the Photographer - Winter 2014

the PHOTOGRAPHER

Agent Morgan

Charlotte Morgan on what it takes to be successful at the top

BIPP Awards The Magazine of the BIPP / Winter 2014

Paul Coghlin is BIPP Photographer of the Year 2013

Winter 2014

Animal magic

Why Tim Flach’s images are a world apart

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NEW!

See the new FRONTIER-S Dry Minilab, above, with new six-colour Vividia® inkjet technology on Fujifilm Dry Photo Paper in Lustre or Gloss. It has a super-small worktop footprint of only 43 x 46cm (under 18" square). Find out more at all the shows! Maximise Your Business Opportunity – ideal for Kiosk system, Minilab, Event Photography, Retail, Studios.

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Fujifilm Corporation has been declared one of the world’s Top 100 Innovators for the second year running, in the Thomson Reuters list for 2013. The list recognises Fujifilm’s patent portfolio, and deployment of intellectual property to drive innovation in the company’s world-leading product range.

It’s show-time for Fujifilm in 2014 with three major trade shows open to photographers coming up. Time to show off the best user-friendly fast, dry printing systems ideal for retail and studio businesses – plus the acclaimed Finepix X camera series.

DATES FOR YOUR DIARY Here’s when and where you can meet Fujifilm UK from January to March 2014

The Societies Trade Show January 17-19th Hilton London Metropole Hotel www.swpp.co.uk/convention Pre Register Free till 31/12/2013

Spring Fair – February 2-6th NEC Birmingham www.springfair.com Pre Register for Free Entry Also ask to see ASK 4000, 2500 and the Quick Print Station 300 (above) – check the full range of print sizes and output offered by Fujifilm’s specialists in vibrant new dry, chemical-free, photofinishing.

The ASK-4000 makes prints up to 8 x 12" inches and delivers an 8 x 10" in only 40 seconds. The ASK-2500 makes prints up to 5 x 7" and produces 6 x 4s in under 7 seconds each, making 600 prints from one loading of economical dye sublimation media. The star for independent photographers is the QPS shown, based on the ASK-300 at less than £1,500+VAT, which makes prints up to 8 x 6 (300 6 x 4s per hour) and is so small you can transport it to events. The touch screen terminal system incorporated in this boosts sales as customers choose photo after photo themselves to output!

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The Photography Show March 1st-4th NEC Birmingham www.photographyshow.com Pre Register for Free Entry for professionals and trade

Tel: 01234 572138 email: photoimaging@fuji.co.uk web: www.fujifilm.co.uk

The new X-E2 kit and acclaimed 14mm ƒ/2.8 superwide, right.

L Long llenses are not off limits for mirrorless systems! The new Fujinon XC 50-230mm ƒ3.5-6.3 gives you all the stabilised reach you need.

Fujifilm’s Finepix X series cameras are taking over the mirrorless compact system world, with a full range of bodies from the tiny X-A1 to the now classic professional grade X-Pro1, and a constantly expanding roadmap of unbeatable Fujinon lenses. Alongside these the X20 and X100S with fixed zoom or prime lenses stand out as stand-alone photographic companions. The latest pocketable X-Q1 puts the X20’s sensor and quality into a family and fashion friendly deluxe design with optional real leather case.

See the Epson 24" T3000 wide format printer at Spring Fair. Faster print times and more competitively priced than other models this 4-colour printer can also print direct from a digital scanner. Bundled with Fujifilm’s Easy Studio Print RIP you can create an impressive range of profitable products from POS to pop up banners and so much more.

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Winter 2014

The Editor / Comment 2 How you choose a wedding photographer Cover story / Tim Flach 6 What is it about Tim Flach?

Delve into the success, the obvious genius and the philosophising of one the great names of a generation

Agent Morgan 20 Feeling brave? You need to be if you’re thinking about approaching an agent. Charlotte Morgan talks the dos and don’ts and the role of a good photographers’ agent (pic © Timothy Hogan)

The Photography Show 34 The new exhibition opens its doors for the first time. Get the low-down on the main attractions the Photographer is published four times a year by the British Institute of Professional Photography, The Coach House, The Firs, High Street, Whitchurch, Aylesbury HP22 4SJ. T: 01296 642020 E: info@bipp.com W: www.bipp.com President: Roy Meiklejon FBIPP Chief Executive: Chris Harper FBIPP Directors: Russell Baston Hon FBIPP, Kevin Pengelly FBIPP, Graham Rutherford FBIPP, Frank Tomlinson FBIPP

Membership Services Advisory Board Suzi Allen LBIPP (South West) Russell Baston Hon FBIPP (National seat) Tony Freeman Hon FBIPP (National seat) Richard Mayfield FBIPP (Yorkshire) Alan McEwan Hon FBIPP (Scotland) Ian Pedlow LBIPP (Northern Ireland) Kevin Pengelly FBIPP (South East) James Russell LBIPP (North West) Graham Rutherford FBIPP (National seat) Malcolm Sales ABIPP (Midlands)

BIPP Awards 2013 38 Paul Coghlin scooped the main prize of Photographer of the Year – we talk to him about the new work and round up a selection of the other successful photographers

BIPP / News from the Institute 54 Company partners, benefits, honorary fellowships, events coming up across the UK and major qualifications news Business / Conditions 62 Want to avoid the cold shudder of horror when business turns sour?

Frank Tomlinson FBIPP (National seat) Kevin Weatherly LBIPP (North East) Bella West FBIPP (National seat) Stuart Wood FBIPP (National seat) Editor: Jonathan Briggs, editor@bipp.com Advertising: Tel 01296 642020 Email: media@bipp.com UK Subscribers £20, EU £40, Rest of the World £50 ISSN: 0031-8698 Printed and bound by Magazine Printing Company, Enfield

Neither the British Institute of Professional Photography (BIPP) nor any of its employees, members, contractors or agents accepts any responsibility whatsoever for loss of or damage to photographs, illustrations or manuscripts or any other material submitted, howsoever caused. The views expressed in this magazine are the views of individual contributors and do not necessarily represent the views of the BIPP. All advertisements are accepted and all editorial matter published in good faith. The Publisher makes no warranty, express or implied, that any particular product or service is available at the time of publication or at any given price. No part of this publication may be reproduced by any means whatsoever, or stored in a retrieval system, or broadcast, published or exhibited without the prior permission of the publisher. This magazine is the copyright of the BIPP without prejudice to the right of contributors and photographers as defined in the Copyright, Designs and Patents Act 1988. All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2014

Winter 2014 / the PHOTOGRAPHER 1

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The editor / Comment

The winter wedding P

lease note: this is no vanity project but a very serious article about a couple with a reasonable wedding budget (I’d point out I no longer have budget available for anything else) came to make the tricky decision of whom should photograph their wedding. The situation was made all the more difficult by the groom being

Not usually into requests, but here we (myself and the new Mrs Briggs) succumb to the pressure and give you some pictures from our December wedding – on the premise of explaining how we came to select our photographer… myself and obviously I know plenty of photographers and count them as my friends. But I was clear – no mates, no mates’ rates… we’d look around, make a shortlist, trim it down

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All images © Arty Weddings for Jonathan & Lisa Briggs

The editor / Comment

and see a few in person just as anyone else would. There were some lingering worries… ours was not the average wedding in terms of practicalities: it was taking place in December and hence would likely be raining and cold; and admittedly I am very hard to please when it comes to (a) photographs and (b) photographs of me.

Planning is everything of course, but when a crate – no less – of wedding magazines appeared in the hallway (it seems it’s quite the done thing that back issues are passed around friends) I did realise that all decisions would be joint at best. On reading a budget planner in one such mag I was informed that we were supposed to buy the bridesmaids’ lingerie! No way! What kind of fool do these publishers take me for? We had four…

Now admittedly my wife is younger than me, but I was momentarily surprised that for photographers the first point of call was blogs – either those written by brides or

those written by photographers. And the key links were our venue and the time of year. So at the risk of annoying anyone, I will say that all those costly display ads in wedding magazines really counted for nothing.

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All images © Arty Weddings for Jonathan & Lisa Briggs

The editor / Comment

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So we were quickly looking for a photographer who had done a wedding at our venue before, preferably at or around the same time of year. Through a mix of social media and blogs found by a simple google search we were able to view many weddings that matched up, and actually ended up looking at many that didn’t too. Easy.

Our run-in period from engagement to wedding was about seven months – not the longest, but not the shortest either. And long enough for us to have been to a few friends’ weddings in the meantime, forming pretty strong opinions about what we didn’t like.

From talking to friends since, this is very common ground and it yielded some pointers. We didn’t like: being ordered around; the bride and groom being carted off for ages away from their guests; cringe-worthy sentimentalism; any use of photoshop filters and/or vignettes; or feeling like there was a camera on you all the time. Hence we were ready to get into the shortlist.

At this stage price came into it, and whether it seemed good value in relation to the price. We also got a good sense from photographers’ websites and blogs as to whether they were likely to listen to us or not, and that was crucial. Then came some initial email enquiries regarding availability and it might also take photographers by surprise just how much of an impression a first email can make – it’s not something to be bashed out in any kind of hurry.

One of the few we saw face to face was Dean Robson who goes by the business name Arty Weddings. I’d noted he had

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All images © Arty Weddings for Jonathan & Lisa Briggs

The editor / Comment

a BIPP qualification and when he came around to see us he listened carefully when we said we didn’t want much pre-venue stuff (I especially didn’t want pictures of me and my best man putting our trousers on…) and didn’t flinch when we explained that our wedding dance would be a full-on ballroom extravaganza. He showed us books but we’d already decided he took great shots from the websites and blogs. He got the gig. On the day he picked up the feel of the occasion; he got a huge cheer from our guests when I thanked him in my speech; and he got the all-important picture of the lift (above). Full marks!

Jonathan Briggs, editor

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Deeper understanding Whereas many photographers divide opinion, court controversy or find only fleeting fame, Tim Flach is one of the most enduring names in modern photography – and yet somehow he remains a little bit of a mystery

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he fact of the matter is, there’s something about Tim Flach. For the moment at least let’s put to one side his worldwide fame, his immensely successful 30-year career, and his instantly recognisable photographic identity… and talk a little about the man himself.

It’s not particularly easy, writing a piece about Tim – simply because of the aforementioned attributes, and the trail of pre-existing media that’s available to all and sundry. Oh, and there’s his books, too. So in the face of all this there’s only one solution and that’s to arrange a visit to his studio, and hopefully get a bit of lunch. With any luck I might manage to have a really long chat. Not, as it turns out, that I was necessarily in search of direct quotes – more it was a mission to just remind myself what Tim’s all about since I hadn’t seen him properly for a few years. Words in articles are often bandied about these days almost as fillers, without much recourse to their meaning, but if there’s one noun that

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Image © Tim Flach

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is an accurate description of Tim Flach in the minds of both the public and the photographic world it’s ‘enigma’. And I don’t honestly think that Tim would mind me saying that there’s plenty of people – journalists and photographers alike – who still feel that way even after spending time with him. You see Tim Flach must be described as an

intellectual, willing to immerse himself in concepts that the majority of people in the wider world just don’t have time for or just can’t understand.

What is absolutely unique with Tim is that such philosophising, and perhaps introspection, is the foundation, the hardcore driving force behind a catalogue of imagery that somehow communicates an almost dream-like level of beauty and emotion to the world. Tim’s work is all-encompassing in its appeal.

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‘Tim Flach must be described as an intellectual, willing to immerse himself in concepts that the majority of people in the wider world just don’t have time for or just can’t understand.’

It’s not divisive, nor elitist. Often, it’s just astonishing. You can buy a print costing many thousands of pounds, or you can buy a book that doesn’t; he makes very lovely birthday cards for his friends and family (imagine!); and his cats snooze the days away curled up on his desk. Through his imagery he’s very public and simultaneously very

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Image © Tim Flach

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private. He’s enormously modest and accommodating, and all the same quite difficult to get a handle on. In a way, this little journo anecdote I stumbled upon sums things up – Katherine Anker from Professional Photographer magazine last March gushed: ‘I have a confession to make: I’ve got a massive photo­ graphy crush on Tim Flach. Why do Tim’s images make me feel so touched,

almost as if I’ve personally bonded with the animals in the pictures? Is Tim an “animal-whisperer”… or am I just imagining things, blinded by my raging infatuation with the work of this remarkable artist?’ I don’t reckon that Katherine, in reality, just had a photography crush either [wink]… And why not? Tim’s looking really good for a man a couple of months short of his 56th birthday – face to face he’d pass for early 40s – and he’s been more than once described by adoring, blushing females as the ‘Peter Pan’ of photography, forever adventuring

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Image © Tim Flach

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in the animal kingdom using his special powers to get pictures no other can.

But before Tim or any of his team decide to veto this article before it appears, I better move on…

In conversation, Tim resists the notion that he’s long been a photographer with a master plan, instead insisting that he has photographed subjects as a result of a genuine wish to explore

some key themes – the understanding of which is hence key to the understanding of Tim the photographer and the man. He says he had no idea that his career would inhabit a world where fine art photography would come to carry such artistic and monetary value, and hold such influence over the applied arts (eg advertising photography). His training at North East London Poly in communications design followed by the much more lofty-sounding photography and painted structures at Saint Martin’s School of Art certainly set him up to be

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Image © Tim Flach

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the right man in the right place at the right time, but let’s not forget that Tim’s career didn’t just set out on a fine art road trip. His applied art (ie commissioned) client list is long and impressive including all the obvious Sunday magazines here and in the US, plus global brands as everyday as Gore Tex. This leads us to pick upon two questions: how does (or can) the

commercial career co-exist with the fine art profile; and did producing rights managed stock photography help him get out of bed every morning? The latter is not meant as a glib question at all – over the past three decades Tim has arguably been the author of some of the most outstanding images ever to be licensed by Getty Images. In fact, producing fine art work that goes on to sell prints in perpetuity has a great deal in common with producing a really excellent stock catalogue – it’s selfinitiated, requires distinct commercial understanding,

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Image © Tim Flach

‘[Tim] and his assistant were having a bit of a game keeping a load of mice under control. They kept escaping and weren’t too interested in the cheese they were supposed to be nibbling on.’

vast reserves of creativity and the ability to think ahead of the curve.

Back in the day – probably the early 2000s – I recall dropping in on Tim at the same Shoreditch studio he still inhabits, to see if I could borrow a projector or some such nonsense. Him and his assistant were having a bit of a game keeping a load of mice under control.

They kept escaping and weren’t too

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interested in the cheese they were supposed to be nibbling on. You see this was a little side project that could be roughly described as follows: ‘Work out what RM stock images are yet to be done really well and when there’s some down time from commissions and personal projects, do it how it absolutely should be done.’ Tim was calm as anything, lavishing just as much visual care and attention, thought and creativity as any other commission or personal project would receive, and I remember being mighty impressed. Tim in the past has said: ‘I’m interested by the juxtaposition of chaos and control. By that I mean when I set up a photographic shoot using animals in a studio environment I am bringing an unexpected element into a controlled situation. In doing this I become an observer to the unpredictable events that unfold in front of my lens. And in another way, I want to explore people’s tendency to superimpose “human” characteristics and emotions onto animals, to anthropomorphise the animal.’ So, you understand now – some would just take pictures of animals, but for Tim it’s a much deeper experience and understanding – it’s this that makes his work so special. But all the same, Tim says simply: ‘You never know what’s going to happen with animals – that’s what makes it so exciting.’

Explore the elements of Tim’s world and work and you’ll immediately crash head-long into three key concepts: abstraction – the process of considering something independently of its associations or attributes; anthropomorphism – the attribution of human form or other characteristics to anything other than a human being; and anthropocentrism – the belief that human beings are the central or most significant species on the planet (in the sense that they are considered to have a moral status or value higher than that of other animals). In ‘Living Sculptures’, Victor by Hasselblad, Tim’s photographic style is described as ‘the perfect antithesis to anthropomorphism’, but it’s quite hard to judge overall where Tim stands in relation to these concepts. It could be said that his images in all their beauty are quite simply presented to us as newly refined ways of seeing natural form, to challenge us to enter the world of these questions – to elevate our thinking. Tim comments: ‘The animal subjects are mechanisms to question how we interpret images, and so to question our relationship to animals within the context of ethics, history, science and politics. I believe that we must be open to new ways of seeing, to understand and to explore our environment.’

Of course, Tim does use top-end equipment to help him ask such big-time questions through imagery and ‘the gear’ does have a serious

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Image © Tim Flach

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part to play in the end results that are so admired. A long-time Hasselblad user and early adopter of mediumformat digital, the creative advantage is the high flash sync speed that mediumformat digital allows. Compared to 35mm D-SLRs that will most likely run 1/200th or 1/250th sec flash sync shutter speed, the Hasselblad H4D for example can flash sync with all available

shutter speeds, therefore topping out at 1/800th sec.

Coupled with the leaf shutter built into the ’blad lenses it means there’s the biggest range of creative choices available to control ambient light and studio flash – leaf shutter lenses change the potential to compete with ambient light – the high sync speed allows ambient light to be reduced by means of a fast shutter speed whilst fast flash durations and a sensor capable of capturing it all bring the trademark texture and detail. It’s also worth noting Tim’s willingness to take a medium-format based

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See lots more at: www.timflach.com

four-light set-up out on location, be that Africa or wherever in the world.

The big ‘what came first’ question, then, remains for us to answer. Yes commissions – commercial work – were the beginning of it all but then again it would be wrong to assume that personal fine art projects were a direct lead-on from the applied art base. You can’t claim that the latter couldn’t have existed without the commercial preceding it. Moreover, it would be fair comment to suggest the über-creative mind of Tim Flach can essentially turn itself any which way. He chose the medium of photography and has expressed it most publicly in the fine art world and has no doubt created his ultimate long-lasting legacy in the realm of limited edition print sales that themselves become collectors items. His work is without geographical boundaries, without language barriers, crosses cultures and

traditions with ease and so Tim’s fine art will therefore be the genre he’s remembered for. Again, he’d admit that once the potential became apparent, he sought to develop it – and that leads us to another cornerstone of Tim’s success: he’s very commercially focused and has an amazing work ethic. He’s one of the first ‘name’ photographers from the west to get a serious standing in Asia during the course of a working career for example – and that hasn’t happened by accident, but is the result of masses of time, energy and dogged persistence.

Tim’s success may not be the enactment of a big plan, but nor is it any kind of accident. tP

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No shrinking violet Building a successful business as a photographers’ agent takes determination, vision and a big personality – qualities that Charlotte Morgan of Morgan Lockyer has in spades. We discuss the role of an agent and the state of the industry

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tart talking about photographers’ agents and there’s a couple of things that will come up straight away. First, they are a breed apart. It takes a particular kind of person to make a great salesperson and therefore it takes a pretty damn good salesperson to successfully pitch a roster of photographic talent at the ‘top’ end of the imagery marketplace. The skill set, or the psychological profile, required is specific and cannot be faked. Hence, if you think that you could do with being represented, take a deep, deep breath and prepare yourself for the commercial truth about your work being returned to you forthwith. Approaching an agent can be a blood-bath for the photographer with narcissist tendencies. You see, an agent doesn’t have any interest in massaging your ego or gently mopping your brow when you think you’ve had a hard day even though you only got out of bed at 10am. Which brings us neatly to the second point – what does an agent actually do?

They represent you commercially in return for a cut of your resulting success. If you’re not going to create much of a return, then you’re not worthy of being on the roster. If you lack get up and go, you won’t make it, and if you’re not exactly what they’re looking for right at that moment then you won’t get on either.

An agent sells you, they get you commissions, and crucially it’s in their interest to get the best deal for both of you out of any client – short term, medium term and in the long run.

TIMOTHY HOGAN An award-winning still life photographer, speaker and teacher based in Venice, Calif, Timothy is known for his keen observational eye and simplistic approach to drawing spirit out of even the most minimal of subjects. His work is guided by intuition, inspired by simplicity and executed with precision and humanity. Hogan has shot for an array of brands, advertising agencies and media outlets including Budweiser, Courvoisier, Miller-Coors, Jose Cuervo, Nike, Neiman Marcus, Target, Chanel, Calvin Klein, Vanity Fair and Vogue amongst many others.

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Image © Shinichi Maruyama

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Sounds appealing, doesn’t it? Oh yes…

Imagine, someone takes over all that stuff you hate doing, all those emails and rigmarole you so despise. Many photographers have this view of agent representation and up to a point it’s right: sales, marketing, contacts, project management, client liaison and negotiation. An agent with a really good

‘black book’ of the industry is a powerful thing and since there are ever-more photographers out in play it stands to reason that agents are getting more and more approaches from photographers eager to get on their particular bandwagon.

Charlotte Morgan is the driving force, the personality and sun-like ball of energy behind Morgan Lockyer – one of London’s most respected and successful photographers agents. The agency was started in

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SHINICHI MARUYAMA Shinichi Maruyama started his professional career in Tokyo in 1993, ten years later relocating his studio to New York City in search of more global opportunities.

Specialising in splashing and energetic movements within shots, Maruyama has become highly sought after for his expertise in this field expanding his career into Europe in 2005.

He has been involved in many worldwide advertising campaigns utilising his expertise in ice and liquids and specialising in movement in his works. Years of lighting research and advances in retouching have made it easy to have a strong idea of exactly how a photo will look even before the shoot begins, but in photographing liquids and subjects in movement, it is impossible to foresee what the end result will be, and it is this spontaneity that enables Maruyama to have more fun creating his work.

‘Imagine, someone takes over all that stuff you hate doing, all those emails and rigmarole you so despise. Many have this view of agent representation and up to a point it’s right.’

2002 by Charlotte with Sonja Lockyer, but is now Charlotte’s personal ‘dictatorship’ as she respectfully puts it after Sonja opted out to teach Yoga in the South of France. The contrast is vivid – if you want to understand the life and times of a photographer’s agent just imagine something as far detached from Yoga as humanly possible and you’ll be

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Images this page © Seamus Ryan

SEAMUS RYAN His studio, situated in the heart of Columbia Road Flower Market, has become home to a unique series of projects, the well-documented Sunday Shoots being the foremost, involving members of the public and people from all walks of life. On selected Sundays hundreds of people happily participate in these free shoots, which aim to explore the many possibilities of portraiture. Described as a form of ‘photo theatre’, Sunday Shoots are a celebration of the craft of photography and the diversity of all people. Seamus’ easy Irish charm and his strong lighting skills calm even the most nervous subject, with results that capture a person with both warmth and integrity.

It has been said of Seamus that he is ‘the people’s photographer’, a rapidly developing reputation that is both well-deserved and hard won.

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right on the money. It’s a tough job, hence the special kind of person required. Charlotte has a current roster of 13 photographers who between them cover the range of commercial photographic genres. Shown here there’s Iain Crawford’s hair and beauty work; Johanna Parkin’s still life; Seamus Ryan’s portraiture; and Timothy Hogan’s particularly specialist food and drinks work.

What ties these four and the other nine together is that they’re advertising related, even when we’re talking Jason Hawkes’ aerial photography. The advertising end of commercial photography is more generally ‘repped’ simply because we’re talking bigger projects and so bigger budgets need a wider team and a more differentiated set of skills. Obviously, in this sector there’s going to be scope for the agent’s cut to make commercial sense.

Whilst the extent differs between agents, project management, logistics and all, can be a big part of the game too. The agent’s raison d’être is to get the job, get it set up and hence let the photographer get on with the delivery.

The relationship can bring out the best in a photographer.

Charlotte says: ‘My relationship with the photographers is clearly focused on delivering the best, and it works both ways. It’s in our interest to bring in top-quality work, and

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deliver top-quality results – that leads to long-term client relationships and everyone’s happy.’

It’s perhaps this ‘perfect circle’ that leads to the common notion that you need a good agent to actually have access to the top commercial work out there. Charlotte would naturally agree: ‘There is truth in that idea.

I’ve effectively been developing my contact base and my reputation not just over the last decade or more of representing top photographic talent, but also during my modelling career that came before. I moved into the agent role at the suggestion of a photographer I was working with at the time.’ So you might say that the agent role chose Charlotte and her name and reputation is a gateway to a client base

that an individual photo­ grapher certainly couldn’t easily access from outside. And if anyone thinks they can cut the mustard with an average D-SLR, think again too: ‘All advertising clients will have numerous different uses and media requirements for a campaign. We have to cover off all of them from billboard to web. It can sometimes shock even me how much top photographers have to invest in equipment, but the simple fact is that if you want to be in the game you have to be able to deliver for every demand.’ That will generally mean medium-format digital.

However, there are actually over 100 photographers agents in London alone. That’s a lot and some quarters these days are suggesting that the access they provide is to a world that’s itself diminishing. On some levels at least, companies – some quite large – are commissioning

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IAIN CRAWFORD (previous spread)

JOHANNA PARKIN (right)

Iain worked as an account handler for Saatchi and Saatchi but left to pursue his photographic career.

After spending several years living and working in New York he is now based back in London but continues to work internationally. Iain’s career has led him to shoot campaigns for many of the world’s top brands such as Lancome, Max Factor, Proctor & Gamble, Wella, L’Oreal, Siemens and many more.

He has received commissions from a host of top international magazines such as Harpers Bazaar, Marie Claire, Esquire and The Sunday Times.

Johanna works from her studio in North London, creating stylised food photography, and bringing ordinary objects to life. With her crafted and meticulous approach to lighting and composition she loves to create beautiful, captivating and quirky images with delicate precision. Johanna has been recognised in a number of industry awards, recently winning Consumer Press Campaign of the Year in The 2012 Grocer Awards. She has enjoyed a successful commercial career shooting for advertising and editorial clients including Mr Kipling, Volkswagen, Proctor & Gamble, Nestle, Epson, Ferrero Rocher, Sisley, Boots, The Guardian and The Times.

g photographers direct, and by that we

mean missing out the advertising agencies. Photographers agents have tended to operate via ad agencies rather than direct to client and if that particular pie is shrinking then it’s a problem. Charlotte provides her perspective: ‘Anyone who claims otherwise is pretty deluded – the whole world has been in recession and it’s clearly had an impact on the volume of work going through the ad agencies. There have been quieter times, but it’s an ebb and flow that comes to every sector and every business. I feel that we’re back on an upward curve, but only the most pro-active and well-connected agents and photographers will do well.

There’s no room for complacency.

‘If the market is shifting, the role hasn’t changed – photographers don’t always understand how to do business having concentrated on visuals, creativity and the practical application of a craft. They’re often really amazing problem solvers on that practical hands-on

level in the studio but when faced with problem solving in business administration and negotiating a commission, maybe not so effective. Sometimes I have to be really firm with a client; sometimes I have to be flexible; sometimes I’m a negotiator the UN would be proud of.

But all of these faces are part of a plan and is what I’m doing every day. Photographers are far more likely to roll over when a client puts the pressure on, or try to strongarm when the time isn’t right. The agent’s art is subtle.’

At times, there’s not a whole lot of subtlety about photographers’ own approaches to agents. Charlotte explains: ‘Yes, I get a lot of emails and I make sure every single one gets a reply that’s constructive. Some are very under-prepared and it’s straightforward, others more borderline as to whether they’re ready in their own careers. However, this side of the industry is really powered by word of mouth. I will be looking around for certain styles that I want to add to the roster and will be getting leads from my own network. Much of my activity will be driven by the kinds of styles of work that ad agencies are demanding. I have to spend a lot of time trying to be ahead of the fashion curve. It could be as simple as my seeing an image on a website and after further investigation they’re right for an approach. Another route is through awards and competitions of course and

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See lots more at: morganlockyer.com

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from that perspective it’s obviously good for a photographer to get their work seen by as wide an audience as possible. However, it’s more likely that I will find a photographer through personal contacts and networks than the relationship begin with a direct photographer approach. It’s not unheard of, but less likely.’ Charlotte explains how she came into contact with some of the photographers she represents: ‘Timothy Hogan came to visit us on a trip to London from New York – we were bowled over by his enthusiasm and couldn’t let an American who understood irony get away… In contrast we found Kate Abbey on the AOP website, called her up and asked her to join us. Simple! But then by contrast I’ve known Iain Crawford for years – I hadn’t felt I was the right agent for him before but one day it all clicked into place and we’ve had a great time working together ever since. I went to one of Seamus Ryan’s Sunday Shoots – his repartee with people is incredible… charm of the Irish I guess and it did it for me.’

It might sound to some like we’re a stuck record, but this all says a great deal about the importance of personal work. The more new (high-quality) work a photographer is producing, the greater chance of being seen and/ or mentioned by clients, ad agencies and so on. If you’re sitting doing nothing, resting on past work then there’s no chance. Charlotte comments: ‘Personal projects keep a photographer’s book fresh, keeps their attitude healthy and obviously means there’s new content in circulation. If you’re wanting to find representation then it’s also massively important to show that you’re up for challenges and can initiate projects individually. For the agent-photographer relationship to work, motivation is key – and I can’t be worrying whether you have it or not. It’s a partnership and this side has to be a given.’

But neither is it unusual for agents to play an almost therapist role at times. Charlotte’s vivacious personality is matched by her interest in everything. You would expect her to know everyone she passes in the street but would also note that she listens as well as she gives the

spiel. It would make sense that the best agents are damn good listeners since the devil is often in the detail of big projects, difficult negotiations, and endless revisions. The lasting impression of Charlotte is one of a well-balanced and very big personality.

The path to Morgan Lockyer has been no straight road, however: Charlotte originally intended to become a surgeon but left medical school to model and would work for Burberry and Jaeger during a successful career.

In 1993 she started representing fashion photographers. After her husband was killed in a mid-air collision over Essex she launched Morgan Lockyer specifically so she could give her children the education to be anything they wanted to be. You’ll have noticed by now that Charlotte’s no shrinking violet and she also threw herself into extreme sports, fast motorbikes, and earned the nickname ‘muddy’ from her children for trying to be both ‘mummy’ and ‘daddy’.

In classic style, Charlotte commissioned the services of her two young children to find the new father figure they’d told her in no uncertain terms they needed by giving them her laptop and saying of a dating website ‘This is a daddy shop. Pick one.’ Charlotte lives in the countryside with her now husband, three children, dog, cat, gecko, two snakes and 19 pet ducks.. Eccentric?

Just a little… Successful? Morgan Lockyer counts just about every major worldwide advertising agency amongst its clients. tP

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The Photography Show

Time to gear up T

imes they do change, and it took many by surprise when Mary Walker hung up her wonderful designer outfits and decided she’d walk the floors of the NEC no more. Many, including myself, who knew her well were very sad – you see it was the end of an era; Mary was the last real character left from a time when everyone in the industry knew everyone else. She was marvellously eccentric – at once shrewd and businesslike, kind and caring. She drove a Porsche 911 and I loved that.

At the time of writing, we’re just over six weeks out from the moment that The Photography Show opens its doors for the very first time. I’m fairly sure I’ll be there in a working capacity one way or another but obviously the big,

Where would we all be without an annual photography exhibition to get excited about as Spring approached? As Focus on Imaging waved farewell last year, Future launched into the breach with the not very imaginatively titled The Photography Show. Does what it says on the tin? The fact is there’s a lot to prove in this well-matured marketplace big question is will it attract the same kind of audience – both in terms of make-up and quantity – that its predecessor did?

Hmmm, 35,000 people is, erm, a lot to match up to.

So what is there at The Photography Show for us to get off our collective backsides and up or down to Birmingham for? Here is a run-down of the main highlights for professional photographers, along with some speculation – and it really is that – about some of the product developments that just might show their faces at the event.

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The Photography Show

The super stage Photography icons will be telling their tall tales and inspiring stories relating to their most famous images.

Rankin, Magnum’s Steve McCurry, photojournalist Joe McNally, Terry O’Neill and Colin Prior are all appearing at the show. Seats are limited for the super stage and cost £10.

Professional Photographers’ Conference The Professional Photographers Conference, in association with the

Portfolio reviews with BIPP Of course, the BIPP will be there! Use the opportunity to receive one-to-one advice on your work from

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Special show offers and prices Retailers Calumet, Camera World and London Camera Exchange will be pushing offers on entry level compacts and D-SLRs all the way to top-line professional systems, plus a huge range of accessories. It’ll be interesting to see just how great the offers are compared to what can be commonly found on the web from the likes of Wex Photographic, who aren’t on the exhibitor list at time of writing.

PMA, will offer tips and advice on how to enhance your business and stay competitive in today’s market. With an opening keynote from Joe McNally, the conference takes place on 3 March and each session costs £10. Speakers are Lionel Cherruault with ‘You can’t call yourself a photographer until...’; Brett Harkness’ ‘There’s a lot more to it than taking photos...’; and James Chandler’s ‘It’s your image – handle with care’. There’s additionally a special ‘Schools and Event Photographers: Amplify your photo business with intelligent technology’ session.

Leading brands displaying their latest kit A diverse selection of exhibitors will allow you to test and compare the latest cameras and accessories to hit the market. Canon, Nikon, Panasonic, Hasselblad, Olympus, Manfrotto, Sigma, Graphistudio and more besides are exhibiting. The exhibitor list is amazingly close to that of Focus days, but with Panasonic and Pentax making a return, plus interestingly G-Technology, the go-to hard drive manufacturer for many, putting in an appearance.

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The Photography Show

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experienced Approved Assessors. By attending a BIPP review you will gain an understanding of what to prepare for your qualification portfolio submission, how long the process might take and the best way to develop your work.

IMPORTANT INFORMATION

Beat the crowds Professionals can enjoy the show without the crowds with special opening hours – just don’t complain it’s not very busy! On Monday 3rd and Tuesday 4th March the show will open for trade only visitors for an hour from 9am. At least you’ll get a bit of a head start…

• Super stage £10 per session

Bowens’ Pro and Retailer Lounge Relax, catch up on some work or meet with colleagues in Bowens’ private trade lounge. As a professional photographer there is often little opportunity to meet and network with peers. Networking drinks for pros will be taking place on Monday 3rd March so come and share ideas and catch up with fellow professionals.

Konstruktor workshops You’re expert at taking photos but have you ever built your own camera? Now’s your chance with the world’s first DIY SLR, brought to you by Lomography.

Join Lomography’s workshop and take your analogue experience to the extreme by building your very own camera from scratch – the very first DIY SLR camera in the world! They’re talking multiple exposures, long exposures and experimenting on 35mm film. Learn about camera mechanics, get step-by-step guidance to building your camera, tips and tricks on the cool

• 1st to 4th March 2014 • Free entry for professional photographers via photographyshow.com

• Professional Photographers Conference £10 per session • DIY Framing Workshops £20 per session • Konstruktor Workshop £35 per session (camera included) functions of shooting on film and... take the camera home with you! Workshop costs £35 and places are limited.

DIY mounting workshops Brought to you by the UK School of Framing, these practical workshops will bring you the skills you need to mount your own work, along with professional tips on creating attractive frame combinations, or even running your own framing operation. If you have ever wanted to frame your own work then this is a great opportunity to find out exactly how and what you need to get started. Workshops are hourly across all show days, cost £20 per session.

Flower garden Explore the seasons and battle the elements while showing off your macro and garden photography skills. Hosted by International Garden Photographer of the Year and complete with a wind machine, bring your macro lens and learn the perfect techniques for nature and macro photography.

Live stage Photographers rarely have time to take photos for fun, so take some time for yourself and enjoy capturing some images of unusual subjects. Enjoy step-by-step advice from a professional on how to take great images of unusual subjects.

Stormtroopers, Bollywood dancers and a classic car are just a taster of what they have planned.

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The Photography Show

Studio sessions Perfect your skills in intimate sessions discussing a range of techniques covering Adobe Photoshop and Lightroom. Join professional photographers in discussing approaches – perfect for brushing up on your skills.

Catwalk Last but not least… Fellow professionals talk you through portrait and fashion displays and how you can take your creativity to new levels. Here’s your opportunity to get up close and personal with fashion, portrait and wedding photography.

There’s some head-turning stuff planned for the show so have your camera at the ready!

What to expect from the big two brands There’s currently talk about supply shortages for the Canon 7D around Europe and that is usually the pointer for a Mk II to finally be on its way. Word on the street is that the combination of the Winter Olympics and Japan’s Camera and Photo Imaging Show in February will be the stage where Canon hits us with the new 7D, supposedly boasting 20+ megapixels and focusing on speed, autofocus and ISO deveopments. Will it be ready in time for The Photography Show? Extremely doubtful.

On the Nikon front, the major expected release is the rumored Nikon D4s. Again it’s likely this won’t make it until

CP+ in Japan but the probable camera specifications are already in the public domain. The 16MP sensor will remain unchanged but there’ll be a higher fps rate and improved autofocus, low light performance and video. Nikon described the D4s in their own press release as coming with enhanced image quality, new image-processing engine and more advanced autofocusing performance.

At the giant CES tech show in Las Vagas recently, Nikon did the 64-camera array set-up again, similar to that on show at Focus last year. This time they created a 3D composite of a person and stuck it in a video game. Expect something similar no doubt at The Photography Show.

Six weeks out, there’s very little information on what the main exhibitors are planning for their own stands, so you’ll need to keep a check on the website for more information. www.photographyshow.com

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Images this spread © Paul Coghlin

BIPP Awards 2013 Paul Coghlin, FBIPP Gold, Portfolio – Equilibrium

The BIPP held a celebration of professional photography at Buckinghamshire’s Hartwell House on 4 December 2013. Highlighting the international Professional Photography Awards and the exceptional images seen throughout the year in BIPP photographic qualifications, plus the south east regional award winners, the event culminated in the presentation of the BIPP Photographer of the Year 2013 and the Peter Grugeon Best Fellowship Award 2013.

BIPP PHOTOGRAPHER OF THE YEAR 2013 Paul Coghlin is a professional photographer based in Suffolk. After a career in technical and science-based posts for over 20 years – including receiving a BSc (Hons) in Environmental Science from Plymouth University and a Post-Graduate Diploma in Remote Sensing (a branch of Photogrammetry) from UCL – he started making the move to professional photography nearly five years ago, turning a life-long passion into a career. Initially part-time, he became a full-time photographer in 2011.

He joined the BIPP in 2008, gaining his Licentiateship the same year. This was followed by an Associateship in 2010, and he received his Fellowship in 2012.

Although fine-art photography is Paul’s main career aim, he also works in the areas of event and portrait photography. The former includes regular clients in the orchestral world, where he documents educational concerts featuring top UK orchestras at locations around the country.

Paul’s fine-art photography covers a wide range of topics, especially those from the natural world: from animal portraits, to botanical studies, to seascapes and beyond. He is particularly interested in texture and symmetry and applies a distinctive style and characteristic attention to detail to all of his images.

He has been the recipient of many prestigious international awards, including this the second time of receiving the BIPP’s Photographer of the Year, as well as gaining the Peter Grugeon Award for best Associateship panel in 2010.

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BIPP / Awards 2013

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Paul has also received awards from PX3 in Paris, the International Photo Awards in New York, and B+W Photography Magazine.

His work regularly appears in publications and exhibitions and he is represented by the prestigious Weston Gallery in Carmel, California – the family gallery of Edward Weston. Locally, his work is represented by Sea Pictures Gallery, in Clare, Suffolk – a fine-art gallery specialising in marine art – and this

series ‘Equilibrium’ will feature in a group show there throughout February.

Paul has been taking minimalistic seascapes for a number of years and about 18 months ago started to look for alternative approaches to this genre, since this style of photography has become very widespread. He also wanted to explore the idea of including subtle colour, rather than the photographs being totally monochrome.

Paul says: ‘Tying in with my interests in fine detail and symmetry in photographs, I began to work on a new series of images and looked for coastal man-made objects that offered balance and symmetry, visiting various locations in the UK and Canada. I was also intrigued by the idea of having the object isolated in the sea, and so it was essential that the subjects had the appropriate shape and structure.

‘Once I found the right type of subject, I also needed to synchronise the trip with

the appropriate weather, tides and lighting conditions, so that each image was created in camera as far as possible, to keep postproduction work to a minimum. The vast majority of the many images taken were digital, using a Nikon D300, with only a few on 120 film using a heavy Mamiya RB67 Pro SD camera due to not only the on-going problem of reciprocity failure with most colour films, but also that any successful film frames would have to be scanned so adding to cost.’

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So how does this work sit with Paul’s other recent work? He says: ‘Although “Equilibrium” appears, on the face of it, to be radically different from the animal portrait series “Behind The Eyes” or the botanical “Petalum”, they all share common features: symmetry and detail.

I feel, though, that “Equilibrium” has pushed my creative abilities further, almost into the surreal, and this is an interesting area to continue to work on.

‘I’m planning to continue working on the “Equilibrium” series and expand it further, using the new 36Mp Nikon D800E, which is almost weightless compared to the old Mamiya RB67, plus it allows for larger prints for the US market. I’m also considering a follow-up colour series to the floral “Petalum” images, but I have a pile of ideas for projects, most of which won’t see the light of day, but some might work out. That’s the way it is!

Image © Annemarie Farley

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Annemarie Farley, FBIPP Silver, Portfolio – Opulent Cosmos ‘These images were taken the day before they were entered!’ says Annemarie.

‘I had been photographing a dark red dahlia against a dark red/green graduated back ground (concentrating on the centre detail of the flower and the contrasting colours). I was pleased with the results so as I was preparing these images for the BIPP awards but then decided to reshoot the set of images with a chocolate cosmos instead (as it has more detail and was darker in colour). In post production I decided to

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BIPP / Awards 2013

alter the colours probably because I had been researching some of Nick Knights’ fashion images several days before; I have always admired his work. His series of colour-drenched images created for Yohji Yamamoto in the early 1990s have the most amazing colours, so I took this as inspiration for the series of images, even though the subject matter is quite different.

‘I love to shoot in black and white so this change of direction has inspired further sets of images – I want to continue experimenting with colour.

I have also always loved using Polaroid so I also intend to carry on trying different types of film currently made

by The Impossible Project.’

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All images this spread © Dave Hunt

Dave Hunt ABIPP Bronze, Portfolio – Flowers in Repose

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BIPP / Awards 2013

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All images and content this spread © Andy Whale

Andy Whale, Peter Grugeon Award for the Best Fellowship

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BIPP / Awards 2013

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All images and content this spread © Andy Whale

Andy Whale, Peter Grugeon Award for the Best Fellowship

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Clare Pritchard LBIPP, Licentiate of the Year 2013

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Kevin Wilson Hon FBIPP, South East Photographer of the Year

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BIPP / Company partners

Bowens International is a world-leading manufacturer of photographic lighting systems. For over 50 years Bowens has maintained its position in the photographic market as a favourite among professional and amateur photographers alike. Today, Bowens continues to design professional photographic and video systems from its head quarters in south-east England. With distribution in over 70 countries Bowens lighting equipment is one of the most widely used flash systems in the world today. www.bowens.co.uk Graphistudio was founded in 1981 as a small graphic and photographic advertising studio. In 1987 it expanded into the wedding photography market. The idea was to offer newlyweds a photographic album using the latest creative graphic techniques.

The first Wedding Book was launched to the public in the spring of 1997. Wedding magazines described it as the best wedding momento that had ever been produced. The fame of The Wedding Book soon spread internationally and it was not long before it was presented at international fairs including New York, Atlanta, Tokyo, Barcelona, Athens, Rome and Vienna. Graphistudio was not only the first in Italy but also in the world to introduce digital print technology to the wedding photography market. It was also the first to develop specific software for the graphic paging up process and also the first to create this method of book binding for wedding photography, combining it with another first in being able to personalise the album cover by printing directly onto silk. www.graphistudio.com

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BIPP / Partner news

Hasselblad has announced a series of studio events providing the opportunity for photographers to get hands on with Hasselblad cameras and Broncolor lighting.

FEP European Professional Photographer of the Year Awards 2013

Unlike previous events, photographers are able to book per hour and have exclusive access to the studio for this time, as well as obtaining a model release to use the images for your portfolio as part of the rate. These events are not only a great way of introducing photographers to Hasselblad cameras, in a relaxed and stressfree environment, but are also an excellent opportunity to build your portfolio, experiment with new ideas and pick up new tips and tricks.

The FEP European Professional Photographer of the Year Awards are open to all professional photographers who are registered and resident in a European country.

For BIPP members a special BIPP discount is available, which will knock £10 off each hour session booked. To claim this, simply enter the voucher code bipp-port at the checkout stage to apply the discount. Events take place on 12 February and 19 March in Birmingham and 21 February and 25 April in Milton Keynes. Visit http:// www.handsonahasselblad.com/?page_id=986 for more information or to book.

Deadline for entries 6 February 2014

A special section is also open for European Young Photographers, Assistants and Students.

The competition is totally web-based; the registration, hosting and judging are all carried out online. Visit http://competition.europeanphotographers.eu/competition.asp?compo_id=26 for more information and how to enter.

QEP & MQEP The next session will take place on 7-8 June in Riga, Latvia Visit http://www.europeanphotographers.eu

BIPP Qualification blocks now available Our new acrylic Qualification Awards are now available for qualified BIPP members to purchase online.

Display them in your studio, office, trophy cabinet or on your mantelpiece, take them with you to your next wedding fair or promotional show – wherever they will be seen by potential clients! Promote your achievements, your BIPP qualification and your status as a professional photographer, while raising

the profile of your profession. The awards are available to BIPP Qualified Members ONLY, who must hold the relevant qualification and all online orders will be confirmed before the blocks are posted. There are 3 options for you to choose from: Licentiateship (7x5) £40; Associateship (8x6) £45 Fellowship (9x7) £50 The prices are subsidised by BIPP and include vat and UK postage & packing. Visit www.bipp.com/shop Winter 2014 / the PHOTOGRAPHER 55

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BIPP / Benefits

CURRENT BIPP MEMBERSHIP BENEFITS INCLUDE:

For a limited period you can open a Payatrader credit card processing account for just £39 – that’s a £60 discount off the normal joining fee!

Once your account is open you can accept payments: • Online – by adding a payment button to your web page • By telephone – using a virtual terminal • Email payment link • Invoice payment link • 24/7 payments line

BIPP members receive a 10% discount on all products at Bookaxis.com. Bookaxis is a forward thinking and dynamic company; one of the UK’s largest suppliers of academic and professional books, with a range spanning over 350,000 titles.

They supply professional books to multiple channels: from local bookshops to multi-national companies and e-commerce outlets. Customers benefit from same working day dispatch and worldwide delivery. Visit www.bipp.com/membersarea to obtain the discount code to receive your 10% discount + free delivery. www.bookaxis.com

With Payatrader there’s no monthly or minimum usage fees – you only pay when you accept a payment.

Low Rates BIPP members also benefit from a market-leading rate on Visa and MasterCard transactions, from 2.3%. Want to get paid faster or on the move? With Payatrader you can also take payments on the move using secure Chip & PIN. For just £3.00 per week, you can add a pocket GPRS Chip & PIN terminal to your account.

Alternatively, if you prefer to buy the terminal, it costs £99.00 plus £1.50 per week for SIM and Support.Prices exclude VAT. This offer is open until 31 January 2014. To get the deal, log into the BIPP Members Area (Benefits & Discounts) for the referral code and then go to www.payatrader.com

BIPP members can gain access to a free 24-hour telephone advisory service on legal issues.

Their services include: • Access to Commercial legal advice • Access to Employment law advice • Access to Personal legal advice All services are available 24 hours a day, 365 days a year. Call 01455 251500 and quote the scheme number which is available from the Members Area of the BIPP website or by calling Head Office.

STAY IN TOUCH WITH THE BIPP The BIPP website http://www.bipp.com The BIPP Blog www.bipp.com/blog

Twitter http://twitter.com/thebipp Facebook http://www.facebook.com/thebipp Linked in http://www.linkedin.com

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BIPP / News

Two Honorary Fellowships Awarded by the BIPP To round off a superb celebration of photography, on 4 December after the presentations of the Professional Photography Awards two new Honorary Fellowships were awarded by the BIPP to Russell Baston Hon FBIPP and Alan McEwan Hon FBIPP. The Honorary Fellowships, of which there are less than 20 worldwide, were awarded to them both for their outstanding service and commitment to education and to the BIPP. Russell Baston Hon FBIPP has supported the BIPP’s education policy for many years and has worked with BIPP to develop its photographic qualifications into some of the most highly regarded in the profession.

Alan McEwan Hon FBIPP has recently retired from his role as Head of Photography, Computing & Design at Edinburgh College, where he inspired hundreds of photography students to forge a career as professional

photographers. Alan has supported the work of the BIPP for many years and is responsible for leading the project which has seen the BIPP’s entry level qualification recognised by the Open College of the Arts.

The day was a memorable celebration of not only the Professional Photography Awards but also the work and achievements from members behind the scenes of the BIPP. Those who have achieved their BIPP qualification show their professionalism and skill with pride and inspire photographers everywhere to strive to always provide the best photography.

The Key to Creative Wedding Photography A new Book by Simon John FBIPP is now available to purchase from www.bipp.com/shop This book is for the passionate photographer looking to take their imagery to the next level. This is not a ‘how to’ book, but is designed to challenge the way you think and work, providing tips and ideas that can be adapted to your own individual approach. Simon John has been a professional wedding and portrait photographer for over 30 years and has covered around 1,500 weddings to date.

In recent years he has concentrated his efforts developing the style you will enjoy in his book. Images inspired by art and a fascination for the human spirit.

Simon’s photography is a breath of fresh air, quirky, yet well crafted beautiful imagery. Simon is passionate about the development of wedding photography but feels so many of the pure skills handed down to him by past Masters have been forgotten. The book will help

you to understand lighting, composition and the psychology setting you off full of enthusiasm and excitement for the next wedding you photograph.

All the photographs in the book are from genuine weddings. Says Simon: ‘It’s important that photographers learn to work in their own environment, to make the best of real life situations. A wedding can be one of the most difficult assignments a photographer can have. It’s my hope that The Key To Creative Wedding Photography will give you the tools you need to tackle any situation that may arise. To approach your own weddings with confidence and allowing natural creativity to flow.’

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BIPP / Regions

Midland Malcolm Sales ABIPP malcolm@buttercross photography.co.uk

North East Kevin Weatherly LBIPP kevinweatherly@mac.com

North West James Russell LBIPP james@jamesrussell photography.co.uk

EVENTS & DATES COMING UP

MIDLANDS

NORTHERN IRELAND

Portfolio Review Day Tuesday 28 January, 10.00am – 4.00pm OneVision Imaging, Herald Way, Coventry, CV3 2NY

Belfast Visit by the BIPP Essex Group Monday 10 February

Come along to the offices of one of our company partners - One Vision Imaging in Coventry, for a Oneto-One Portfolio Review. This is a great opportunity to spend an hour going through your images with a BIPP Approved Assessor to seek guidance on your work in preparation for a qualification submission.

Visit www.bipp.com/portfolioreviews for more information and to book your place.

Midland Region Annual Print Competition Tuesday 25 February Judges: Bryn Griffiths FBIPP and Kevin Pengelly FBIPP Prints must one side measure a minimum length 10 inches, and be presented in a 20x16” mount.

Non conforming entries will be disqualified.

Entry fee £5 per print; Student Section (ONLY) is free.

Maximum 3 prints per category – qualified members cannot enter the Student category.

Entries must be delivered by 5pm Monday 24 February to either Carol Taylor ABIPP or Malcolm Sales ABIPP. OR they may be delivered before 12 noon Tuesday 25th February to the reception of the Lea Marston Hotel. Visit www.bipp.com/ midlands for full details and categories.

Following the success of the twinning event in October 2013 when members of the BIPP Northern Ireland Region visited Essex, this will see a reverse twinning event with members of the Essex Group visiting the BIPP Northern Ireland Region in Belfast.

The event will include an evening talk by Stanley Matchett on his time with the Daily Mirror.

March Meeting – Social Media for Photographers More details will be available soon.

April Meeting – Trevor and Faye Yerbury Monday 14 April Full day seminar with Trevor and Faye Yerbury covering both portraiture and boudoir. Followed by the annual regional print competition in the evening.

Visit www.bipp.com/northernireland NORTH WEST BIPP NW Region 2014 Conference, Awards & Trade Show Sunday 6 April, Worsley Marriott, Walkden Road, Worsley Park, Manchester M28 2QT. Our inaugural trade show, conference and awards held at the Worsley Marriott in March 2013 proved to be such a success for BIPP members and trade partners alike, that we are delighted to announce that we are repeating the event on Sunday 6th April 2014.

The format of the event will comprise a day time trade show attended by all the key trade sponsors

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Northern Ireland John Miskelly LBIPP john@johnmiskelly photography.co.uk

Scotland Mike Brookes-Roper FBIPP mike@brookes-roper.co.uk

South East Chris Harper FBIPP chris@bipp.com

South West Suzi Allen LBIPP info@suziallen.com

Yorkshire Stuart Clark Hon FBIPP stuartclarkphotos@ talktalk.net

EVENTS & DATES COMING UP

in the industry and during the day there will be two seminars hosted by top-name speakers guaranteed to appeal to professionals and semi-pro photographers throughout the region and beyond.

The evening concludes with our annual Awards Ceremony at a gourmet dinner at the hotel, ranked top in the Marriott group, followed by musical entertainment.

All BIPP members are reminded that the coveted trophy and title ‘North West Region Photographer of the Year’ is awarded on the night to the top winning photographer as well as gold, silver, bronze and merits in 15 different categories, plus Wedding, Commercial and Portrait ‘Photographer of the Year’ titles.

Many of our past winners have gained accolades from winning awards in their field, respect amongst their peers and increased business from the publicity generated. It is time to review your images and members are encouraged to select and prepare them for entry into the competition.

The rules and conditions will be posted shortly on our website. There is no preliminary digital section for 2014 and all entries must be in print format at 10x8 inch or A4 size, unmounted and accompanied by a high-res digital file.

Remember, you can’t win unless you enter. Last date for print submission is 12th February 2014.

Tickets for the day are £35 including lunch and refreshments, for the dinner £48 and for the full event at the discounted rate of £75. Non-members and guests are welcome.

Visit www.bipp.com/northwest for more information.

SOUTH WEST Regional Awards 2014 Monday 3 February, The Worlds End Restaurant, Bradford-On-Tone, Taunton, Somerset TA4 1ET DEADLINE FOR ENTRIES 31 JANUARY 10x8 inch prints accepted, plus digital files on CD. Prints can be mounted or have the image going right to the border. Presentation, composition and print quality will all go towards the final scores. Entry fee £5 per image entered. There will be NO extension to the closing date this year, so, get your entries in as soon as possible.

The awards will be judged by Steve Walton FBIPP. Full details and categories may be found at www.bipp.com/southwest Steve Walton FBIPP Monday 3 February, The Worlds End Restaurant, Bradford-On-Tone, Taunton, Somerset, TA4 1ET Recognising a requirement for artistic and sensitive classical wedding imagery, Steve created Fine Art Weddings. He combines his artistic talent as a wedding photographer with his skills as a fine art photographer to create timeless, classical bridal art. No gimmicks, no computer effects he offers an uncompromising alternative for those who wish for something beyond the ordinary. Steve is also internationally recognised for creating high quality, distinctive fine art panoramic images of the UK landscape in monochrome and colour.

Keep an eye on the website for more details. www.bipp.com/southwest

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BIPP / Qualifications news

Russell Baston Hon FBIPP discusses the new BIPP Portfolio route to qualification Three years ago, as part of the Institute’s continual analysis and review of our activities and procedures we commenced a comprehensive review of our qualification procedures.

Qualifications are one of our key, core activities.

We looked at all the issues involved, to maintain and progress standards, keeping them relevant to real practice and expectations. The review of qualification procedures was careful and methodical, discussions took place at CPD, MSAB and Assessor meetings, in addition we also had important dialogue with candidates and prospective candidates at qualification advice sessions.

From the comprehensive feedback and responses a new BIPP qualification procedure was formulated.

The process is now based upon a Portfolio of work – this replaces the former ‘Panel’ system. The term ‘Portfolio’ is an encompassing description, it is not confined or limited to a physical folder or collection of images, the Portfolio comprises the entire body of work the candidate submits, the imagery and supporting evidence.

For the last two years, we have trialled and tested the Portfolio system, in parallel with the previous ‘Panel’ system. At advice sessions a range of candidates were given the opportunity to opt for the Portfolio route for submission and their progress was monitored and analysed. In addition, and most importantly we took careful note of the very valuable feedback from candidates themselves, who gave a comprehensively positive response, to submission via the Portfolio route.

The two years of rigorous testing and attention to feedback we undertook has enabled us to refine the process and gives us great confidence in the Portfolio assessment route.

From January 2014 the Portfolio will be the standard assessment procedure for all BIPP qualification levels Licentiate, Associate and Fellowship. Comprehensive details of the requirements for different categories and specialisms are available in the Qualifications section of the BIPP website, but the basic elements of a Portfolio comprise the imagery, a minimum of 25 maximum 50 images relating to the candidate’s commissioned work, supporting evidence describing the candidate’s business, working methods and practices, in addition relevant evidence such as website, publications, awards, personal CPD undertaken etc.

For candidates the Portfolio system offers a greater opportunity to present and explain their ‘real world’ work and practice in a personal and individual way and a more comprehensive range of work can be presented.

The Portfolio gives a useful, relevant resource for subsequent presentation to clients and buyers making submission more cost effective for candidates. It is more easily updateable to progressive levels of submission and this system strengthens the relevance and standards of BIPP qualifications.

We are assessing and verifying a comprehensive range of image making abilities, plus professional and client-related skills. The portfolio system also gives candidates, successful at Licentiate and above, the basis of a form of work suitable for submission to OCA (Open College of the Arts) giving credits equivalent to 240 points towards a Degree Award in Photography.

Russell Baston Hon FBIPP For more information about using your BIPP qualification to gain a BA Honours Degree with the OCA please take a look at the following article.

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BIPP / Qualifications news

BIPP aligns photography qualifications with BA Honours degree The British Institute of Professional Photography has announced a major development within their qualifications structure for working, professional photographers.

Any BIPP photographer who successfully achieves a Licentiateship (the entry level qualification with BIPP) now has the option to work towards achieving a BA (Hons) Degree in Photography with just one further year of study.

The Open College of the Arts (OCA) offers the BA (Hons) Photography degree via open and distance learning.

Working closely with BIPP, they will now consider the Licentiate qualification submission as ‘prior experiential learning’. In practical terms, the candidate’s BIPP submission could equate to two years of a three year honours degree, leaving the final year to be taken via the OCA. This is a major move away from industry ‘distinctions’ which have been popular in the past and continues BIPP’s long history of working with colleges and universities that offer photography related degrees.

Chris Harper FBIPP, Chief Executive of the BIPP, commented: ‘Our team at BIPP has been working towards this achievement for a long time. We have developed our qualifications structure to a point where it is recognised as a truly challenging method of professional development. BIPP photographers are some of the best in the profession, with valid credentials to their name.

They have worked hard to obtain their Licentiate with us and this link with the OCA ensures that their achievements will be more widely recognised by the buying public, who are more familiar with the degree route. We look forward to developing a longer term link with the OCA, to potentially align our highest award, a Fellowship, with a Masters degree.’

Gareth Dent, Chief Executive of the Open College of the Arts said: ‘I am excited by the potential of this new partnership with BIPP. A key feature of professions is the emphasis on continuous professional development and it is satisfying to be working with the leading industry body to enable working photographers to develop their personal vision.’

For photographers to benefit from the scheme, they will need to apply for BIPP qualified membership through the BIPP Portfolio Assessment route, by producing 25-50 images alongside supporting evidence. This work would be assessed by BIPP Approved Assessors and, if successful, awarded a level of Licentiate or a higher tier of Associate or Fellow of the BIPP. The successful candidate would then contact the OCA and offer their portfolio and supporting evidence as accredited prior experiential learning.

The OCA will review the work and offer an appropriate level of credits towards the degree. The BIPP qualification could account for 240 out of the 360 credit points needed for the honours course, leaving the equivalent of just one year of study to complete. There is also a discounted fee for direct entry to this ‘final year’ with the OCA, specifically for BIPP members. BIPP photographers who already hold a Foundation Degree or HND in photography are also able to benefit from ‘prior certified learning’.

Full details of the scheme are available at www.bipp.com/OCA For more information on joining the British Institute of Professional Photography, and submitting for a Licentiate assessment, please email jane@bipp.com

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Business / Conditions

All in the small print ‘H

e’s gone bust and still owes us for the photographs. I know he has the photos, but the receiver says we can’t recover them…’ or ‘the customer is refusing to pay for the photographs as some of the images deviate in finish to that which he wanted.’

Does the possibility of situations like these keep you from sleeping soundly? If so, maybe it’s time to consider having standard trading conditions written to deal with these potential nightmares.

What are standard conditions?

Standard conditions are the contractual basis upon which a business deals with its customers, whether they are other businesses or individual consumers.

Such conditions may include, for example, conditions for the sale of photographs taken by a photographer.

The objectives of any standard conditions are to contain the provisions which a business wishes to impose on its customers generally; and outline the extent of the business’s responsibility to its customers and any obligations accepted by customers.

Who needs standard conditions?

Every business enters into a contract with its customers each time it does business. The business may involve the constant turnover of a large number of orders and so for the protection of the business and for administrative

It may not be the most exciting part of running your business, but getting your standard trading conditions right can be a life-saver when nightmare scenarios become a reality. Here’s a starter for ten convenience, it should formalise the basic day-to-day terms upon which it trades in order to clearly set out its duties, rights and responsibilities and those of the customer.

Why do you need standard conditions?

To retain ownership Where there is no specific agreement, a customer may become the legal owner of goods as soon as the contract is made. The Sale of Goods Act treats the passing of ownership as distinct to the right of the customer to delivery of the goods and the right of the supplier (photographer) to receive payment. If, after delivery of goods, the customer goes bust without having paid for the goods, the business may be unable to recover either the purchase price or the goods themselves.

Different rules which apply to retention of title apply where the customer has resold the goods before paying the supplier or where the customer processes the goods in some way before the goods have been paid for in full. Suitable wording is needed to ensure that an unpaid supplier can enter premises to identify and recover their goods. In order to protect a photographer’s business so far as the law allows, it is essential to have a carefully drafted retention of title clause so that if needs be, the photographer can recover any images that are not paid for.

To be paid for expenses, and to be paid on time Prices quoted may not include delivery, insurance, packing or tax (if applicable). Photographers must be able to charge for these expenses without fear of dispute from its customer.

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Business / Conditions

‘It is essential to have a carefully drafted retention of title clause so that if needs be, the photographer can recover any images that are not paid for.’

Alternatively, the conditions should state that these costs are included so that a photographer’s quotation can be fairly compared with others. In addition, the conditions should address whether the customer is to pay other additional expenses of a photographer, such as those associated with equipment hire, post-production work, and travel expenses.

Where accounts are unpaid, the photographer may want to claim interest. In any event, the business should be able to suspend deliveries or cancel orders without fear of being in breach of contract.

In some cases, the business may need the right to increase its prices if there are any increases in the cost of fulfilling the order – say the cost of models or location costs. Advice is needed on the extent to which a provision which allows a business to increase prices is capable of being legally enforced by a photographer; not all price increase clauses are valid.

To set out who owns the copyright in the photographs The ‘author’ of a photograph is the person who creates it. The author will be the owner of the copyright in the photograph, unless it was created in the course of employment in which case the employer will own the copyright.

Consideration should be given as to whether a photographer will share the copyright with the customer; the customer is to be granted an unlimited reproduction release; and the photographer or the customer is to own the digital images in addition to the actual photographs.

Furthermore, express provisions should specify that the photographs may not be altered, modified or retouched by the

customer without the consent of the photographer.

To expressly state what the photographer can do with the photographs Will the photographer want to use the photographs for self-promotion and advertising of their services? Does the photographer want to use the customer’s name in promotional information for the business? If so, these should be set out in the terms and conditions to avoid subsequent disputes.

Delivery dates The photographer should be protected if they are prevented from delivering the photos to the customer on time.

Specific provisions are required to ensure that the time for delivery is not ‘of the essence’ and that failure to deliver on time will not put the photographer in breach of contract or allow the customer to cancel.

Liabilities and rights A photographer’s liability in respect of defective or lost goods is, in theory, unlimited and is not related to the price.

Clear statements about when risk passes will enable the photographer and the customer to cover their share of the risk by insurance, if necessary.

A business’s liability may be capable of being limited. For example, a photographer may wish to limit their liability in respect of variations in colour balance, and to obtain an acknowledgement by the customer that inks used in photographs may fade or discolour over time and natural colour deviation may occur. Equally the warranties implied by law may be g Winter 2014 / the PHOTOGRAPHER 63

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Business / Conditions

g

capable of being limited. The extent to which and how the photographer may do so will be affected by whether the customer is a business or consumer.

Conditions dealing with limitation of liability are subject to the Unfair Contract Terms Act 1977. The Act provides that, in certain circumstances, limitation clauses will not be enforced unless they are ‘reasonable’. If a restriction on liability is not enforceable, the photographer will be liable for the losses of a customer which are a reasonably foreseeable consequence of the breach of the standard conditions.

In addition, as a result of European legislation, protection has been given to consumers in the form of the Unfair Terms in Consumer Contracts Regulations 1999 (UTCCRs). These apply to standard contracts between suppliers of goods and consumers where the terms of the contract have not been individually negotiated. The Regulations introduce the concept of ‘good faith’ and provide a substantive list of clauses which are likely to be deemed unfair.

Accordingly, a term is likely to be unfair if it causes a significant imbalance in the parties’ rights and obligations arising under the contract, to the detriment of the consumer. Such a term will not be binding on the consumer. Furthermore, the Office of Fair Trading may seek assurances and, if necessary, injunctions against those using terms which it considers to be unfair.

It should be noted that the UTCCRs apply only in relation to a ‘natural person’, and accordingly a business would not benefit from the protection offered by the UTCCRs.

Further protection is offered to consumers under the Consumer Protection from Unfair Trading Regulations 2008 which seek to ensure that traders act honestly and fairly towards their customers. These make a seller criminally liable for misleading or aggressive sales practices. Photographers should be careful not to use misleading actions, such as offering only a few items at the advertised price with no hope of meeting large demand.

The sales staff said…

Over-enthusiastic statements made by an employee on behalf of a photographer may result in claims for misrepresentation.

The photographer’s conditions should provide that the customer’s legal remedies are defined only in the conditions and that no other statements will bind the photographer, unless made in writing.

Customers’ own terms Customers prepare their own terms for their benefit; these are unlikely to contain anything by way of protection for the photographer. Instead such terms are likely to bind the photographer to onerous conditions. It follows that a photographer’s conditions should exclude the customer’s conditions in favour of its own.

Be sure that your conditions apply The most carefully drafted conditions of trading will be of no help whatsoever to the photographer if the conditions do not form part of the contract which results in problems. Certain rules apply to determine whether standard conditions form part of a contract. What is the case, however, is that conditions printed on the back of an order will not apply unless the right wording is on the front.

International contracts?

Detailed advice may be required on the added complication of dealing with a customer who may not be subject to the jurisdiction of the English courts. Consideration should always be given as to whether English law or the law of the importing country should apply to the contracts.

Laura Lumby is an associate and Stephen Sidkin is a partner at Fox Williams LLP.

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