the Photographer - Issue Four 2016

Marco Joe Fazio Unmistakable Italian fashion sense

Douglas Brothers Portraits out of the darkness The Magazine of the BIPP / 2016 / Issue Four

Art of rediscovery Lee Jeffries’ Lost Angels: searching for the very first moment of contact

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Issue Four, 2016

Image © Marco Joe Fazio

Image © Lee Jeffries

what he loves was a major challenge for Marco Joe Fazio. But his likeable personality and Italian flair have helped pave the way to realise his vision mixing space and style Kevin Wilson, President 31 Introducing the new BIPP President Kevin Wilson and his focus for leading the organisation forward

Lee Jeffries 2 We find out what makes a photographer literally embed himself with homeless communities in Los Angeles and Miami. It’s a highly personal relationship that culminates in the image and journey’s end Marco Joe Fazio 14 Coming to London in 2008, looking to establish himself doing 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: Kevin Wilson Hon FBIPP Chief Executive: Chris Harper FBIPP Directors: Bryn Griffiths FBIPP, Roy Meiklejon FBIPP, Denise Swanson FBIPP, Frank Tomlinson FBIPP, David Wheeler FBIPP

Radical Eye 32 Tate Modern’s showing of Sir Elton John’s personal photographic collection establishes the star as a very serious collector indeed Douglas Brothers archive 42 In the 1990s they were considered two of the most desirable photographers of their generation. That they left for the US to slip across to the other side of the lens meant that their work was left in the darkness

BIPP Company partners and member benefits 56

Membership Services Advisory Board Annemarie Farley FBIPP (National) Saraya Cortaville FBIPP FBIPP (National) Frank Tomlinson FBIPP (National) Gerry Coe Hon FBIPP (National) Denise Swanson FBIPP (National) Jo Scott FBIPP (National) Scott Hogg ABIPP – Scotland Faizal Kirk ABIPP – NE Katrina Whitehead LBIPP – Yorkshire Bryn Griffiths FBIPP – Midlands

Scott Johnson FBIPP – South East David Wheeler FBIPP – South West Roy Meiklejon FBIPP – Cotswolds John Miskelly FBIPP – Northern Ireland Editor: Jonathan Briggs, editor@bipp.com Advertising: Tel 01296 642020 Email: jack@bipp.com UK Subscribers £20, EU £40, Rest of the World £50 ISSN: 0031-8698 Printed and bound by Magazine Printing Company, Enfield

BIPP regions and events 58 Home working 60 Making it really work for you

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 2016

Issue Four / 2016 / the PHOTOGRAPHER 1

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The only aim is to return Lee Jeffries has embedded himself in the communities of Skid Row to create the Lost Angels project. Each image represents the full cycle of a relationship between photographer and subject, coming to an end only when they travel together all the way back to the moment of first recognition

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ersonal work is largely considered to be that which – although self-perpetuated – looks outward, prospecting for work, its role being to help create the interest and provide the exposure that generates commissions. It can also be photography that carries personal meaning for the creator or that carries an intellectual and/or moral weight – perhaps both. Taken to the purest form, personal work has no interest in the commercial, existing only for itself.

How many photographers can rightly lay claim to the latter is open to debate, but when opening conversations with Lee Jeffries we’re instantly hit by how ‘personal’ the personal turns out to be. Lee terms it ‘a bit of a long story’, but more accurately it’s rather like the ones most of us are not actually prepared to tell. Straight out of the box we learn that Lee the photographer sees himself as a lonely individual and this ‘Lost Angels’ work is for the large part an antidote to this ingrained feeling. But for a Manchester lad, what placed it all on the wrong side of the Pond?

As some might guess, the answer lies with a relationship rather than amongst the more commonly recounted tale of getting sidetracked when he was supposed to be thinking about running the London Marathon (though we’ll revisit that aspect later): ‘The real reason is that I met someone, ten years ago now. She was a photographer and her influence g

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Lee Jeffries / Profile

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over a series of events has continually washed over me.’

Certainly ‘washed’ is a good word: Lee consistently suggests that his ‘career’ as such has kind of happened to him, rather than it being any type of definite decision. As Lee often points out, alongside now being a photographer he’s also an accountant, which mentally seems to give Lee licence to not actively try to be a photographer. It’s a cliché in this day and age, but in Lee’s case it thoroughly checks out: ‘I didn’t know it at the time,’ he says, ‘but the things that happened have formed how I feel about all of this. She lived in the US and the biggest thing to recount was that her mother, a devout Catholic, was diagnosed with cancer and I ended up going to Rome to get her Rosary reblessed in the Vatican and then get it back to her before she died. My feelings around love and death amongst that experience in Rome have the biggest influence on my pictures now.’

And some… Two or three pictures in then, and armed with this detail, our experience of Lee’s work jumps to another plane. Exploding with religious references and vibrations of Rome – as Lee puts it ‘the atoms of the city itself ’ find voice in street portraiture authored on a pavement literally a world away.

Drop Lee in the US, forging a long-distance relationship, full of hope and of course fear and parallel periods of intense happiness and loneliness: ‘Yes it’s a street portrait, but it’s also a portrait of what I’ve been through, my feelings. Light and shadow communicate hope, heaven, God on the one hand; and despair – my Hell – on the other. I went out onto the street to try and seek refuge from my own loneliness.’

It’s one thing to say that’s what you did, but back in the real world to make that happen and get this result is not an undertaking to be taken lightly. How did Lee make it work?

Talking of his interaction with a subject he says: ‘I am so open to a relationship that we create a relationship on the spot. But I spend days and weeks with them, living and sleeping where they do. This is not click and go and I think

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Lee Jeffries / Profile

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this is where photographers get it all wrong, seeing it from a simplistic point of view of recording a scene – that’s why they fail. The efforts to which I am going to get involved with my subjects are extreme – I fall in love every time in a weird kind of way.’

And now we return to the London story: ‘The first time I made an “approach” to get such a picture was in London – I was going to run the marathon on the Sunday and the day before I thought I’d try my hand at a bit of street photography… I started shooting from across the street and the girl kicked off at me. It was the other people around that created my deep embarrassment – I felt the whole world judging me on what I was doing and rightly so – I didn’t know what to do.’

But Lee’s not the give-up-and-run type: ‘I went over and started talking to her. I was shamed into approaching directly and properly I suppose you could say. Everyday people have a couple of possible reactions to the homeless – look the other way and try not to think anything about it, or fear. After I had spent five minutes with the girl I realised it was this level of intimacy that was required – not anything about the picture, the picture has become the last piece of the jigsaw, it is the closing of the relationship. I have my own life and responsibilities to consider; I have to move away. I think as you get more experienced in areas such as Skid Row in Los Angeles and Overtown in Miami you become accustomed to the atmosphere and feel.

People can sense vulnerability and if that’s what emanates from you there’ll be sticky situations. I play by the rules and people can see that I am not a pushover. Yes, I have got myself into arguments but there’s generally a path to that end result, that the personal interaction wasn’t right for whatever reason. For example, I recently undertook a magazine commission in Manchester and straight away that leaves you open to confrontation. In my mind I was doing it for the wrong reason. The commercialisation left me g

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open to confrontation, and why not? I wanted to take a picture of someone this guy was with and he stood up to me nose to nose. Nothing happened but it was all us and them.’

So there we have it, yes Lee undertakes commissions but knows only too well that doing so makes it different.

How does that effect his ambition as a photographer? He comments: ‘The only ambition I have is for any image to contain something on a deeply human level. People relate to these homeless images in a personal way themselves. I have experienced grown men bursting into tears.’ He returns to his own journey once again: ‘For me, when I become happy and content and lose my own loneliness that’s when the journey with these images ends. To emphasise, each one is my way of saying goodbye to that relationship. I will sit and linger for hours and hours deliberating over the image. It’s a mourning period. This is actually the truth.’

There’s a fine line, then, between commercialisation and exploitation. For Lee’s images to exist at all there has to be an element of commercialism, no matter how personal the pictures. A gallery won’t carry anything for free… this is how the world goes around. As Lee explains: ‘At the Big Issue the staff there work there for a salary, and their activities make a difference. For me it’s about where you draw the line – I try to strike a balance between getting my pictures seen and earning enough to do the next project, it’s always self-funded.’

Lee accepts that it’s always going to be easy for people to shout ‘exploitation’ but counters that they don’t understand the emotional connection and the processes he has gone through with each and every subject. Lee’s face is known and welcomed on Skid Row and that surely says everything. Lee comments: ‘To get anything done for a charity there has to be a commercial aspect. I will do exhibitions where 20% of sales go to charity. The other 80%? There’s very little left after all the numerous costs of the event and framing, printing and promotion. I am not a charity but without value on the work there would be no difference made.

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Lee Jeffries / Profile

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Lee Jeffries / Profile

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In the light of recent controversial political change in the US, does it affect the backstory to Lee’s images? Not at all: ‘What has happened with Donald Trump has no impact on what I do in terms of visuals because I don’t document homelessness. I am creating a spiritual representation of them and me. I am not even saying that they are homeless – whether they fit into the mould of what the viewer takes to be homelessness is for them to deal with. Yes, of course, they are and some people will see the social resonance, but that is not the message, and nor is there any intended political commentary.

Lee has turned his portraiture style to a limited number of celebrity subjects and editorial commissions but is not tempted to branch out in any significant way to widen his appeal: ‘It only works because an image matters to me. This is my passion – I don’t have to do it, and that mindset is needed to allow the artistry to flow. I have carried out commissions where that has not flowed and it hasn’t worked, so I have learned – I have learned that I am not trying to be a commercial photographer.

Lee’s experience in the genre now identifies a unique aspect to the work. He says: ‘I identify the people who will make a good image in the first moment of recognition – when my eyes meet theirs. That is impossible to capture and that’s what people don’t get. You cannot try to capture that first moment, other than by chance. The job of work is to then build a relationship that will take us all the way back to that moment. And when I get there, I know that is the closing of the relationship, represented by the image.’ tP LOST ANGELS exhibition at the M&C Saatchi gallery, London, from 7 Dec to 3 Jan. For access to the private gallery please contact caroline@frenchartstudio.com to book an appointment.

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Space + style in all things There’s something about the Italian ‘way of being’ that finds form in Marco Joe Fazio’s photography: stylish to a point and brimming with creative vision. As he says, it’s in the blood – and over here…

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orn and raised in Tuscany, Marco Joe Fazio trained and practised as an architect.

‘I worked in architecture, interior and lighting design for more than 18 years,’ he says. Marco founded an award-winning architectural studio in Arezzo, between Florence and Rome. It begs the question ‘why up sticks and head to London to become a photographer?’ But all the same, Italy, design, architecture, lighting – these are very favourable elements that should easily form the foundation of a particularly stylish photographer… And so it turned out: ‘It was during my life in Italy that I fell in love with photography and since I moved to London eight years ago, I have started to turn this love into my professional world.’ g

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Marco Joe Fazio / Profile

It is no accident that the aesthetically literate professions tend to feed into highly creative and often visionary photo­ graphy… striving for perfection; the combination of physical structure and light; forming a hyper-real environment greater than the sum of its parts… it is a fantastic recipe for commercial photography and it somehow oozes out of every word Marco speaks: ‘My background as an architect will always remain at the heart of my photography – it gives me a distinctive perspective – but a love of style and fashion is also in my blood.’ It could certainly be argued that it’s when Marco’s beautifully shot interiors and his obvious sense of

a strong editorial image come together that his work really stands out, as evidenced by our image selection here.

He concurs: ‘My vision is to bring pictures to life by combining these passions. I see it as space and style merging architecture and fashion to introduce a powerful sense of theatre and an engaging narrative to my images.’

Marco is fully prepared to go the extra mile (or more) to achieve this.

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Image © Marco Joe Fazio

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The opening image in this feature was shot for Italian designer Carlotta Actis Barone and it’s a perfect example.

Marco used a Profoto Spot Small on a movable stand operated by an assistant to create the projected effect for the model’s ‘shadow’. What you might not have noticed is that the shadow was actually formed by a second model. Does this seem like a lot of effort to go to? Marco said of the image when talking to Profoto: ‘I did this to add another layer to the concept, borrowing it from the art of Chinese shadows. I wanted to stay true to my aim to turn the every day into the hyper-real and imaginary. So, I came up with the idea of using the Spot Small to light a second model standing out of frame mimicking the poses of the first model, and then project the second model’s shadows on the background behind the first model. As it turned out, this was a good idea. After a while the models started to interact

and play around with each other’s positions, which created a very nice vibe on the set. Also, I do believe it improved the final result.’

Those who are as observant as Marco will have already noticed that he came to these shores right at the time of the Credit Crunch. Not a great moment to begin a new life in a new profession you would think? Marco explains: ‘The thing is that many aspects of professional life are far more difficult in Italy – there is a great deal of interference.

I came to the UK to work, although starting a business in a new country is always going to be a challenge, Credit

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R ev ea l t h e n e xt s t e p in your phot og r a p hy ca r e e r

bo ok ti ck et s to da y

S u ppo r t e d bY

p h o t o g r a p h ys h ow.com

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Marco Joe Fazio / Profile

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Crunch or not. It takes time to build contacts and become established. Particularly when you leave your own country, you realise how valuable is to have people that you know around you, your reliable contact base, and you know how things are – the ways of working. At first, just finding something simple was a challenge. It takes time, but my mind is young and my work keeps me young. In some ways perhaps my brain is somewhere around 15 years old!’

Whilst in Italy you really have to stop for lunch, surely being Italian in this profession and in this country must have some major benefits? Marco replies: ‘I find that people do like me, my background and my style. In Italy you live and breathe culture and I have that deeply ingrained in my being, in the way that I think – maybe

it’s just something that happens when you live in Florence.’

All of which drives us neatly towards how his work began to take shape. He says: ‘I think that a rational idea of my photographic style is hard to pin down.

Let’s say first you aim to do what you covet. Everyone covets what they see, what they observe and like in real life. I am no different. All the world’s a stage – that sums everything up for me. I’m trying to transform everything into a piece of theatre; to transform reality into something more; to make the ordinary

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Marco Joe Fazio / Profile

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extraordinary if you can forgive the cliché. In my view, that’s why architecture and fashion can mix together – it’s not reportage, it’s not sci-fi – I am taking pieces from reality and pieces from theatrical worlds and joining them to create something believable but hopefully fantastic.’

Marco is influenced by painterly use of strong shadows, for example Caravaggio and Rembrandt, and then photographically references contemporaries such as Tim Walker’s extravagant staging and romantic motifs or Gregory Crewdson’s crude hyper-reality. It all returns us to a ‘scenic theatricality’, transposed or even embossed onto normal life. Just as the trick with straight interiors is to caress it without losing realism, Marco knows that the viewer has to believe and find an inspirational or excited path into the picture. ‘Style,’ he comments, ‘is part of your DNA. It is a gift. Only God can actually create something – we can only transform something we find into something else.’

On Marco’s website there’s plenty of behind the scenes footage of shoots in progress and he’s almost at pains to explain that what he does is the culmination of a team effort. Why is it important to get this side of his work across? Marco comments: ‘Sometimes when I watch a movie it’s the making of it and the long end title’s crew list that’s more interesting. Team work is fundamental to the process. To see how the work of many comes together and to communicate the many processes that sit behind my work is all part of forming an idea of where I sit as a photographer. Personally, I really like to know what is behind everything and I think it’s good for some of the ways we work to be public. Pragmatically, showing the complexity of what we do is always good.

Marco gives every single picture his undivided personal attention – his work very definitely flowing

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Marco Joe Fazio / Profile

g through his veins: ‘I worked with Photoshop before I be-

come a photographer and so I have created my own standard procedures and ways of working – and it’s a high bench mark. Outsourcing, therefore, is hard because every picture is different – unique to me in fact – and I am very attached to what I think about the picture and how I “talk” my way through the picture. It’s always going to be very hard to explain what I want, so retouching is a personal process. I do let clients get involved in the finishing of an image. I’ll send contact sheets and examples of one or two edits, and then they agree the workings of the files. But it’s a very dangerous business to sit on a computer with a client. It’s too much,

and I’m not trying to have them think everything is possible. What I want is buy-in to the creative vision and so I prefer to give them options a, b and c and we can talk about what they like.’

Marco also continues to be entirely independent without an agent to handle the business end: ‘Actually, it’s all been about word of mouth to date. If I look back to my first client in the UK and then to all my work now, funnily enough it’s been about the next person

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coming to me through the person before. It seems that good agents are very rare and difficult to access,’ he says with a smile. ‘Definitely this is a time in my business when an agent would be valuable to me. It is time consuming doing everything by myself and there would be value in delegating marketing, promotion and account handling. I think also that with client demands being what they are, I am looking to grow my offering so projects become more and more complex and I like the challenge – actually given by some clients of mine – of working across their whole brand id. In those cases, to keep the whole process in hand and to not to overstretch yourself, you have to plan everything diligently, constantly communicate with your client and work with a professional and talented team.

I would like to be known for more complex jobs that have a strong creative edge – at the end of the day I know that I can’t get there as a one-man band…

I need to be the captain of the football team instead! That’s why I gather a core team of creative director, make-up artist and key assistants and present that team to clients. I’m offering the whole package and in this way show the potential to up-scale the job. tP www.marcojoefazio.com

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A Baby of the Month winning entry from June 2016, taken by Doug Brown of Style Photography in Herne Bay, Kent. Doug photographed the winning entry in the 2015 Baby of the year competition where his customer won £5,000

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Marketing / Emma’s Diary

Right: February 2016 Baby of the Month winner Isla, photographed

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This includes participation in supporting the David Sheldrick Wildlife Trust which specialises in looking after orphaned elephants in Kenya. Each participating baby receives a soft toy elephant called Tembo which has the studio’s name and contact details attached. There are further Tembo products available to purchase, including story book, t-shirt and cuddle robe. This has so far raised £7,105. A complete support programme is supplied including:

• • • • •

An extensive Emma’s Diary best practice guide A closed Facebook group to share information with others Use of the Emma’s Diary brand Templates for marketing materials Emma’s Diary training workshops

There is also the opportunity to attend an annual seminar and award presentations which for 2016 was held at the Royal College of General Practitioners (London) and was attended by over 100 photographers. The event included keynote presentations given by Elli Cassidy, Genesis Research Trust, David Sheldrick Wildlife Trust, Lifecycle Marketing, Emma’s Diary and Premier Image. The event also saw the presentation of a £5,000 cheque to the winner of Baby of the Year by Lord Professor Robert Winston.

For further information, please call Jenny or Sharon on 01603 629739 http://www.portraitappointments.co.uk/ http://www.babyphotographers.co.uk/ https://www.facebook.com/babyofthemonth

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BIPP / President

New BIPP President Kevin Wilson Hon FBIPP

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here is only one Kevin Wilson, and the BIPP takes great pleasure in welcoming him as its incoming President. Following the recent AGM, Kevin succeeded Eric Jenkins Hon FBIPP and our thanks go to Eric for his hard work and support.

A well-known and widely respected figure in the photographic industry for a great many years, Kevin’s record and understanding of the photographic world really is second to none. In terms of his own remarkable set of Fellowships – six, no less – all the way from the first in portraiture ‘way back’ in 1996 to his sixth last year in Environmental Portraiture, his record simply speaks for itself. He remains working very much at the top of his game and spends huge amounts of time helping and mentoring other photographers, sharing a wealth of expertise and knowledge.

Not only for this reason, Kevin is extremely well placed to provide counsel and perspective on how the BIPP can progress in the next few years. When asked where his focus might rest, he replied: ‘I’d like to see more people gain more Associateships and Fellowships. It’s about taking the time and nurturing talent – you don’t have to spend an absolute fortune and it’s certainly not a race. The great value is in the process of development rather than getting over the finishing line. I would also like to see more photographers attending BIPP seminars and workshops and engaging in the regional structure of this organisation. I realise that it’s difficult to find the time and perhaps we’re all quite wrapped up in the immediate and virtual world these days, but I can’t emphasise enough the value of sharing skills, experience and community with others in this sometimes quite difficult and lonely profession.

Perhaps we can look at focusing events more sharply and communicating better what members will get out of sessions, and indeed their membership, but at the end of the day all of my thoughts are directed at re-establishing an inspired and inspiring mindset – as that can carry a photographer a very long way.’ tP Issue Four / 2016 / the PHOTOGRAPHER 31

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The star awakens It would be easy to think an exhibition featuring a megastar’s personal collection wouldn’t be worthy of much comment – but with The Radical Eye at Tate Modern the very opposite is true.

Sir Elton John illustrates how the Masters of photography hit him aesthetically like nothing else, becoming his new addiction

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or those who didn’t already know, one thing that is quickly gleaned from ‘The Radical Eye’ at Tate Modern is that Sir Elton John is a very serious collector of photography. In 1989 he sold almost all the art he had collected to that point, keeping only four paintings. Then in 1991, after a long period in rehab, he was staying with friends in south-west France when he was introduced to LA gallery owner David Fahey. Fahey showed him some photographs – work by Herb Ritts, Irving Penn and Horst P Horst. Elton bought 12 of the prints on the spot and, even though he had already been photographed by Penn, it is this moment in Cahors that he speaks of as if it were a Damascene conversion:

Rudolf Koppitz 1884-1936 Movement Study 1925 Photograph, carbon print on paper 368 x 276 mm The Sir Elton John Photography collection

‘I got sober in 1990. I had my eyes opened; I looked at things in a different light and photography was the thing that attracted me like a meteor.’

The joke is that he swapped one addiction for another, but it only takes a brief glance around the 200 photographs on display here to understand that his conversion was lasting, and deep. The list of 60 photographers on display reads like an introduction to early 20th century photography. The exceptional prints are mostly from the

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The show states that it “marks the beginning of a long-term relationship between Tate and The Sir Elton John Collection, as part of which Sir Elton and David Furnish have agreed to give important works to the nation.”

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The Radical Eye / Tate Modern

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1920s and 30s, when photography as an art form was beginning to flex its muscles and move away from the soft-focus, pictorialist tradition that had been dominant at the turn of the century.

Over the past 25 years Sir Elton has built an important collection of nearly 8,000 works, and it quickly became serious. He had once had a poster of Man Ray’s ‘Glass Tears’ on the wall of a flat he shared with Bernie Taupin and so in 1993 when an original 1932 print of it came up for auction at Sotheby’s, Elton decided that he had to have it. At £112,500 it broke the then world record price for a single photograph, but just four years later a similar print fetched over a million. ‘Nowadays it’s astronomical what these things cost,’ Elton tells us in the audioguide that accompanies the exhibition. By 2009, when Tate finally appointed its first photography curator, many of the photographic masterworks of the 20th century were, in the words of Tate Modern Director Frances Morris, already ‘beyond the reach of a national collection’.

By contrast, New York’s MoMA had started collecting in the 1930s. The press release for the show states that it ‘marks the beginning of a long-term relationship between Tate and The Sir Elton John Collection, as part of which Sir Elton and David Furnish have agreed to give important works to the nation’. It is easy to start to think about what other treasures may be in the collection, and to wonder what we might be allowed to see next.

The importance of this Man Ray image to Sir Elton is reflected in the fact that it appears on all promotional literature for the exhibition, as well as on the cover of the accompanying catalogue. A huge reproduction of it also greets you at the entrance to the show. The ‘glass tears’ are supposedly glycerine, and much has been made of whether g

Man Ray 1890-1976 Glass Tears, 1932 Photograph, gelatin silver print on paper 229 x 298 The Sir Elton John Photography Collection © Man Ray Trust/ADAGP, Paris and DACS, London 2016

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The Radical Eye / Tate Modern

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these tears represented Man Ray’s sadness at the end of his relationship with Lee Miller, and how the close crop references silent cinema. When first made, the picture was used in an advertisement for mascara: ‘Cry in the cinema.

Cry in the theatre. Laugh until you cry without worrying about your beautiful eyes.’

Man Ray’s tears hang at the centre of the exhibition space, and in a snub to the conventions of the art world, it is housed in an ornate gold frame. The first piece of text on the walls tells us that the frames we see are the frames in which the pictures live in the home of Sir Elton John and David Furnish. Gold and silver dominates, with some photographs displayed behind such intricately constructed matting that it is hard not to be impressed by the craftsmanship. A review in The Guardian took direct aim at the frames for being ‘intrusive and over-elaborate,’ and as black and white photography has for so long been shown in simple thin black wooden frames with plain white mounts, anything more elaborate

Margaret Bourke-White George Washington Bridge, 1933 Photograph, gelatin silver print on paper 343 x 225 mm The Sir Elton John Photography Collection Photo © Estate of Margaret Bourke-White/ Licensed by VAGA, New York, NY

might seem argumentative. But after the initial surprise, the frames are part of the joy of the exhibition. Far from being intrusive, it is rather refreshing to see these great works displayed so against the norm. In the audioguide that accompanies the show Sir Elton explains: ‘I leave it to my framer, and I say you frame it how you think, but give it some prominence. Make it feel important, these are important works of art, don’t down play it by putting it in a boring black frame.’

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The Radical Eye / Tate Modern

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One of the earliest photographs on display is a 1917 contact print of a man swimming underwater by André Kertész. During a nine-month convalescence after having been wounded in WWI, he had noticed the distortions in the water of the swimming pool.

Kertész has explained that when he made the photograph his friends said to him: ‘You are crazy. Why did you photograph this?’ The print on display here is beautiful, and its diminutive size forces visitors to get very close to it, one at a time, in order to observe it properly. A hundred years on, it is difficult to apAndré Kertész 1894-1985 preciate how strange Underwater Swimmer, Esztergom, Hungary, this photograph must 30 June 1917. Photograph, gelatin silver have seemed at the print on paper 32 x 45 mm time. It is hard for The Sir Elton John Photography Collection us to grasp the shock © Estate of André Kertész/Higher Pictures with which many of

Adolph de Meyer 1868-1949 For Elizabeth Arden (The Wax Head) November 1931 Photograph, gelatin silver print on paper 356 x 276 mm The Sir Elton John Photography collection

the photographs in the exhibition would have been received, and how fresh and new the abstraction of Man Ray, or the technical perfection of Edward Weston would have seemed at the time. There are some beautiful portraits in the exhibition which give a hint of the richness of these photographers’ cultural lives

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The Radical Eye / Tate Modern

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a century ago, with their subjects including Picasso and Matisse, Erik Satie and Stravinsky.

Walking through the exhibition, it is easy to forget that this is a private collection. But one of the strengths that comes from this is that alongside the well-known and important works on show, there are also many lesser-known works; for every familiar there is a new name to be discovered. In one room we can see what is perhaps Edward Weston’s most famous photograph: his 1936 nude of Charis Wilson elegantly posed on their porch. In other rooms, we can see some of his less well-known works – a trio of Mexican pots, or a circus tent. A photograph which has a good claim to being the most recognisable in the world – Dorothea Lange’s 1936 Migrant Mother – hangs alongside a small and beautiful untitled 1929 work by Tina Modotti of what looks like a crowd of Mexican cowboys, a field of sombreros shot from above.

The sheer breadth of work on display here is a tribute to Sir Elton John’s commitment to photography. His stated aim is that we might react to the photographs with the same awe and wonder that he does:

Edward Weston 1886-1958 Nude, 1936 Photograph, gelatin silver print on paper 241 x 191 mm The Sir Elton John Photography Collection © 1981 Center for Creative Photography, Arizona Board of Regents

‘I hope visitors will experience as much joy in seeing the works as I have had in finding them.’

The exhibition succeeds in this aim. In the final room an entire wall of 40 works hung almost floor-to-ceiling is playful and engaging: it is up to the visitor to find Mondrian’s eyeglasses, or to discover the perhaps unknown jewel-like contact prints of Klara Langer or Harry Callahan among the Steichens and Man Rays. Viewing a perfect 1925 carbon print (‘Movement Study’

by Rudolf Koppitz), or the hand-tinted surrealist collages of Josef Breitenbach are rare pleasures.

In the 1930s Laszlo Moholy-Nagy spoke of how photography could radically change not just what we see, but how we see, calling it ‘the new vision’. More than 80 years on it is a joy to look at these works again, and to find that their new vision is still remarkable. tP The Radical Eye: Modernist Photography from the Sir Elton John Collection is at Tate Modern until 7 May 2017. It is curated by Shoair Mavlian with Simon Baker and Newell Harbon, Director of The Sir Elton John Photography Collection

It is easy to forget that this is a private collection.

Alongside the wellknown and important works on show, there are also many lesser-known works; for every familiar there is a new name to be discovered.

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‘I received a phone call asking me to drop everything and clear a lock-up on a demolition site. I had 48 hours before the building was bulldozed.’

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ack in the 1990s, The Douglas Brothers were in the top rank of celebrity portrait photographers. They were described by Howard Rombough in Creative Review as ‘two of the most desirable photographers of their generation’, and such was their success and notoriety that they had even slipped to the other side of the lens, appearing as the subjects in a campaign for GAP that was shot by Annie Liebowitz. Despite their great renown, it is possible that many of you will not have heard of the brothers, because in 1995 they shut down their London studio and dived headlong into directing commercials, following the call that had first come from Adidas, a result of the success of their photography. In the days before terabytes of RAID storage, their entire body of stills work was crated up and placed into a storage lock-up in a warehouse in Kings Cross.

As their directing careers took off, over 20 or so years it became forgotten.

When the call came to Tim Fennell, he went to rescue the archive as a favour to two old friends. They had first become close 25 years ago when Tim, then a journalist, was sent on assignment to Cuba with the brothers. They had lost touch for a while after the brothers had moved to the States, but had met again when Tim, now in artist management, had put on an exhibition in LA. g

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Tilda Swinton by Douglas Brothers, 1992 © The Douglas Brothers Issue Four / 2016 / the PHOTOGRAPHER 43

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‘The call from the Douglas Brothers came out of the blue. The warehouse company had been trying to track them down for nearly a year. Two days later and their archive would have been thrown in a skip.’

With the developers about to raze the building, what Tim Fennell found in the forgotten lock-up were 30 crates.

These crates were full of negatives, prints and contact sheets, none of which had seen the light of day for 20 years – as Stuart Douglas says: ‘Ten years’ work came very close to ending up as landfill.’

The Douglas Brothers had been courted by art galleries in New York and Tokyo, London and LA, but had never organised themselves to follow through on it. It seems that they never really realised the value of what they had created and they were unsure what to do with the rescued archive. Tim Fennell offered to catalogue it for them, and soon realised how important it was.

Before dropping everything to follow their muse to California the brothers had spent the best part of a decade photographing leading figures from the worlds of art, literature, film, music, sport and fashion.

Tim Fennell contacted Dr Phillip Prodger, Head of Photographs at the National Portrait Gallery, London, and arranged a viewing of the portrait work. Dr Prodger was so struck by the work that he fasttracked 14 of the portraits in front of the trustees. These are now part of the primary collection, and will go on display

Alan Bennett by The Douglas Brothers, 1990 (c) The Douglas Brothers

Douglas Brothers / Archive

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Damon Albarn by Douglas Brothers, 1990 © The Douglas Brothers

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at the gallery in summer 2017. The test of great work is whether it stands the test of time. Twenty years of being hidden away has not done the work any harm. After 20 years in the dark, what is immediately obvious is how strong the photographs are. They seem very familiar, perhaps because of how much they have been emulated over the years.

The use of old processes is something that is fashionable now, but at the time they were kicking against the tide. It is interesting to look back at how they came to be where they were, perhaps all the more so because after reaching the top they seemed to disappear from the photographic world.

Andrew is the older of the two brothers by ten years. After studying Fine Art, he photographed album covers for The Jam and The Cure. In 1975 he moved to London, and after a period assisting John Swannell and Lord Snowdon became a commercial photographer in his own right. Younger brother Stuart joined him after finishing college in 1986 and was initially Andrew’s assistant. This quickly became the collaboration that was The Douglas Brothers.

What is interesting about this part of the story is how the brothers drew upon each other in order to gain enough confidence to throw the rule book out of the window. They felt a growing dissatisfaction with what they were doing, believing that they were just hiring out their skills in the service of other people’s photographs. Wary of being pigeonholed as ‘product’ or g

Salman Rushdie by The Douglas Brothers, 1988 (c) The Douglas Brothers

Douglas Brothers / Archive

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Sir Kenneth Branagh by The Douglas Brothers, 1996

Douglas Brothers / Archive

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‘still life’ photographers, they wanted to follow their own vision, and their vision was people. The brothers decided to make their own rules in order to write their own story.

The prevailing aesthetic in the late 1980s was for highly technical photography, with lots of lighting and pin-sharp images. The brothers set up a series of free author portrait sessions with a London publisher, and released a portfolio of the work created. It was a complete denial of the fashionable precision, shot in a style that flew in the face of everything that was going on at that time. In a contemporary interview with Eye Magazine, they are quoted as saying that The Douglas Brothers – Stuart (left) and Andrew (right) – at the National Portrait Gallery they saw their work as ‘a reaction against signing over their photographs to the NPG Collection. Photocredit: bonabattoir.com the pin-sharp, pristine and sterile. A move to mood… We were pushing blur to see how far you could go, to see how little information the brain needs to make a picture.’ The portraits acquired by the National Portrait Gallery illustrate the style that they developed.

A mixture of lithographs and platinum prints, shot on medium and large-format cameras, they pushed the limits of what was acceptable with printing. The brothers welcomed imperfections, dust and scratches as part of the work. They used natural light and long handheld exposures. They famously worked each shoot together: one brother would position himself in front of the subject with a fixed camera, the other would float around using handheld. They claimed that it changed the relationship between the subject and photographer, that it enhanced the intimacy. Stuart said at the time: ‘It’s almost like playing good cop and bad cop.’ The name of the brother who had been using the camera that produced the shot in the final edit was never revealed, each one simply credited to ‘The Douglas Brothers’.

Looking back from 2016 it is perhaps hard to comprehend how different this approach was, and at first the work was slow. The brothers g

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Bob Geldof by Douglas Brothers, 1990 © The Douglas Brothers

Douglas Brothers / Archive

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would only agree to take a job if they could edit the work and have final approval. Their physical portfolio was also famously scruffy, held together with gaffer tape, and with prints stacked up inside, more like a scrapbook than the standard professional portfolio. Stuart explained that it acted in a way as a filter; that the art directors who didn’t get it wouldn’t have been the ones to give them the jobs they wanted anyway.

Their big break came in 1990 when they showed it to Temple Smith at Esquire magazine in New York. The brothers were handed a six-month project, and given free rein. The Creative Review profile of them at the time notes that it was this commission for Esquire that ‘catapulted the Douglases into the major league of American portraitists’.

Often when a photographer reaches the peak of their career there is nowhere left to go. With the Douglas Brothers in the 1990s, they seemed to have reached this point. They were photographing the biggest celebrities of their age for some of the best publications. From Esquire and The Face to The New Times. They had become the subjects themselves, so great was their brand recognition. When the Adidas commission came, for a series of ten-second adverts for MTV, the shift to the moving image must have seemed like a natural progression. The brothers progressed to shooting commercials with the same two-camera method, and with the same integrity and creative sign-off that they had insisted upon with their stills work. They closed the photography studio and moved full time into moving images, still as The Douglas Brothers, shooting award-winning adverts for clients like Adidas, Timberland and Carlsberg. They went on to pursue solo careers in directing, with both eventually ending up in Hollywood. Meanwhile, The Douglas Brothers’ stills work had been left behind, forgotten in a Kings Cross warehouse.

Seeing this work from 25 years ago is thrilling. The subjects are familiar to us but younger than we are used to. The pictures are as fresh as the day they were made and the vision of the brothers is as clear and strong as it ever was. tP The Douglas Brothers’ portraits will go on display at the National Portrait Gallery in August 2017.

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Bryan Ferry by Douglas Brothers, 1993 © The Douglas Brothers

BIPP / Awards 2017

Professional Photography Awards 2017 There are now just a few weeks to get your images ready for the The BIPP Professional Photography Awards – offering up a fantastic opportunity to gain award winning recognition for your work and further your potential as a professional photographer.

The awards are international, presenting a great opportunity to compete with other photographers far and wide. Don’t miss out on the chance to compete for the prestigious ‘international Photographer of the Year Award’.

Please see the following information for details

Ensure your entries are with us before Christmas CATEGORIES Wedding & Portrait Commercial Science & Technology Visual Arts Non-commissioned Friend Provisional Open (non-members) With the exception of ‘Non-commissioned’, these categories are for images produced with commercial intent, and they must have been commissioned or available to purchase or exhibit. If you are no longer in practice, please consider the ‘Non-commissioned’ category.

OPEN TO • Qualified BIPP Members – enter for your chance to win a Gold, Silver or Bronze Award, and the opportunity to be the BIPP International Photographer of the Year 2017.

• Provisional BIPP Members – gain valuable experience as you work towards your qualification by entering these international awards. You could be the BIPP’s Provisional Photographer of the Year!

• Friends of the BIPP – your chance to enter professional standard international awards – and be titled BIPP Friend of the Year – a great way to kickstart your career in photography.

LEE HOWELL ABIPP \ GOLD \ COMMERCIAL \ 2016

• Professional Photographers who are not BIPP Members – BIPP always looks outside of the box – make the most of this opportunity to have your work judged against some of the very best in the profession – you could win the BIPP Open!

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ENTRIES TO ARRIVE BEFORE CHRISTMAS

SELECTING & PRINTING YOUR IMAGES

NAMING YOUR IMAGES

• Entry is by a portfolio of 5 prints.

We would suggest that you title each portfolio that you enter. Please also number the individual images 1-5, so the judges can view them in the correct order.

• The work should be fresh and creative • Each set of five images must sit together as a portfolio.

• You can enter any category as many times as you like.

• Each portfolio entry must consist of 5 (10 x 8 or A4) prints, numbered 1-5.

• An image may only be used once within the competition.

• Entries must have been taken within 5 years of the entry date of the competition.

• No text or way of identifying you, as the photographer, must be seen on the front of the image.

• An image can bleed to the edge of the paper or have a thin key line around, with a white or black border. No other mounting or overlay is required.

• Any shortlisted photographers will be asked for a high res digital file after the first round of judging.

• The judges are explicitly looking for fresh, creative work, but some of the factors in their decisions will include: Image content, subject matter, interpretation, composition, centre of interest, perspective, direction, use of & control of light, style, expression, narrative, print quality, tonal range, graphic stability, design, texture, workmanship and technique.

• By entering the Awards, you acknowledge that permission has been obtained for that entry to be published and exhibited by BIPP and any necessary copyright or release has been obtained.

Any incorrectly labelled entry will be disqualified, as will any which exceed the maximum entry requirement or are deemed to have been placed in the wrong category.

COMPLETING YOUR ENTRY FORM & PAYING • A completed entry form and payment must be included with each portfolio.

• Each portfolio is £15 plus vat (total of £18) and should consist of 5 images. eg, if entering a portfolio in Commercial and a portfolio in Visual Arts, you would send in two portfolios of 5 images (10 images in total) and the charge would be £36.

• Payment must accompany each entry.

This should be by debit/credit card (details to be written on at least one of the entry forms that you submit) or by cheque, payable to ‘BIPP’.

• You must read the full rules before entering… PLEASE TURN OVER

POSTING THEM OFF

Post your prints, payment to:

International Entries – ensure your package is marked ‘Temporary Importation - Exhibition Material.

No Commercial Value’.

BIPP cannot be responsible for VAT/Customs duty on packages with a declared value.

BIPP 2017 Awards BIPP, The Coach House The Firs, High Street Whitchurch, Aylesbury Bucks HP22 4SJ

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BIPP / Awards 2017

ENTRIES TO ARRIVE BEFORE CHRISTMAS

Professional Photography Awards 2017 RULES • BIPP reserves the right to disqualify any entry that fails to meet the criteria or, in its opinion, may breach or contravene legal guidelines on public decency or may otherwise bring the photographer or the BIPP into disrepute. Any costs incurred by the BIPP in such a situation will be reimbursed by the photographer.

• Entries produced on workshops/ training courses (as a delegate) cannot be submitted.

• All entries must have been taken by the person named on the identification label.

• BIPP Members & Friends must be in current membership during the entry period, through to and including the presentations.

• BIPP will take all reasonable care in handling entries, but can accept no responsibility for loss or damage, however caused.

• Entries that have already been entered into any other national or international competition cannot be submitted (including those of other associations).

• It is the photographer’s responsibility to ensure all appropriate criteria are met.

• The entrant must have been the official photographer for the shoot from which the image originates.

• No entries will be returned, unless you expressly wish them to be and you pay the full cost of postage and packing.

© BRYN DAVIES LBIPP \ GOLD \ VISUAL ARTS \ 2016

• BIPP reserves the right to use any image, and the photographer’s details, for publicity purposes.

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INFORMATION ON CATEGORIES • Commercial category to include: Industrial / Fashion / Architectural / Hair & Beauty / Advertising / Sports / Editorial / Motor Sports / Events / Theatre / Dance / Press & PR • Science & Technology to include: Scientific / Medical / Forensic / Underwater / Management / 3D / Video & Moving Image / Time Lapse Imaging / Aerial / Marketing & Education / Macro & Digital Manipulation • Visual Arts to include: Stock & Library / Fine Art / Wildlife / Illustrative & Travel / Landscapes

• By entering the Awards, non-members agree that BIPP may contact you from time to time regarding our services.

If you do not wish to be contacted in this way, please email info@bipp.com, with your details, using the subject heading ‘do not contact’.

• The decision of the judges is final and no correspondence will be entered into.

• Check every portfolio is labelled correctly and in the correct category.

• Check none of the images have been entered into another national competition.

• Check you have full permission to use the image and have obtained all necessary releases.

• Check you have read the full rules of the competition.

• Check your images will reach BIPP before Christmas at the latest LASTLY – remember that we want to see that ‘wow factor’ with fresh, creative work – please take your time in choosing your portfolios.

© RICHARD MAYFIELD FBIPP \ GOLD \ COMMERCIAL \ 2016

• Information correct at time of publication - BIPP reserves the right to change any of the above without prior notice.

CHECKLIST

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BIPP / Company partners

Loxley Colour Trust the UK’s leading, multi award-winning professional print lab to print your images.

Loxley Colour has a long history in the photography industry, which has given us invaluable insight into what makes the perfect printed product. Choose from a wide range of hand made products direct to you or your customer from our 72, 000 sq ft facilities located in the UK. Whether it’s photographic and Giclée prints, the iconic Bellissimo albums range, wall products that wow or a complete mounting and framing service that offers photographers limitless options, Loxley Colour is the lab of choice for professional photographers who care about quality.

Enjoy Complimentary Colour Correction, a free test prints service and excusive discounts for BIPP members’ qualifications prints. Quick, convenient online ordering and an award winning customer service team make partnering with Loxley easy.

For more information visit the website or contact us on 0845 519 5000 or cs@loxleycolour.com

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BIPP / Company partners

Uplift Drone Training Gain your Licence to legally operate a drone for paid work with Uplift Drone Training Uplift Drone Training delivers two and three day training courses so that you can legally add a drone capability to your business. We have trained photographers, film makers , surveyors and agricultural companies to name a few. The training is towards the “Permission for Commercial Operations” or PfCO for short. This PfCO or licence is required from the Civil Aviation Authority for all paid work undertaken with drones in the UK. The PfCO also allows you to obtain the correct public liability insurance for drone operations, protecting you and your business.

At Uplift Drone training you will learn from experts , the company was started by an airline pilot and an unmanned aircraft pilot both with thousands of hours experience in their respective fields, all our instructors hold a PfCO and so you are learning from experience. We started Uplift Drone Training with the aim of providing the best training on the market at a fair price, BIPP members can now benefit from a BIPP members only special discount.

See www.upliftdronetraining.com or call 01273 966875 for more information.

BIPP / Member benefit

Law Express is the BIPP legal advice and helpline provider and is a benefit available to all fully qualified BIPP members. If you ever have any concerns regarding legal or business issues Law Express are the people to call.

Their services include access to a free 24-hour telephone advisory service on legal issues and links to both personal and business-related legal issues. All of these features can be accessed via the Members’ Area of bipp.com, under the ‘Benefits & Discounts’ tab.

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BIPP / Regions & Events

Cotswolds Jonathan Fisher LBIPP jon@jonfisher.co.uk

Midlands Paul Witney ABIPP linkingrings@hotmail.com

North East Kevin Weatherly LBIPP kevinweatherly@mac.com

EVENTS & DATES COMING UP

THE PHOTOGRAPHY SHOW 18 – 21 March 2017 NEC, Birmingham A quick reminder to everyone that BIPP will be exhibiting again at The Photography Show 2017.

Look out for news and information about TPS 2017 in emails and across social media. We’ll be holding a number of Portfolio Reviews across the show, details of which can be found on the website.

LOSE THE FLASH FEAR FACTOR WITH MICHAEL WHARLEY ABIPP Monday 12 September, Makespace Studios, London Michael, South East Regional Photographer of the Year in 2016 and an actor himself, is known for being a headshot expert and has worked with an array of industry clients including many famous faces!

Michael has very kindly offered to provide a full training day at his Makespace Studios in the heart of London. Experimenting with lighting to achieve radically different portraits in a short space of time and

Image © David Wheeler

WEDDINGS: CAPTURING THE ESSENCE OF A WEDDING WITH DAVID WHEELER FBIPP Tuesday 4 April 2017, Missenden Abbey David, the BIPP South East Regional Photographer of the Year in 2015, will be taking time to share his passion with us and describe how to capture images from the epic to the intimate, to create a special collection a couple can treasure for a lifetime.

Join us for this practical day at a stunning location next April!

POSING & COMPOSITION WITH KEVIN WILSON HON FBIPP Tuesday 20 June, BIPP Offices Join us for this full day of training with none other than Kevin Wilson, the new President of the BIPP and all round nice guy! This day will focus purely on the posing and composition involved within photography, sometimes the most difficult variable to get right.

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For further information and details on booking visit www.bipp.com/events 04/12/2016 19:05

North West Ioan Said LBIPP ioan@celynnen photography.co.uk

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

Scotland Scott Hogg ABIPP info@scotthogg. com

South East Chris Harper FBIPP chris@bipp.com

South West Bella West FBIPP bellawest@me.com

Yorkshire Katrina Whitehead LBIPP katrinabipp @gmail.com

EVENTS & DATES COMING UP

paying close attention to skin tone, eye & hair colour and facial structure you will explore subtlety and drama, using techniques that are applicable across a wide range of portraiture.

PORTFOLIO REVIEWS If you are thinking of going for your first, or upgrading to your next, BIPP qualification you might like to take advantage of a Portfolio Review to gain an understanding of what you need to do to qualify and how long the process might take. Portfolio Reviews offer professional photographers the opportunity to receive face-to-face advice on their work from one of BIPP’s Approved Assessors. Our Assessors fully understand the requirements for qualification and are highly experienced photographers with a wealth of industry knowledge. We recommend candidates seek guidance on preparing for qualification at a portfolio review before booking a qualification date.

2017 PORTFOLIO REVIEWS Wednesday 1 February 2017 - London Saturday 18 March 2017 - The Photography Show Sunday 19 March 2017 - The Photography Show Monday 20 March 2017 - The Photography Show Important Information: • Portfolio Reviews cost £50.00 for Members, £90.00 for Friends, and £100.00 for Non Members (inclusive of VAT).

• All Portfolio Review sessions run for 45-50 mins.

• Please bring approx 40 low res images (no more than 5MB per image) on a laptop or tablet.

• If you are a non-member interested in applying for Provisional membership please bring copies of your insurance.

• Please note portfolio reviews are non-refundable and non-transferable.

QUALIFICATION ASSESSMENTS Get ahead and start planning your assessment for next year!

Wednesday 1 March 2017 - BIPP Offices (Submission Deadline - 1 February 2017) Wednesday 14 June 2017 - Birmingham (Submission Deadline - 12 May 2017 Wednesday 20 September 2017 - BIPP Offices (Submission Deadline - 23 August 2014) Wednesday 22 November 2017 - Barnsley (Submission Deadline - 20 October 2017) If you’re interested in qualifying or upgrading your current qualification, please email Jane: jane@bipp. com or call 01296 642020 if you’d like to discuss qualifying further.

Information on CPD Following the recent AGM, we’re a delighted to announce that there is a new Membership Services Advisory Board, from which the new Board of Directors was elected. The directors then in turn appointed the CPD Advisory Board for 2016-2018.

Russell Baston Hon FBIPP Alan McEwan Hon FBIPP Jo Scott FBIPP Denise Swanson FBIPP Frank Tomlinson FBIPP Kevin Wilson Hon FBIPP Kevin Wilson Hon FBIPP has succeeded Eric Jenkins Hon FBIPP as President of the BIPP. We’d like to thank Eric for all of his help and support.

For further information and details on booking visit www.bipp.com/events TP-2016-4 BIPP B 58-59.indd 59

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Business / Homeworking

No place like home?

W

orking from home isn’t for everyone, but get it right and you’ll have opened up a world of opportunity and freedom that your employed or commuting compatriots will be envious of. No more fighting with Southern Rail and striking guards, fewer visits to a petrol station (perhaps), and less expensive lunches. Sounds ideal doesn’t it?

Mostly. However, while you’ll have your freedom, you will have a new set of problems to contend with. None are insurmountable, but they do need your undivided attention.

Self-motivation While working from home seems like the perfect way of earning a living it’s not for everyone and does require discipline.

Consider the lot of the commuter – leave the house at 7.00am and home around 7.30pm, if they’re lucky. It’s a never ending cycle, and one that’s enforced by an employer wielding a P45-based stick.

But for the home worker, the reality is remarkably similar, albeit without the drudgery of travelling, for without a strong routine the work ethic will evaporate. The successful homeworker needs regimentation – be at work by 9 o’clock, to have lunch at 1pm, and to finish around (say) 6pm.

Routine gives structure to those that have to be self-starters.

Another aspect to this is how you organise your day and how you manage your time. The key is to not work stupidly long hours but to know your limitations

Just as the grass is always greener no matter where you are, the idea of home working can turn out to be a lot different than the dream suggests. At the end of the day you’ll never get paid for watching repeats on Dave, so sit up (or get up) and get started and work within them. It’s also important to block off time so that you can take holidays. Remember that the employee has holiday entitlement which if not taken is lost. The homeworker – if self-employed – doesn’t have to ask to take holiday, but they do need to proactively take it else work becomes all-consuming and family life will suffer.

Working from home, on your own account, carries obligations without anyone else to remind you of what they entail. So use your smartphone to log not just jobs, but key dates such as a tax returns and payments; there won’t be anyone else dealing with your PAYE or VAT affairs. These two taxes alone come with regular reporting obligations and stiff sanctions for missing due dates.

Basic training You need to train your family to understand that while you may be at home, working, that you are working and not just at home – and most definitely not on call. It’s worth pointing out to your family that if you were employed, in a studio, you

‘Working from home, on your own account, carries obligations without anyone else to remind you of what they entail..’

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Business / Homeworking

‘If you’re considering converting an outside building such as a shed into a working area, there could be planning issues, especially if you have visitors, but more importantly you risk being charged business rates.’ couldn’t just stop work to attend to a trivial family matter. By extension, this means that while you may nip out for a loo break or for a coffee, they cannot take that as carte blanche to come in on demand. Train them to knock and wait for the call – and to be quiet while they wait – rushing in when you’re on a call sounds so unprofessional.

Another consideration is your working space. Layout of your home may preclude this, but if at all possible avoid having your working space – office or studio – within the central confines of the home. You’ll suffer from family distractions and noise from squabbling children. Worse still, if for example, you’re working out of bedroom four you’ll find

it hard to switch off. The ideal would be to convert a loft or part of the garage so that you can separate off home and work.

A word of caution: If you’re considering converting an outside building such as a shed into a working area, there could be planning issues, especially if you have visitors, but more importantly you risk being charged business rates.

There is another aspect of home working that poses a serious threat to successful home working… isolation. While some understandably whinge about the daily commute, they find solace in the social side of work – the interaction with colleagues.

Further, the process of commuting mentally sets them up for work. However, working at home – for yourself or as a homeworking employee – means missing out on the gossip, news, being with others and having time to prepare for the day ahead. Some find it terribly lonely and begin to hate home working with a passion. This is why it’s very important to stay healthy both physically and mentally. The kitchen with

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all of its temptations is permanently open to the homeworker which makes self-discipline important as does getting out at lunchtime, if there’s nothing on, for a walk or for a simple pint of milk.

It’s also equally important to get out to meet people in whatever social situations you prefer – down the gym, at sport, a hobby, or with a service or business organisation. It’s not for networking, although by definition, that’s a possibility. It’s for interest and to see other people. Working from home can be very rewarding, but have a bad day and you’ll find it hard to unwind; families don’t always understand. It takes a strong familial bond to cope with the stresses of home working and possibly being with family members 24 hours a day, seven days a week.

Tax implications Working from home, in business, means incurring cost. But tax rules allow the offsetting of certain costs against profits. This means that you’re entitled to include part of the running costs of your home in your accounts.

However, as might be expected, tax law is as clear as mud and you need to tread carefully.

There two ways for calculating what you can claim. The first is the simplified accounting method which applies if you are a sole trader or in a partnership and your sales are under the VAT threshold of £83,000 a year. Here you can claim in relation to the number of hours worked per month at home. If you work 25-50 hours you can claim £10 per month; for 51-100 hours, it’s £18 per month; and for 101 hours or more it’s £26 per month.

This is, of course simple, and it may not be a true representation of the real costs and is only meant to cover heat, light and power – there’s no accounting for rent, council tax, and telephone and broadband. The alternative is to analyse the real costs. HMRC’s view here is that you need to apportion the running costs of your home on a ‘fair and reasonable’ basis between the private element of that cost and the business element. One option is to simply divide the total costs between the rooms used for work and then remove a proportion of the room’s use that isn’t for work.

For example, you have eight rooms in your home, one of which is used for work (and of that one room, it’s used 10% of the time for private matters). Here you’d calculate the relevant costs, divide by eight (rooms) and then claim for 90% of the result.

As an aside, tax advisors note that it’s never a good idea to claim that a given room or rooms are 100% dedicated to business.

Why? Because although you’ll get away with it in the short term, when you sell your home capital gains tax will then be charged on a proportion of the proceeds.

So with the stage set, what costs can you claim?

• Mortgage: A proportion of any mortgage interest only – not the capital repayment.

• Rent: If you’re renting your home from a landlord, a proportion of the rent for your business.

• Council tax: A proportion of your council tax cost. However, depending on how much you use your home for business, you may have to pay business rates rather than council tax.

• Light and heat: A proportion of your utility costs for lighting and heating in the room(s) you use for business.

• Telephone and broadband: The full cost of your business use of the line, and a percentage of the line rental, based on how much you use it for business purposes and how much is for personal use.

• Water: If water usage at home is minimal, you cannot claim.

• Property repairs: Only if a property repair relates solely to the part that’s used for business, subject to disbarring any personal use of that room.

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â&#x20AC;&#x2DC;Working from home can be an utter privilege but it takes thought and planning to make it a success.â&#x20AC;&#x2122; Issue Four / 2016 / the PHOTOGRAPHER 63

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Repairs are more problematic so if the ceiling in your working room was repaired at a cost of £500, you can claim for 90% of it (discounting the 10% for personal use) because the repair was only for that room. However, if the repair is to the whole house, say the roof, you can include that in the same proportion as you would the rent or council tax – in our example one eighth less 10%.

Pricing in proportion There is one critical task to deal with; the setting of prices. The biggest problem here is perception. The employed earn a fixed amount and pay proportionately more in tax. However, those running a business have other costs to cover – equipment, insurance, accountancy fees, travel and of course, their time. (Let’s not forget that the self-employed don’t get healthcare, holiday pay, sick pay, maternity pay or redundancy protection.) Quite simply, this means that hiring a photographer isn’t going to be cheap and any sensible person needs to create a pricing structure accordingly that takes into account all of the above.

What that pricing structure will be is a personal matter as it depends on local wealth, competition, skill, reputation and so on. However, to succeed it’s important to create the impression of value. How can you do this? One method is to charge a fair rate but not charge for extras (it’s the pricing of concert tickets issue – there’s a base price on to which are added fees for booking, credit cards and postage, all of which create irritation). The opposite is to offer a higher price for a complete

package but then give the customer the option to peel away those items, and cost, that they don’t want.

Don’t lose sight of your price points noting that there’s a reason why fuel is priced at xxx.9p/litre or that cars are offered with prices set at, say, £11,995; people only see the leading numbers but fail to compute that they’re only a fraction off the next whole number.

The big BUT though is that when you create a business model taking into account all the things that your self-employed status means you don’t benefit from that those in normal employment do, you might think it sounds expensive. This is just a matter of perception – it’s your profits that count, not your turnover.

Just about the only cost/benefit that works in your favour as a homeworker-come-self-employed is travel. Remember that season ticket cost? It came out of your take home earnings. For the selfemployed, travel costs are part of your cost base and normally tax deductible.

Other issues Because you’re working from home you’ll need to consider your insurance position, especially if you receive visitors (clients) – you will need public liability insurance cover should anything happen to them. Further, you’ll also most likely need to seek out a home working insurance policy to cover business equipment within the home. It’s worth trying to find an insurer – via a good broker – who will cover buildings and contents in one policy and who is aware of your career. The majority of the insurers via comparison sites will not cater for what you need and the last thing you want is your insurers passing the buck claiming the issue belongs to another insurer. Also, don’t forget professional liability insurance to cover, for example, faulty memory cards, dissatisfied customers where a shoot has gone wrong...

To finish Working from home can be an utter privilege but it takes thought and planning to make it a success. Take the leap; you won’t regret it. But at the end of the day there is suddenly no one but yourself to make you do the work and make a crust. Curiously, concentrating on that rather than Homes Under the Hammer can be the biggest challenge of all… tP

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