene or location?

Space. I like to shoot wide, I love geometry and a mix of natural vs manmade shapes – and symmetry plays a big part in a lot of the images I capture. There’s definitely something in my brain that has issues with “odd” shapes and misaligned compositions, but then I look for other elements that I can’t control (cloud movements, water, sunsets) to contrast with the hard lines I’ll get laid out in my mind for the main subject.

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Image from First Place trio – Landscape (Golden Camera)

It’s a mix – sometimes when we have a commercial client, it’s wrapped into their timeline and location – but otherwise, it’s a case of using a whole mix of references: Google Earth, TPE (for light directions and shadows), tide times (sometimes), access restrictions, rights holders, etc. A lot more goes in behind the scenes than people realise for a planned shoot – but equally, sometimes you can just hit it lucky and be in the right place at the right time with a camera in your bag…!

GOLDEN CAMERA LANDSCAPE

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F E P AWA R D S 2025 PAU L R E I F F E R F B I P P

Do you revisit locations multiple times to get the perfect conditions, or aim to capture them in a single trip?

I have images I’ve taken 9 years to get, in the same location, twice a year, 5,000 miles away – and it took that long to get the conditions “right”. I like that side of the challenge – and as a result absolutely hate the use of “X replacement” tools for landscape photographers.

If a challenge isn’t part of the process, why bother in the first place?

How important are factors like weather conditions, time of day and precise timing in your process?

I’d say they’re 60% of the image. I never want to make weather the “feature”, but wow, how the mood of the same subject can change based on the environment at that moment. It’s part of that same challenge – locking down the elements I can control, and then adding the random parts of the shot as spontaneous ingredients.

Image from First Place trio – Landscape (Golden Camera)

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GOLDEN CAMERA LANDSCAPE

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A D V E R T I S I N G & CO M M E R C I A L D AV I D TAY LO R F B I P P

Image from joint Ninth Place trio – Advertising & Commercial

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his commercial image was one of those creations where thinking outside the box can be helpful. It came out of my career as an industrial commercial photographer for a global specialty chemical additive company – a market-focused innovator of scientific solutions.

The image was shot for a marketing presentation and brochure, and for inclusion on the company website. The idea came from a group discussion around a particular product promotion, which was to be accompanied by other images of a more technical nature.

My concept came about from thinking about

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the final blended oil product. I happened to have a 1m-square, 50cm-deep tank made of glass that I built a few years ago, which is great for sloshing around liquids.

Using water mixed with a small amount of nitroglycerin creates a lovely viscous solution – a little like oil – and it’s less messy, cleaner, and easier to dispose of.

The colour is created using coloured gels and the fact that the shallow glass tank allows for the lighting to be used for backlighting. Then, using a pipette, you can try to create a pleasing pattern. So no fancy Photoshop or AI.

Image © David Taylor

A D V E R T I S I N G & CO M M E R C I A L NEIL MCKELLAR

Image from joint Ninth Place trio – Advertising & Commercial

One of my images was of the V&A Museum in Dundee. I hadn’t visited the city since the museum was built but had seen numerous photographs of it due to its beautiful, unique architecture. I was keen not to replicate any of these images, and to find a different viewpoint, so I headed to the rear of the property. The building looks like the hull of a ship heading out to sail in the River Tay and I liked this angle. The sun was setting behind me, the dark clouds were rolling in, and

the Tay Road Bridge was in the background with the headlights of the vehicles visible as they travelled along it. The large glass panels of the museum’s canteen were reflecting the sunset, which complemented the warm exterior of the building, which was lit by spotlights.

Unfortunately, there are a lot of storage containers and fencing at the rear, so it took me a while to get an uninterrupted view of the entire height of the building and the river. I did scale a wall to stand in a flower bed at some point (no plants were damaged in the making of this image), but I’m not sure if that’s where I was when I took this particular photograph. I used a tripod, a variable ND filter, and a 30-second shutter. I was happy with the shot, and also to capture it before the sun set, and the customary rain came.

Image © Neil Mckellar

T

his was my first time attending the FEP awards ceremony, admittedly being attracted by the chance to tour Copenhagen. I didn’t have any expectations of placing, but was pleasantly surprised to get three Distinctions for my architecture shots.

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F E P AWA R D S 2025 J E S S I C A M CG O V E R N F B I P P

T

his is Duque L, a 21-year-old PRE stallion who competes for Team GB in the Junior section with his rider Rose Foley. Dougal, as he’s known at home, is a total character on the yard. Last year, I was asked to capture some images of him as a gift for his owner, Harry Payne, who is the Training Director at British Dressage.

With such a fit, fresh and powerful stallion, we decided to stay on-property, so I selected a lowland meadow that had been left to grow a little bit wild. I specifically positioned Dougal in a gap between the trees behind, as the grasses provided great texture and complemented Dougal’s dark coat. Creating the pose is simple, and I used my “attention human” to create the aesthetic bend in his body and the alert expression seen. The sunset came through at just the right time to kiss the outlines and illuminate the scene with a warm glow. Being in the west of Scotland, the midges were out with a vengeance, providing a sea of tiny dots all over the image. There was no point removing them in post for client work, and they do provide geographic context, so I left them in place except for on the horse’s body and face.

Although the clients, the owner and I love this image, I can’t honestly say that I’m not disappointed by my results in the FEP this year. Unfortunately, my strongest two images were disqualified at the finalist stage due to a misunderstanding (on my end!) of the category description, and it was their loss in the running that let this image come up into my top three.

It’s quite nice to be asked to speak on it, though, as it isn’t the “normal” image I’d enter in a competition!

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Image from Eighth Place trio – Domesticated Animals

Post-production-wise, a backlit image like this requires effort to balance both sides and reinstall the contrast on the subject. Thankfully, I had kept an eye on my histogram and timed the session fairly well, so all the details in the extremes remained in a single frame, removing the need to bracket entirely. The horse was under control in a “photo halter”, which is very quick to remove in post to leave the horse looking “naked”, as the client requested.

D O M E S T I C AT E D A N I M A L S E U R O P E A N R E CO G N I T I O N

Image © Jessica McGovern

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FA S H I O N A N D B E AU T Y G I O R G I A CO R N I O L A

A

s often happens, my creative shoots are born from an inspiration that may seem trivial but defines the direction of the shoot. In this case, I wanted to cover a large part of the model's face with her long, dark hair. I aimed for the face to resemble a poupette, and I enjoyed creating a sense of geometry with the hair. The idea of the pearls was to add another layer of geometry and, at the same time, introduce light into the composition. It became a titanic task to attach the pearls, which came off almost immediately!

I took the photo in my studio using my Nikon Z6II and Nikkor 85mm f/1.8 lens.

The shooting data is 1/160 sec, f/5, ISO 100.

The model was sitting. To illuminate her face, I used a single flash placed 45 degrees to the right and above her. As a modifier, I used a beauty dish with diffuser fabric.

As for the editing, it was a very thorough beauty retouch. It was quite challenging to remove all the small stray hairs from the hairstyle in order to achieve perfectly defined contours.

Finally, a coloured digital background was added for a much more impactful effect.

Image from Second Place trio – Fashion & Beauty (Silver Camera)

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Image © Giorgia Corniola

FA S H I O N A N D B E AU T Y A R T O F T H E FA I R Y TA L E

T

his was captured at Art of the Fairytale Studio, Bridgend, featuring Byron and Sochia.

As usual here, our shoots are never overly choreographed or technical – we go with the energy and stories of our clients and always expect the unexpected.

Sochia the dog had come along to the session simply to watch, but far from being deterred by the new environment and lighting, she promptly stationed herself next to the sitter, Byron – listening carefully and loving every moment in the spotlight.

Nikon D850 Lens: Nikon 24–70 mm ISO 100 | f/5 | 1/250s Backdrop: 'Silver Tones' by Click Backdrops

Sochia passed away in April this year. In her memory, owner Venetia Steele has raised over £10,000 for Hope Rescue, a charity that saves and rehomes dogs in need.

To support Sochia’s legacy and help more dogs find loving homes, donate here: Image from Ninth Place trio – Art of the Fairytale

Image © Art of the Fairytale

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WILDLIFE

Image © Colin Brister

CO L I N B R I S T E R L B I P P

Image from Third Place trio – Wildlife (Bronze Camera)

I

t was a genuine surprise – and a great honour – to receive a Bronze Award in the 2024 Federation of European Photographers Awards. Recognition on this level always feels special, but the story behind the image makes it even more memorable.

The shot was taken during a trip to the Bulgarian mountains, where the goal was to photograph vultures from a remote hide.

Conditions were harsh, with biting wind and challenging terrain, but the photographic opportunities were worth every discomfort.

What we didn’t expect, however, was the sudden arrival of a pack of jackals.

As the vultures fed, the jackals emerged from the tree line – moving with a mix of stealth

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and boldness. One particularly dominant individual stood out. It pushed through the pack and aggressively forced the vultures aside, asserting its place at the carcass. In a fleeting moment, it paused – and stared directly down the lens.

The shot was taken using my trusty 600mm lens. It’s far from travel-friendly, especially when you’re lugging it up icy mountain trails, but as usual, it didn’t let me down.

Wildlife photography is often about patience, preparation, and a bit of luck. This image came from all three. I’m proud to share it with fellow professionals and incredibly grateful to the FEP for recognising the work.

Canon R5, 600mm, f/4, 1/1600 sec, ISO 400

WILDLIFE

Image © David Taylor

D AV I D TAY LO R F B I P P

Image from Tenth Place trio – Wildlife

T

his image was taken in the middle of a typical hard winter in the Jigokudani Valley in Nagano, Japan. It was around minus ten degrees, which I think is the best time to visit, experience and photograph the Japanese macaque – also known as the Snow Monkey – and it had long been on my bucket list to see and photograph them in their natural habitat.

Winter life in Jigokudani for the famous Snow Monkeys can be tough. They are a highly intelligent species of monkey, living in troops of 100 or more individuals, and are considered to be matrilineal societies – meaning a specific monkey’s lineage and status are traced through its mother.

There is a status and dominance hierarchy made up of more than 60% females, topped by an alpha male – the boss of the troop.

In the cold, heavy snowfall winters, the dominant troop spend their time enjoying the comfort and luxury of the hot spring pool. They relax, groom and socialise – or keep outsiders away from the hot spring.

Many males, particularly those who are young or physically weak, will live apart from the main troop in the heavy snow and drifts of the mountainous woodlands and streams of Jigokudani Valley, which all seems a little sad. When you encounter these outsider troops at closer distances in the wider areas of the valley, you certainly notice the size and steely gaze of the larger males.

One of the activities shown in this image is grooming – delousing and pampering of a higher-ranking troop member by the younger or lower-ranked monkeys.

Nikon D4, 200mm lens at ISO 800, 1/640 sec, f/7 Issue Two / 2025 / the PHOTOGRAPHER 31

BIPP

Image © Frankie Adamson

E U R O P E A N R E CO G N I T I O N

Image © Arun Mohanraj

Image from Fifth Place trio – Wildlife

Sports: Image from Second Place trio (Silver Camera). Photograph entitled 'Grace' captured at the British Rhythmic Gymnastics Championships in Birmingham

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PRINT HANDLING HELEN SPIEGL FBIPP

Qualifications: Print Handling

After earning her BIPP Fellowship in 2024 with a striking panel celebrating the elegance, energy and unique character of cats, Helen Spiegl stepped behind the scenes to support the latest qualification round as a print handler. In this piece, she offers a behind-the-curtain look at the mindful, delicate process – sharing valuable insights for anyone curious about getting involved and playing a part in the BIPP’s prestigious judging process.

What made you initially put yourself forward for print handling?

Did being involved influence your own thoughts on qualifications and photography in general?

I’ve had so much help and support from other photographers during my photography journey, and having received my Fellowship last year I would now like to train to become a judge so I can start giving something back. Print handling seemed the ideal starting point.

Yes. I know that it’s not essential to have qualifications to be a photographer, but for me, it’s about striving for continuous improvement; one never stops learning.

The judges have decades of experience between them, and I for one am very happy to soak up some of their knowledge!

Can you briefly explain what print handling actually involves for those who may not know?

In a qualification panel judging, for example, the handler (wearing cotton gloves) puts the mounted prints up on the gallery stands in the correct order for the judges to examine. If they then want to see a particular print in more detail, they signal for that print to be placed into the light box so they can scrutinise it under perfect light conditions. Then, once they have finished, the handler places it back on the panel stand in its place.

What have you learned from seeing other qualification panels being judged?

Seeing the detail in which each print is scrutinised is fascinating. It made me realise that you cannot get the slightest mistake or careless retouch past the eagle eyes of the judges!

Do you feel it’s helped you develop your eye for print quality or presentation?

It has certainly changed how I look at an image. I remember hearing one trainer say ‘good is good enough,’ but actually it really isn’t. Why wouldn’t you want to do the very best you can?

Would you recommend other members get involved – and if so, why?

Yes, definitely. It’s a real eye-opener listening to the judges discuss the prints. One might spot something another hasn’t; another might know more on the subject matter, so may come at the critique from a different angle. From my point of view, it’s free education – what’s not to like?

What would you say to someone who's never handled prints before but is curious?

Give it a go. (But only when I’m not available because I’d happily do it as often as I can!)

Want to volunteer? Email: admin@bipp.com Issue Two / 2025 / the PHOTOGRAPHER 33

STUDENT E D I N B U R G H CO L L E G E

Emerging Talent: Ritchie Elder

Ritchie Elder is a student on the BA (Hons) Professional Photography course at Edinburgh College, a BIPP-affiliated institution led by course tutor Jon Lee ABIPP. Already making his mark, Ritchie has accolades including Winner of the PhotoNorth Festival Student Competition 2025, Runner-up in the MPB Student Awards 2025, and shortlistings for both the Scottish Portrait Awards and the British Photography Awards in 2024.

In this piece, he shares his journey into photography, the benefits of studying at degree level, insights into his projects, and his perspective on the industry as an emerging photographer.

Image from Dumbiedykes project

Image from Faces of Leith project

Image from Faith project

Path into Photography and Early Inspiration Having worked in financial services for my entire adult life, I never had much room for creativity. It wasn’t until lockdown when I picked up my first DSLR, with no expectations other than trying out a new hobby. Over time, I grew to love making pictures, often heading out with my camera after work to capture life on the street.

Though I enjoyed this early period of experimentation, I wanted to take the craft more seriously and explore other genres. I decided to enrol on the HND Professional Photography course at Edinburgh College, going part-time with my day job. I was fortunate that my wife was able to support me during this transition (and continues to do so!).

Throughout the HND, I was naturally drawn to the portraiture and documentary assignments. I enjoyed it so much that I decided to apply for the Bachelor of Arts (Honours) Professional Photography course. The attraction with the honours course was the opportunity to specialise in my chosen discipline, make projects I’m passionate about, and receive ongoing feedback from experienced photographers.

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Images © Ritchie Elder

R I TC H I E E L D E R E M E R G I N G TA L E N T

Image from Faith project

Issue Two / 2025 / the PHOTOGRAPHER 35

STUDENT E D I N B U R G H CO L L E G E

Impact of Studying Photography at Degree Level For me, the experience has been hugely positive and rewarding. The mixture of practical, theoretical and business-focused modules has given me a well-rounded education of photography not just as an art form, but also as a profession.

Image from Dumbiedykes project

Class critiques, in particular, are a great opportunity to give and receive feedback with your peers. Most importantly, studying photography has given me space to find my creative voice.

Motivation Behind Documenting Social and Cultural Themes I’m drawn to photographing people and exploring the stories of their everyday experiences. I’m fascinated by how environment, culture and social context shape both individual identity and community. All of my projects draw upon these themes, and people are always at the centre of my work.

Image from Dumbiedykes project

I’ve lived in Leith for almost a decade now and wanted to make a project that represented the character and community spirit of the area. With Dumbiedykes, my family grew up there and I often visited the estate as a child, so I decided to revisit and see what life is like there today. Both projects are personal in different ways, but I always try to fairly represent the people who live there, acknowledging the social and economic challenges these areas have faced.

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More recently, I’ve undertaken a project documenting the diversity of religious experience and identity in Edinburgh. Though I hold no religious affiliation myself, I am interested in the role faith plays in people’s lives, and the way it informs their values, routines and sense of purpose. I’ve aimed to create respectful representations of these groups through environmental portraiture and documentary photography.

Images © Ritchie Elder

Issue Two / 2025 / the PHOTOGRAPHER 37

STUDENT E D I N B U R G H CO L L E G E

Creative Influences and Inspirations I take inspiration from Simon Murphy’s ‘Govanhill’ project, which was exhibited at Street Level Photoworks in Glasgow. Seeing his work in large print showed me the power of portraiture and community engagement.

I find Tisha Martha’s work very inspiring. The film ‘Tish’, directed

by Paul Sng, gives a powerful overview of her life and practice.

It highlights her commitment to working-class communities and her belief that photography could be a tool for social change.

Balancing Personal Projects with Professional Work The commissions I’ve had so far have all come as a result of my personal work, which really shows how important it is to pursue your own projects. Personal work not only helps you develop your voice, but it can also attract clients who connect with your perspective and style. My hope is that I can have a healthy mix of both personal and commissioned projects, but realistically I do need to prioritise paid work, particularly given the current cost of living.

Image from Faith project

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R I TC H I E E L D E R E M E R G I N G TA L E N T

Thoughts on AI-Generated Imagery and its Impact As someone who occasionally uses AI-powered tools in my postproduction workflow (such as selections, upscaling and object removal), they’ve definitely made certain tasks quicker and more efficient. However, I don’t use or support purely AI-generated imagery.

I share the concerns many in the industry have about the implications for copyright and intellectual property. It’s important that the rights of artists and photographers are protected, rather than being exploited for the benefit of tech firms.

The Need for Multi-Skilled Photographers Today The broader skill set of a creative feels essential for today’s professional landscape – I am glad moving image is integrated into many photography courses. Many of the skills are transferable, so it makes sense for photographers to have at least a basic understanding of video. Social media I have a mixed relationship with, but totally recognise its use as a platform for sharing work and engaging with other creatives. I think exploring other forms of media and art can only be a positive thing.

Image from Faith project

Images © Ritchie Elder

Issue Two / 2025 / the PHOTOGRAPHER 39

STUDENT E D I N B U R G H CO L L E G E

Key Elements in Creating Strong Portraits I prefer taking a slow approach when making a portrait.

My priority is always to connect with my subject and make them feel comfortable, especially since much of my work involves photographing people who aren’t used to being in front of the camera.

Lighting is also, of course, an important consideration in my work – learning how to use off-camera flash effectively has made a big difference to the quality of my portraits. I think paying attention to your lighting (whether natural, flash or a mixture of both) is really something that separates an amateur from a professional.

Proudest or Most Meaningful Photography Moment It means a lot to me when other emerging photographers ask for advice or feedback – I take real pride in that.

It’s also great to have work recognised in competitions. I was shortlisted for the British Photography Awards and the Scottish Portrait Awards in 2024. I was runner-up for the MPB Student Awards and winner of the PhotoNorth Festival Student Competition in 2025.

Future Goals and Career Aspirations in Photography I hope to work primarily on commissioned assignments across the editorial, corporate and public sector markets.

I’m also interested in collaborating with creative agencies.

It’s a competitive industry, so I’m open to any opportunities where I can put my skills to good use and continue developing as a photographer.

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R I TC H I E E L D E R

Image © Ritchie Elder

E M E R G I N G TA L E N T

Image from Faces of Leith project

Issue Two / 2025 / the PHOTOGRAPHER 41

ONLINE VISIBILITY ZO E H I L J E M A R K

Is Photography Blogging Worth It In 2025?

Zoe Hiljemark Zoe Hiljemark is a PR and content consultant, educator and mentor based in Dorset, England, who has more than two decades of marketing communications experience. For ten years, she has worked exclusively with professional photographers, helping them to get visible and attract dream clients by leveraging the power of media publicity, compelling blog content and search-optimised website copy.

She offers ‘done for you’ PR and marketing services as well as a transformational marketing mentoring programme called The Photographer’s Visibility Blueprint™. She’s also the host of the ‘PR-Savvy Photographers’ Facebook group – a photography community of more than 1200 UK and international professional photographers.

In this piece, Zoe shares her insights on why blogging still matters in 2025.

I

f you’re wondering whether photography blogging is still worth the effort in 2025, the short answer is: absolutely yes!

Even in the age of AI, TikTok trends and ever-changing algorithms, a photography blog remains one of the most powerful, evergreen tools to grow your business.

In this post, I’ll break down why photography blogging is still relevant in 2025, and how it can help you rank in Google, attract ideal clients and get booked.

What is photography blogging?

Photography blogging is the act of regularly writing and publishing articles on your photography website.

These blog posts can range from behind-the-scenes stories and shoot highlights to educational guides and location roundups.

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“Blogging is a powerful marketing tool most photographers ignore.”

Why is photography blogging worthwhile?

Blogging has been around for years, but it is still a great way to promote yourself and your photography products and services.

When done strategically, blogging becomes a magnet for attracting your ideal clients through organic search and is a great way to build your photography brand, highlight your expertise and tell stories that matter to your audience.

I believe blogging should still play a key part in your photography marketing strategy in 2025. Here are seven reasons why: 1. A photography blog enhances your online visibility Let’s start with one of the biggest benefits of blogging as a photographer… blogging boosts your website SEO and, in turn, your visibility in Google and other search engines.

B LO G G I N G 2025 IS IT WORTH IT?

“Demonstrate your expertise through content and be seen as an expert” Every time you publish a search-engine-optimised blog post, you’re adding a new page to your website. This gives Google more content to crawl and discover, AND ultimately more keywords to potentially rank you for.

Even if you don’t know much about SEO, you probably realise that ranking in Google and appearing in top positions in search engine results pages is crucial if you are to get found online.

Your prospective clients are actively searching for photography services in your area or for information that you can provide. If your photography website pages or blog posts are not showing up in Google when they search online, then they will likely find your competitor’s content instead of yours (and spend their money with them too!).

Essentially, the more quality blog posts there are on your website, the more opportunities there are for you to rank in Google.

2. An optimised photography blog drives valuable free traffic to your website While you may have a decent social media audience, blogging and SEO help even more people to find you via Google, and that stream of valuable website traffic is completely free too!

According to a report on HubSpot, in 2025, 75% of marketers still report that blogs continue to be a major traffic driver, especially as search evolves to favour valuable, evergreen content.

Image of Zoe © Helen Strong

3. Photography blogging positions you as an expert Anyone can call themselves a professional photographer, but your blog content proves it. A well-maintained blog showcases your expertise and positions you as an authority in your niche.

When you consistently post educational, insightful content, like posing guides and shoot preparation tips, you’re showcasing your expertise.

Sharing insights, tips and behind-the-scenes content also helps build trust with potential clients.

Orbit Media’s 2024 Blogging Statistics report indicates that 80% of bloggers report that blogging drives strong marketing results, with authority building and lead generation being top benefits.

By focusing on photography blogging and using your blog as a tool to share advice, information and perspectives, you can build your authority and, in doing so, you’ll make it easier for your potential clients to recognise you as the expert that you are.

4. Blogging builds trust with photography clients In an increasingly saturated market, blogging about photography helps build the “know-liketrust” factor.

Clients often choose photographers they feel connected to. Blogging allows you to convey your personality, style and values, helping potential clients get to know you before they even reach out.

Including personal stories, client experiences and your creative process in your blog can foster this connection.

Your photography blog gives them a sense of your expertise, and on reading your blog content, they can start to imagine what it would be like to work with you.

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ONLINE VISIBILITY ZO E H I L J E M A R K

“Blogging can take time, but it’s brilliant for helping you grow an online audience...”

Through your blog, you can: • Inspire them as to what is possible if they work with you • Forge a connection with your reader • Subtly sell your photography services • Educate them on your approach and more • And all before they even reach out to you!

Your photography blogging efforts, if done well, should be rewarded with readers enjoying your blog articles and feeling excited and inspired to find out more about you and what you do!

5. A photography blog grows your email list One of the smartest ways to use a blog? Offer a free resource you have created (a.k.a. your ‘lead magnet’) within your blog articles (you can have one or several) and use these to grow your mailing list.

Let’s say you write a blog post called “5 Mistakes to Avoid During Your Engagement Shoot”. At the end of the post, you could offer a free downloadable guide called “The Ultimate Engagement Shoot Checklist”.

All your reader must do to receive it is share their email address with you.

Once subscribers are on your list, you can nurture them with regular updates, exclusive offers and personalised content, guiding them toward booking your services.

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6. Blogging helps you stand out from competitors Another reason why it’s worth adding a blog to your photography website and blogging regularly is that your articles will help you to stand out from your competitors.

Instead of relying on your portfolio alone, your photography blog gives you a platform to share your values, what inspires you, and what sets your experience apart. Through your blog, you can show, not just tell, why you’re the best fit.

You can use your blog to humanise your brand, show the real you and build an emotional connection with your target audience. Blogging is a brilliant way to differentiate yourself!

7. You can easily repurpose blog content for social media Another perk? Your photography blog gives you endless social media content.

If you start with blogging, then from this, you can populate all your other marketing channels, simply by repurposing and reusing what you have already created!

Each blog post can be repurposed into: • Instagram captions • Facebook posts • Pinterest pins • LinkedIn articles • Email newsletters

According to Ahrefs, 92% of bloggers are driving traffic to their content via social media.

Photography Blogging in 2025 Blogging is not dead – in fact, it’s more valuable than ever.

In 2025 (and beyond!), photography blogging is your chance to share stories about yourself and your business, boost your rankings in Google, increase organic website traffic, and connect with ideal clients in a meaningful way.

B LO G G I N G 2025 IS IT WORTH IT?

While social platforms come and go, your photography blog is yours to grow and will continue to benefit you in the long term.

Seriously, what is there not to love about photography blogging?!

Types of blog posts that attract photography clients Consider incorporating the following types of posts into your blogging strategy: • Educational Content: Provide tips on topics like posing, outfit selection, or preparing for a shoot • Behind-the-Scenes Content: Offer a glimpse into your creative process and preparation.

• Client Stories and Case Studies: Share detailed accounts of client sessions to showcase your work and client satisfaction.

• Personal Insights: Share your journey, inspirations, and experiences to connect on a personal level.

• Sales Content: Articles that explain your services and products, and answer FAQS about working with you.

In my signature group mentoring programme for photographers, The Photographer’s Visibility Blueprint, we cover exactly how to start, plan and maintain a blog that gets found and gets results. We also look at how to plan and write compelling and thorough blogs that help you rank highly on Google.

It includes checklists and templates as well as some ‘done-for-you’ style blogging support - I review, edit and enhance a blog article for you, showing you how to write and optimise your article for search engines, so to help it get found online.

Do also subscribe to my Content Connection emails for regular blogging tips for photographers, and for access to free blogging and content creation-related resources to make blogging easier and more effective. It’s all on my website!

Ready to elevate your photography business through blogging?

“Repurpose your blogs on social media – quick and easy content!”

Do you maintain a photography blog?

Are you currently blogging as a photographer, or planning to start?

I’d love to hear what’s working for you or what’s holding you back. Get in touch to let me know.

Need help with photography blogging?

Image of Zoe © Helen Strong

Whether you need help getting started or want expert support to refine your existing blog strategy, Zoe offers tailored services to help you get visible and booked. Get in touch today to find out how she can support your photography marketing goals.

Contact her via her website at: www.zoehiljemark.com Issue Two / 2025 / the PHOTOGRAPHER 45

WWII VETERANS ALLEN THOMASSON LBIPP

Portraits & Voices of WWII: Preserving Memory Through the Lens

When Allen Thomasson first captured a classical portrait of a Lancashire Fusilier, he had no idea it would be the first step on a deeply personal journey and meaningful photographic project. Portraits & Voices of WWII has grown into a powerful and ongoing body of work that combines still imagery with recorded testimony from WWII veterans.

This series captures not only the individuals’ portraits but also their fading recollections – forming a powerful archive of a generation whose voices are fading with time. In this feature, we look at how the project came together, the techniques behind the images, and the emotional and personal connection that motivated Allen to document these heroic figures through his lens.

In Search of Stories Lost For Allen, the inspiration behind his project stems from a deeply personal place. His paternal grandfather was a Far East Prisoner of War in Java, Dutch East Indies, and died in April 1943 in the POW camp in Jesselton (now Kota Kinabalu), Northern Borneo. “Sadly, there is no trace of that camp today and no memorial for those men who died there,” he says.

Allen’s maternal grandfather was also injured during the Italian campaign and sent home before the war ended in 1944. He reflects on the missed opportunity to ask his grandfather about his experiences – and how this became a powerful motivation to begin documenting the stories of veterans while there was still time. “As a child I recall him walking with a walking stick, a quiet man well respected by all who knew him. Like many people, I never had that conversation of ‘what did you do in the war, grandad?’ and it’s only later in life you realise there’s so much you would like to have asked him. His personal story is lost to history now,” he says.

“There’s so much more I’d like to know and to have had the opportunity to hear the stories first hand. I believe it’s important to remember the sacrifices made by all servicemen and women and their families both past and present.”

His desire to preserve these memories became even more urgent as he recognised how quickly these voices were fading. One of his interviewees, Wilf Oldham – a veteran from the Battle of Arnhem – further highlighted the importance of preserving these vital perspectives from our history, and left Allen with a poignant reminder of the true cost of conflict…

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WWII VETERANS PORTRAITS & VOICES

“D

on’t think we go back to Arnhem, or any other part of the world where exsoldiers go, to glorify and think, ‘I was a soldier.’ It’s nothing of the sort... War’s not like American films where only baddies get killed – war’s the most terrible thing that can happen…”

Wilf Oldham

Private Wilfred Oldham: 1st Battalion, The Border Regiment (Airborne) – Arnhem

Image © Allen Thomasson

Issue Two / 2025 / the PHOTOGRAPHER 47

WWII VETERANS ALLEN THOMASSON LBIPP

From Portrait to Project The project first took root during Allen’s preparation for his LBIPP qualification in 2016, under the guidance of mentor Martin GrahameDunn FBIPP. Martin had encouraged him to continue pursuing a personal project alongside his professional work – and, having already photographed his wife’s uncle, a Lancashire Fusilier, what began as a visual homage soon evolved into something much more significant.

“I intended to make classic portraits focusing on the photography itself. However, from the first meeting with a veteran, it became clear I had to capture their stories too,” he says.

Initially recording interviews using his Canon 5D Mark III, Allen gradually upgraded his equipment and honed his skills in sound recording and editing. Still new to this world, it was a process of trial and error – learning as he went, often with the help of YouTube tutorials – so that the veterans’ voices could accompany their portraits. What began as a photography-led project soon became driven by the recorded videos themselves.

“I found myself captivated by the stories,” Allen says. “An hourlong visit would often become a full day, followed by weeks of research through historic film and photography archives.”

This research, he explains, helped him to more accurately date, contextualise and deepen his understanding of the stories shared by the veterans.

Connecting the Veterans Tracking down WWII veterans presented its own challenges. One early breakthrough came when Allen discovered a Légion d’honneur ceremony was taking place at Manchester Town Hall. He printed a batch of flyers and headed straight there.

“I approached anyone that looked like they may have attended the ceremony, handing them a flyer.

They must have thought I was quite mad,” he recalls.

But the effort paid off. He was contacted by the Stockport Normandy Veterans Association and invited to present his project. After some careful vetting by the group, the last seven surviving veterans in their committee agreed to take part and started an ongoing long-term relationship.

“I’ve attended their meetings and events both in

48 the PHOTOGRAPHER / 2025 / Issue Two

the UK and in Normandy and was later commissioned for two of their video projects,” he says. Another key moment came when Allen contacted his local newspaper, which led to new participants, including veterans Bob Laverty and Ken Lang.

Later, through a chance referral from an actor’s agent he was doing headshots for, he was introduced to a veterans’ group in Liverpool. This connection led to over a dozen more sitters and the beginning of an ongoing relationship with the Royal British Legion. “I became friends with Royal Navy veteran John Dennett, and following his award of the B.E.M., I created a new portrait for him in September 2023,” he says.

It was during this time in Liverpool that he met Burma Star veteran Sgt Tommy Bunn, with whom he formed a strong connection, visiting him several times. One visit, in particular, led to a profoundly emotional testimony that left a lasting impact on Allen…

WWII VETERANS PORTRAITS & VOICES

Uncle Clifford: Lancashire Fusilier

Image © Allen Thomasson

Issue Two / 2025 / the PHOTOGRAPHER 49

WWII VETERANS ALLEN THOMASSON LBIPP

“B

asically, the war changed my life because, whilst I was in the tin works – and that’s where I left from – I was just an ordinary fellow, like. I’m not being dramatic or anything like that, but we had to do what we had to do, and of course it's a big thing, ya know. And it really got to me. So everything outside of the war is irrelevant, really – you know what I mean. Not really, but really.

I can't think of anything outside the war which matches up, really, ya know. Everything in the war takes priority, ya know: what I did, what I didn't do, what I should have done. Why I didn't do it, ya know. All these things. And you say, well, fellas have hallucinations, all sorts of things. I don't have anything like that. I just know what I should have done and what I shouldn’t have done, and I lie in my bed at night and I go over them, time and time again.

But I don't get upset, because I know that’s it – like, nothing can change. Individuals which I was engaged in – could have saved them, couldn’t have saved them. When you’re sitting in a hellhole being blasted for three days, and there’s men dying and dying around ya…and in the darkness of the night, when you’re thinking about escaping and what you’re doing, and you get these two men – two individuals – shouting, ‘Mother, oh Mother, oh Mother, help me, Mother, help me.’ It gets to you.

And the other lad: ‘Mary, Mary, oh Mary, help me, Mary.’

And you’re sitting there, frightened to move, ya know, in case…

Things like that, which you don’t normally talk about. I’ve not told anyone else, only you. I wouldn’t talk about that. But er…I think about it every night.”

Sgt Tommy Bunn

50 the PHOTOGRAPHER / 2025 / Issue Two

WWII VETERANS PORTRAITS & VOICES

Sgt Tommy Bunn: 2nd Battalion, The Border Regiment – Burma

Image © Allen Thomasson

Issue Two / 2025 / the PHOTOGRAPHER 51

WWII VETERANS ALLEN THOMASSON LBIPP

Stories Behind the Lens All of Allen’s portraits are shot on location – either in the veterans’ homes, care facilities, or wherever chance encounters allowed. These environments weren’t always ideal from a technical perspective – some images were captured in cramped corridors or using only available light – but the setting helped ground the project in authenticity and intimacy.

Other portraits came about through serendipity. For example, while in Rots, Normandy, Allen met Patrick and Karin Churchill by chance – Patrick was there to receive a special award for his part in the liberation of Rots in June 1944. After forming a rapport, Allen ended up photographing them the next day outside a local café.

Karin, he discovered, was German and had survived the Dresden bombings before eventually settling in the UK. Her voice, like many others Allen captured, tells a lesserknown side of the war.

“I

was born in Dresden and stayed in Dresden until the terrific bombardment of the Dresden Blitz. Life was quite restrained and quite frugal. It was the rise of Hitler, who – how should I say this… We, as little school children, had to sing ‘He is our leader, he gives us work and bread.’

And so, he did. He employed people in preparation for war, but people didn’t realise, and we lived through that.

My father was an ethnologist, went on his travels before the war, and so he was never caught to join the party [Nazi Party]. When my mother was asked

52 the PHOTOGRAPHER / 2025 / Issue Two

Karin Churchill (née Busch): German Civilian – Dresden

‘Why don’t you join the party?’ she said, ‘I will have to wait until my husband comes home and ask his permission.’ Thank heaven women were not independent then. Now, they are wilful and do their own thing.

My father was wounded… he was released for one home visit to Dresden, and that was the night of the bombardment. My elder brother came from France the same evening, so we were all together.

I was still sitting up sewing a carpet back for a friend of mine. There were all the pathfinders who flew over and set the markers for the bombs. The whole Armageddon started when the bombers came. It was as if you opened the furnace of an oven – a furnace fire. That’s when my brother lost his eyesight, and my mother was…”

Karin Churchill

WWII VETERANS PORTRAITS & VOICES

One particularly emotional and challenging shoot involved veteran Jack Brownlee, who was gravely ill in hospital.

Despite the medical equipment and crowded side ward, Jack and his family wanted Allen to document his receiving the Légion d’honneur.

“It felt like a real invasion of privacy, and I nearly didn’t take the image. He had his suit and medals ready to change into but was really too ill to even sit up in bed.”

With Jack’s consent and comfort prioritised, Allen captured a final, powerful image – later displayed at an exhibition visited by Jack’s family.

Other moments were more spontaneous – like meeting Moira Cruikshank while visiting a supported living unit. A WREN and accomplished artist, she revealed her wartime role sketching landing craft used on D-Day and painting murals at Hayling Island. These encounters highlighted not just the breadth of wartime roles, but also the enduring spirit of the veterans Allen met.

Trooper Jack Brownlee: King’s Royal Hussars – D-Day

Images © Allen Thomasson

Issue Two / 2025 / the PHOTOGRAPHER 53

WWII VETERANS ALLEN THOMASSON LBIPP

Impact and Reflection The veterans and their families have overwhelmingly responded with warmth and gratitude to the project. Many were deeply moved by the results – particularly those whose relatives were living with dementia, for whom the interviews revealed memories and stories their families had never heard before.

One such case was John Adamson, who struggled with the camera until Allen quietly turned it off and began chatting with him over an old personal journal documenting the siege of Malta. “I switched on the audio recording device and just chatted about the photos in his journal. He came alive, a completely different person and could recall the events as if they were yesterday.”

Allen credits one of Martin Grahame-Dunn FBIPP’s workshops with helping to shape his creative vision and the distinctive look of his portraits, alongside taking inspiration from the lighting of Dutch Masters and the chiaroscuro and tenebrism of Caravaggio. He often used a single light source with a reflector, sometimes blending archive imagery into backgrounds to connect each veteran with the theatre of their service.

Allen describes his editing process as straightforward. Working in Photoshop, he began by creating a black and white version of the image on a separate layer to subtly reduce the colour palette. From there, he used dodge and burn techniques on another layer to shape the highlights and deepen the shadows.

To introduce texture and context, Allen added layered backgrounds using his own photographs of stone, wood and architectural interiors. Selective sharpening was applied to bring key details into focus, and finally, he added a dark vignette.

Throughout, he worked with the end result in mind: fine art prints. “I always knew I wanted the images to be printed on textured, high-quality papers,” he explains. “The paper itself adds an extra layer of texture to the finished piece.”

54 the PHOTOGRAPHER / 2025 / Issue Two

Able Seaman Ken Benbow: Royal Navy, HMS Crane – Atlantic Convoys, D-Day

A Project That Gave Something Back Through the project, Allen says he learned to slow down and become more present in his work. It also opened unexpected avenues for learning – skills he hadn’t planned to develop, but which have since led to further commissions.

However, this wasn’t just a documentary project for Allen – it was a deeply therapeutic process. Having left a long NHS career due to mental health struggles, he found that the project offered him purpose, connection and healing.

“Taking time to sit and listen is a simple act, but one we don’t allow ourselves time for or appreciate. The veterans’ and public response to the project has been humbling, demonstrating the power of photography to evoke emotions, memories and initiate conversations.”

Images © Allen Thomasson

WWII VETERANS PORTRAITS & VOICES

Private John Adamson: Royal Artillery – Malta

Lilla Moxham: Civilian Nurse – London

Private Joe McAllister: 3rd Battalion,1st Airborne Division, Parachute Regiment – Arnhem

Harold Addie: Royal Navy, LCT 501 – D-Day

Watch Full Interviews

View More Photographs

Watch the stories come to life by scanning the QR code below to watch video interviews with the veterans featured.

To explore more of Allen Thomasson’s work and discover the stories behind Portraits & Voices of WWII, scan the QR code.

Issue Two / 2025 / the PHOTOGRAPHER 55

PRINTS FOR CLIENTS I A I N WAT E R S TO N L B I P P

Post Wedding Blues In this honest and insightful piece, member Iain Waterston LBIPP shares why he includes professional printing in his wedding photography service – not for profit, but to do justice to the images he’s proud to create. From the joy of handdelivering photos to the lasting value of high-quality prints, Ian makes a sincere case for getting images off the USB and into the real world.

What’s this I’m talking about now?

Initially, most clients think I’m trying to squeeze extra money from them as soon as professional print services are mentioned. The honest truth is that I’m a selfish photographer who just wants my work to be shown to the world in print! It’s great having a USB or hard drive full of images, but there is just something that hits differently having a physical wedding photo print in your hands to see... then obviously to mount somewhere in your house.

The point of this article is to give an insight into why I offer a printing service but never ever push it on clients. The other point is to hopefully have some people reading it too!

First contact After the big day is done and you have laboured over the digital negatives to create your client’s final images, the next step is to contact them and deliver the final product. No matter how you may present and deliver the images, it’s a nervous affair for both parties. My only advice here is to hand-deliver them when possible. If you can’t do this, then mail them – here, packaging is everything. Put little extras in to make them feel special: a wee packet of fancy sweets, a complimentary print, and most importantly, a handwritten thank you!

56 the PHOTOGRAPHER / 2025 / Issue Two

At this point, you may have already discussed printing services and sorted everything out. If not, this is the last chance I will normally get to organise this.

I am going to explain how I approach this and why convincing clients to use my printing services isn’t just about extra income!

“But won’t I have all the files... I can print them myself, right?”

This is normally the first thing I hear as soon as I mention printing services. Now there are two options here: the first, which most photographers will do, is to swerve this comment and continue on trying to push a sale. Option 2 is what I do – I lean into the comment and am completely honest. For me, I always use the honest approach.

“Yes. It will also be cheaper, 100%. It will also give you more control over what you order regarding sizes and probably allow more prints.”

So yes, it’s true: you have the images and I have given you printing rights. But how many times have you had a great image and thought, “I’ve gotta get that printed for the wall.”

PRINTS FOR CLIENTS P O S T W E D D I N G B LU E S

I’m a professional photographer and I have a stack of external hard drives full of images I must get printed. More importantly, most printing services open to the public won’t have the same quality of albums, printing paper and wall products that professional photography print services offer.

So those great captures that look good may end up looking mediocre once printed if not harnessing your wedding photographer’s skillset. A photographer will detail, sharpen and colour-correct each individual image to the paper and ink, so what you see on a screen is what you get on paper.

Not darker, not lighter or saturated... but a pure copy of what your eyes see.

Basically, I’m a vain photographer, and I want to see my work being showcased, and the best way to preserve wedding photos at their best is on high-quality wedding prints, rather than sitting on a USB in a desk drawer or gathering dust in a shoebox somewhere.

After the wedding, celebrations, honeymoon, and back to the mundane Monday-to-Friday work-life routine, most people end up leaving the images on their USB/hard drive with good intentions to get them printed but never do. Here’s the thing: technology is amazing and progresses all the time, but nothing lasts forever... USBs can get lost or they may just stop working no matter how high-tech they are. This could result in the one thing that documented the most important day of your life being lost forever!

Prints, on the other hand, will always stand the test of time... unless lost in a house fire or ruined by a naughty son or daughter with a sharpie.

Conclusion So, being a selfish and honest photographer isn’t always a cash grab. Tell the client the truth: you want them to have prints, albums, and whatever else you can do with the images, because you want to see the images being put on show. Most importantly for me is that I love capturing emotions, and you want your couple to be able to feel the emotion they see in your image flood back to them as much as possible.

Being honest and upfront is always the way to go. I don’t overcharge on the products, and, most importantly, I always stress how much better it is to be able to see their happy memories on a day-to-day basis!

Prints are much easier to see than loading up a computer to check out the USB! Images © Iain Waterston

Read more of Iain’s blogs and view his photography at: www.iainwaterstonphotography.co.uk Issue Two / 2025 / the PHOTOGRAPHER 57

B I P P H E R I TA G E J O H N H A N N AV Y F B I P P

The Way We Were John Hannavy FBIPP

Professor John Hannavy FBIPP reflects on the Institute’s past as seen through some of the items in the archives in Birmingham Library. Drawing on decades of personal involvement and historical research, he offers a fascinating glimpse into the rich heritage of the BIPP and its legacy championing professional standards, community and excellence in photography. These archival treasures not only highlight how far the Institute has come, but also celebrate the enduring values that continue to shape the BIPP today.

I

t may be just a little under 75 years ago, but it seems more than that, so different is the picture we have of the Institute of British Photographers – as it was known in 1951 – from the Institute of today. Back then, it had already been in existence for 50 years and published a hardcover ‘Members’ Handbook’ each year, the 1951 edition listing 3044 corporate members in 20 countries. The Institute was managed by a Council of 30, had 15 separate Standing Committees, and nationally had 17 regional ‘Centres’.

As befitted the time, it was a much more formal affair than today, attendance at Congress, at Council and at committee meetings demanding observance of the required business dress code – for men that meant suits and ties – and attendance at the annual dinner requiring full evening wear.

There was a joining fee of two guineas (£2.10 for those too young to remember guineas) and the 1951 annual subscription was three guineas (£3.05). Full membership was only really available to those who were self-employed, in employed positions as managers of studios or photographic departments, or engaged fulltime in photographic education. Bearing in mind that the majority of photographers 58 the PHOTOGRAPHER / 2025 / Issue Two

The 1950 recommended Price List for Industrial and Commercial Photography

B I P P H E R I TA G E T H E WAY W E W E R E

Past President Tom Samson FBIPP presenting the album of presidential portraits to Centenary President

The Presidential insignia from the Birmingham & District Professional

John Hannavy FBIPP at the Gala Dinner in 2001, 48 years after it had been presented to his father Harry

Photographers Association, 1924 to 1957, and the IBP’s North

Samson. The book is open at the portrait of Angus Basil, President in 1928-29.

Midlands Centre, 1954 to 1964.

were employed below that level, an ‘assistant’s rate’ of one guinea was in place, and half a guinea for students. Trade membership – available to manufacturers and laboratory owners – cost two guineas. Multiply that up by a factor of at least 50 times to get somewhere close to the value of money today, making the cost of membership about £110 at today’s prices.

(Since last year, the MPA is no longer an independent organisation, now a professional grouping within the RPS.)

But what of earnings? Well, in one example given in the Handbook, an un-named studio in 1947 showed a profit of £360 on a turnover of £3,430, after the proprietor had drawn a salary of £600 (the average wage at the time was about £350) and paid his assistants (plural) and an office girl a total of £890 in wages!

A ‘Qualifications Committee’ oversaw the procedures for applying for Associateship and Fellowship – there was no Licentiateship in those days – and charged one guinea to consider a submission. Associateship, the Handbook told members, should be within the reach of any experienced qualified photographer.

At the time, the President was John Short FIBP FRPS, and amongst members of Council was Nettie Moon AIBP who would become the Institute’s first female President in 1954. There have only ever been four in the Institute’s first 124 years. Another member of council was G. Scott Bushe who would, in 1952, lead a breakaway group, dissatisfied with what they got from their Institute, to form the Master Photographers Association.

In addition to ‘Qualifications’, the Institute had Standing Committees dealing with a wide range of issues and special interest groups. This was a time when every large industrial concern had its own in-house photographic unit so there was an ‘Industrial Staff Photographers Committee’, while other committees dealt with ‘Assistants and Wages’, ‘Portrait Policy’, ‘Colour’, ‘Commercial and Industrial’ and ‘Education’. One of the Institute’s key functions was to set the gold standard for photographer-training, and it proudly boasted that IBP qualifications were the benchmarks for employment and promotion in the Admiralty, Air Ministry, Board of Customs and Excise, Board of Trade, Home Office, Ministry of Education, Ministry of Home Security, Ministry of Propaganda (these two were still in place from the War), Ministry of Issue Two / 2025 / the PHOTOGRAPHER 59

B I P P H E R I TA G E J O H N H A N N AV Y F B I P P

Marcus Adams, President of the Professional Photographers Association of Great Britain

H Bedford Lemere, one of the finest photographers of architectural interiors, and PPA

and Northern Ireland, 1925-26, and Photographer to the Royal Family

President 1930-31. The highlight of his Presidential year was the Annual Congress at London’s Conway Hotel.

Shipping, Ministry of Labour and the War Office! The ‘Preliminary’, ‘Intermediate’ and ‘Final’ examinations were a route to qualified status, and success in the ‘Final’ brought automatic Associateship. The princely sum of seven guineas was levied on anyone taking the Final’ which then involved a one-day theory exam and a two-and-a-half-day practical. I passed my ‘Inter’ 60 years ago, but bypassed the Final, choosing to apply for Associateship through an A&Q submission.

Another key committee was the ‘Press & Reproduction Fees Committee’, which annually published its recommendations for minimum charges to be applied to various photographic undertakings.

In those days, of course, it was not illegal for a professional body to set recommended prices for the services provided by its members, and indeed one of the many fascinating documents in the Institute’s Archive is the 1950 ‘Guide to Prices for Commercial and Industrial 60 the PHOTOGRAPHER / 2025 / Issue Two

Photography’. This is where we see just how much professional photography has been devalued over the years.

The recommended minimum charge for setting up and photographing a single black and white commercial subject in the studio was set at three guineas. In colour it was 10 guineas. A single sheet of 5x4 colour film cost an enormous ten shillings even in the early 1960s when I started out.

For architectural work away from the studio, a minimum of two guineas per monochrome photograph, including a print, was suggested. In colour, the suggestion was 15 guineas (£15.75) for taking and presenting a single sheet film transparency, and £31.10s.0d (£31.50) for a sheet film colour negative and one 10x8 colour print. Multiply that up by fifty times, and spend a nanosecond counting the number of times last year you got paid anything like that per photograph. It was generously suggested that the

B I P P H E R I TA G E T H E WAY W E W E R E

Archie Handford, PPA President 1934-35. The 1935 Annual Congress was held at London’s

H. Norman Blinkhorn, the last PPA President –1937-38. In 1938, after the Annual Congress

Great Central Hotel.

in Bournemouth, the PPA changed its name to the Institute of British Photographers.

second image from the same shoot should be charged at half those rates, the third at one third, the fourth at one quarter etc.

President since Thomas Bedding – he had been the first President of the Professional Photographers Association in 1901. While those portraits are long gone, victims of the moves which have taken place since leaving Gordon Square, one valuable survival is an album containing copies of many of them. The genesis of this album is, in itself, an interesting story.

So, at today’s prices, a one-day architectural shoot involving five separate views and a colour transparency of each would cost the client £1800, five colour negatives and five colour prints, a staggering £3590. I can already hear many of you weeping out there – I had a good cry myself.

Having said that, I have never understood how a ‘professional body’ ever went down the road of pricing based on how many bits of film and paper were used.

What about the professional skills of the photographer, and what about the time involved? But that pricing policy was still firmly in place when I joined the IBP in 1964.

The Institute, in 1951, occupied premises at 49 Gordon Square in London, now part of University College London. On the walls were framed portraits of every

On the occasion of his retirement in 1953, the late Harry Samson was presented with the album, containing a portrait of every President of the PPA and IBP during his long and successful career – from Frank Moffat in 1911-12, right up to Frederick Robinson in 1952-53.

Four have gone missing over the years, but the album is a unique record of those who led the Institute during much of its first half century. It was presented to me as President during our Centenary celebrations in 2001, to be added to the archive, by Harry’s son, Tom Samson, himself a Past President (1969-70) and an eminent photographer.

Issue Two / 2025 / the PHOTOGRAPHER 61

B I P P H E R I TA G E J O H N H A N N AV Y F B I P P

In 1951, Centre Newsletters were simple affairs produced on a Roneo machine.

By 1971, the Yorkshire Centre had progressed, like many other regions, to a well-printed stiff-covered affair.

Each of the portrait mounts also has a copy of the badge which was issued for each year’s Annual Congress, a highlight of the Institute’s calendar, held from 1910 onwards – with the exception of the First World War years. Up until the 1960s, these events continued, but then became somewhat more periodic.

The archive contains the programme for Professional Photography ’71, and the sheer scale of the programme is remarkable. Over five days from March 8th until March 12th, delegates were offered a diverse programme of lectures, demonstrations and seminars on a wide range of photographic and business topics – in addition to a large trade exhibition and several photographic exhibitions.

Speakers included the great Al Gilbert, Sam Haskins, Bryn Campbell, John Hinde, Carl Koch and, believe it or not, no fewer than 28 others, each eminent in his or her own field. “It’s a time for learning,” said President Norman Cooper in his introduction, “it is also a time for enjoying oneself in good company.” The next ‘bash’ 62 the PHOTOGRAPHER / 2025 / Issue Two

on that scale would be in 1976, during Ron Callender’s Presidential year, to mark our 75th Anniversary.

Also surviving are the insignia of the Birmingham & District Professional Photographers Association – bearing the names of every President from 1924 to 1957 – and the Presidential gong from the successor to that body, the IBP’s North Midlands Centre, carrying the names of every centre President from 1954 to 1964.

And for anyone who wishes to know what their area was up to 30, 40 or even 50 years ago, the archive contains newsletters, conference programmes and other interesting ephemera.

All these items were entrusted to me during my year as Centenary President when the idea of such an archive was first mooted. That archive is now in the Library of Birmingham, but due to cost constraints, 25 years on, there is only limited accessibility.

B I P P H E R I TA G E T H E WAY W E W E R E

After Institute reorganisation in the early 70s, ‘centres’ were replaced by Regions, and a uniform cover was adopted by several of them. This is a Yorkshire Newsletter from 1974.

In 1966 the ever-active Yorkshire Centre organised an exhibition of

And in 1968, they organised the one-day ‘Dales Conference’ which was well

members’ work in a Leeds department store.

attended by members from Lancashire, Cheshire and Yorkshire.

Issue Two / 2025 / the PHOTOGRAPHER 63

EXHIBITION IMPRESSIONS GALLERY

Everything In The Forest Is The Forest

Oak leaf lumen prints exposed to the sun on the forest floor © Clare Hewitt

I

n 2019 artist Clare Hewitt read a government report suggesting that loneliness and isolation were increasing in rural areas of the UK. Simultaneously she was learning that trees communicate, nurture, and thrive in sentient communities.

For the past five years Hewitt has worked at The Birmingham Institute of Forest Research (BIFoR FACE) within a circle of twelve oak trees, which are about 180 years old. Hewitt has repetitively documented the forest and its seasonal changes. She has examined the way trees relate amongst themselves and how, in the subterranean world, they connect their roots with fungal networks to share nutrients and information, they identify and nurture their offspring, pass wisdom to their young, and care for their community.

Everything in the forest is the forest presents 14 bodies of work that celebrate trees’ remarkable ability to nurture and communicate, and offers a wealth of insights on how we, as a society, can gain from the unity, communities and relationships found within the forest.

Many of the bodies of work have never been seen before, ranging from large-format, six-month- to four-year-long exposures made in handmade ‘birdbox’ pinhole cameras, 64 the PHOTOGRAPHER / 2025 / Issue Two

affixed to the oak trees to three hundred individual and unique oak leaf lumen prints exposed to the sun on the forest floor.

The exhibition is accompanied with a resonating immersive sound recording of the dawn chorus in the forest, made in collaboration with musician Professor Annie Mahtani.

Sustainability and environmentally-conscious considerations are the cornerstone of the exhibition, with re-using and re-purposing principles. Hewitt also worked collaboratively with artists Carolyn Morton and Danielle Phelps, alongside designer Emily Macaulay of Stanley James Press, to make Everything in the forest is the forest, a handmade, biodegradable photobook.

The book features a specially-commissioned, collaborative text by international writers Kerri ní Dochartaigh, Marchelle Farrell and Jessica J. Lee. Throughout summer 2025, the book will circulate nationally via a borrow and share, rather than buy and keep, community-driven distribution system.

Impressions Gallery Bradford: 10 May to 23 August 2025 Open Tuesday to Saturday – Free entry

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