the Photographer - Issue Two 2019

Heading for the top Gavin Smart’s star is rising

Chasing shadows Catherine Beltramini’s dark side The Magazine of the BIPP / 2019 / Issue Two

Alex Jeffries brings fantasy worlds to life

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I SSUE TW O, 201 9

Heading for the top Gavin Smart’s star is rising

Chasing shadows Catherine Beltramini’s dark side The Magazine of the BIPP / 2019 / Issue Two

Alex Jeffries brings fantasy worlds to life

Beyond the imagination

Cover image © Alex Jeffries

Alex Jeffries / Corporate and commercial 2 Based in Dubai and serving the luxury hotels sector, Alex has a reputation for high-end work. But his success is no accident, as we find out Gavin Smart / Theatre 18 We talk to recent graduate Gavin Smart about landing a job at the Royal Opera House and his journey at Edinburgh College Catherine Beltramini / A gothic Fellowship 30 Far from her usual work in wedding, portrait and newborn photography, Catherine’s produced a challenging the Photographer is published four times a year by the British Institute of Professional Photography, The Artistry House, 16 Winckley Square, Preston, Lancashire PR1 3JJ T: 01772 367968  E: info@bipp.com  W: www.bipp.com Company secretary: Michael Lane CEO: Martin Baynes  Directors: Jonathan Beer FBIPP, Sean Conboy FBIPP, Kevin Weatherly LBIPP, Ioan Said LBIPP, Chris Wright ABIPP, Emily Hancock FBIPP

project looking at characters in contemporary gothic culture FEP Judging / Norway 38 Ian Cartwright explains the relevance of FEP qualifications and the standards behind their judging Janice Ward / Best Licentiate 46 Returning to a source of personal sadness, Janice reflects on a LBIPP that brought her surprising joy

BIPP Legal Advice Service 54 How to use Law Express Company partners 56 Fuji / Broncolor open day 58

Regional Awards results 52

Regions and events 59

CEO’s column 53 Martin Baynes looks towards year-end with a to-do list

Awards print guidance 60

Membership Services Advisory Board Chris Wright ABIPP - National Jonathan Beer FBIPP - National David Campbell ABIPP - Northern Ireland Sean Conboy FBIPP - North West Tony Freeman Hon FBIPP - National Dan Freeman FBIPP - South East Emily Hancock FBIPP - National Alan McEwan Hon FBIPP - Scotland Ioan Said LBIPP - National Denise Swanson FBIPP - National

President’s column 61 David Taylor FBIPP - Midlands Kevin Weatherly LBIPP - North East Katrina Whitehead LBIPP - Yorkshire Editor: Jonathan Briggs, editor@bipp.com Advertising: Tel 01772 367968 E-mail: admin@bipp.com UK Subscribers £20, EU £40, Rest of the World £50 ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts

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 2019 Issue Two / 2019 / the PHOTOGRAPHER 1

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ALEX J EFFRI ES C ORPORATE & COM M ERCI AL

aya Nurai is a boutique private island resort in Abu Dhabi, UAE. Apart from the skyscraper clichés, this is – as Mr and Mrs Smith declares – ‘Blingy and barefoot… combining laid-back beachy vibes with unrestrained Emirati gloss and glamour’. So welcome to the Middle East, where dreams really do come true in these richest of oil-rich states. The scale of everything is one element to amaze, but the sheer indulgence something else once again. And this is the domain of commercial photographer Alex Jeffries, who has been resident in Dubai for more than 15 years, serving a gilt-edged client list of corporate and commercial, hotels and hospitality. From the global hotel brands Marriott and Hilton; to global legal monoliths such as Linklaters; all the way to the huge brands Jumeirah and Meraas owned by Dubai’s ruling family, Alex appears to have set out and succeeded. But why Dubai? Alex replies: ‘I’ve always had a place in my heart for the Middle East. When I was younger my father came out

Image © Alex Jeffries

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Land of opportunity

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here to work and then later returned to the UK – he was a construction engineer and worked for the Oman Police force. When I was working in the UK, the opportunity came along to head out to Dubai and here we are.’ It’s no accident, of course, that so many truly global brands have a significant presence in the Middle East – and that in turn offers up the kind of opportunities for a commercial photographer that are possibly unmatched anywhere else in the world. But start talking Dubai, Abu Dhabi, ruling families and eye-popping private wealth and no one would consider that an easy environment to operate in. How do you communicate creative value in what must be a hard-headed business world? Alex says: ‘There are plenty of photographers that can take a great picture or have beautiful Instagram accounts, but if you cannot add value to a company and help them to better market themselves or build portfolio, you will fail. You have to possess an understanding of marketing and content – sometimes you may face a very experienced art buyer or marketing manager; other days, you will face somebody with less experience and then your experience and skillset can come into play, helping them to get to where they need to be. Recognising that difference is important.’ Even in the Middle East, Alex says most clients come by word-of-mouth, and that means photographers need to be very conscious of their own brand. He explains: ‘I spend a lot of time sitting around in hotels, with general managers, with heads of marketing and being in Dubai it’s often at the very best hotels in the world. I see other photographers arriving for shoots with scruffy long hair and shorts looking like they’ve just woken up, because we’re in the creative industries and it’s cool, right? Not so, not cool. I make sure that my assistant and I dress smartly, we arrive early and I’m ready to shoot. When I’m working in a $100m hotel that has just launched to

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C O R PORATE & COM M ERCI AL

market with a general manager who has worked all around the world, how I dress says everything about me, about my brand.’ Indeed, Hilton’s senior regional PR manager describes Alex as ‘just the right business partner’. That’s a carefully considered phrase and would be a bit of a ‘fist-pump’ moment for any photographer. Alex comments: ‘It’s a very challenging financial landscape these days, especially in Dubai, and the Gulf Co-operation Council – budgets are often tight and managers are ever responsible to save money, but deliver. A photographer cannot work blindly without considering this, so to be a success you have to monitor a few key things – one of which is being a good business partner, or essential external creative team member, adding value, keeping costs at a practical level and over delivering – you must help and inform. It is also very important these days, as a photographer, to understand fully about digital content and the

end use of the images you are capturing. I shoot tethered 99% of the time and often have layered Photoshop files on the computer ready to drop images into. These days a photographer needs to consider far beyond the shot you are presently shooting... Will the image be used on a billboard... landscape, or portrait on Snapchat? People are building brands on Snapchat these days and even websites are starting to become a secondary necessity. Content is king and clients want lots of it, at a high quality, within budget. It’s a fast-paced environment and if you don’t get it, clients quickly move on to the next guy. So cut-throat, yes, you’d expect that. But pressure on budgets, possibly not. Are the Middle East and Asian markets

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harder to crack? Is more expected from the photographer? Alex replies: ‘In the Middle East, especially Dubai, you are faced with a melting pot of people from all over the world. It is not unusual to arrive at a job to be met by a marketing manager from Sudan, or Saudi Arabia, or California – you learn to communicate effectively and quickly; you learn to respect people and be familiar with cultural boundaries. Client relationships must be nurtured like gardens… From this point forward, you are essentially a part of their creative team. Clients don’t have time to go to Google searching for a photographer and they don’t want to. Clients do not just need a photography company to come and execute one shoot then leave. They often need a full spectrum of requirements to help them launch into the market, provided by a no-fuss, trusted professional supplier that has a great track record. They need a

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ALEX J EFFRI ES

Image © Alex Jeffries

C O R PORATE & COM M ERCI AL

partner they can rely on, because they already have too many other things to worry about. Your highest priority is actually to take photography off that worry list.’ Hotels and hospitality aside, it’s hard to miss the global law firms and financial services companies in Alex’s client list… Shearman & Sterling, Herbert Smith Freehills, Linkaters, Clifford Chance… These are the big boys on the world stage. Alex has worked with most of the global law firms and financial houses, shooting portraits – indeed just when we’re trying to get this piece together he has a similar shoot to prepare for. ‘This work just keeps on coming,’ he says. But what’s the nub of it? Why Alex? He replies: ‘You know, most of these companies have global brand guidelines that need adhering to, their portraits need to be photographed in a certain way and it needs to be done right. Often some of these people don’t have time to be photographed. A client needs, again, to know they have employed a photo­grapher that can

work to strict guidelines and get the job done, whilst also capturing a great portrait. When you are shooting lawyers that are charged out at $1,000 an hour you cannot be hoping that the job goes well. You have to deliver. And as I’m sure you know, capturing correctly a good portrait is only half of the job… lighting it right and getting the technical part correct is expected, but most of what makes a great portrait is the relationship you build within the two minutes or 20 minutes you have with that person – mess that up and you have failed. Gone are the days of stuffy, formal, unfriendly portraits… these days authenticity and real smiles are key. So I have worked hard to build portfolio and do good work in this area.’

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He continues to explain the meaning of ‘global’ business: ‘I feel it is very important to be professional. We owe it to the public and the industry to honour the term “professional photographer”. And a part of this professionalism is wanting your photography to be at global standards. When I see global brand guidelines from a law firm or a worldwide hotel group I am very pleased to read them and ensure that I shoot to those standards or, better still, have an objective to improve beyond those standards and see what could be done better. In photo­graphy your work is judged in an instant isn’t it? Day in, day out, my work is seen and judged globally. It is perfectly normal to be booked for a hotel shoot in Dubai, from the marketing team

in London, but be approved by the vendor process team in Amsterdam. That’s what you have to be ready for.’ Unsurprisingly, Alex has no plans to leave the region, being in the centre of ‘the world’ as far as many markets and tourism in the Middle East are concerned. He’s recently worked in Kuwait, Qatar, Oman and the Maldives and has the wider Middle East and North Africa region on his doorstep. Having given the time and gained the experience to work successfully with major hotels and to understand exactly what content is needed to launch a new luxury five-star hotel to the market, that effort is now paying off. But did he find it difficult in the earlier stages of his career? ‘Yes I did. I made mistakes. But I learned. We are blessed with a new day, every day – a chance to make things happen, for opportunities to roll in.’ www.alexjeffriesphotographygroup.com Issue Two / 2019 / the PHOTOGRAPHER 11

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The making of a photographer Alex Jeffries provides a personal take on what forms the backbone of a successful photography business

‘I

see many photographers being successful – I find it a great inspiration. At the same time, I see many photographers moaning: moaning mostly about lack of work; moaning about younger, often freelance photographers ‘stealing’ the work… the list of groans goes on. However, sometimes a quick Google search of some of these moaning photographers often highlights, within just a few seconds, why they are really suffering from lack of work. It led me to put together a list of what has brought me success, or pulled in the business. By the way, I am a specialist interiors, hotels and hospitality photographer, but you can simply change the words to suit your particular skillset. I’ll start with the easiest and most obvious.

Social media You should be active on – at the very least – Instagram. It is the fastest growing Social Media channel. You need to be adding stories frequently (fresh content). Stories have now overtaken the main feed in viewer numbers. Show your work, educate, even entertain, but keep the photos with your cat on your personal account. Run it professionally.

SEO You should be position 1, page 1 on Google. Enquiries come in whilst you sleep. It is necessary that you have an understanding of Search Engine Optimisation, but you can pay somebody else to do it.

Marketing plan Are you budgeting for marketing? Are you doing ANY marketing? You should 100% assign a monthly cost to this. And if you are useless at strategy, get help. Which brings us on to...

Website You should have a great (responsive) website and one that is 100% mobile friendly. Most websites these days are viewed on ipads or mobile devices. Be honest with yourself: how does yours look? This is often the first thing a client sees. You never get a second chance to make a first impression.

Mentor Get a mentor. Get two. I have a friend I speak to most weeks – he ran the European Nissan car advertising account for many years and has 40 years of advertising and marketing under his belt – just chatting to him for five minutes fills me with inspiration and ideas. He doesn’t really realise he mentors me, but he does.

LinkedIn You should be active on LinkedIn and be looked upon as a ‘thought leader’ in photography, as well as the leading interiors / baby / wedding photographer in your city. You should be connecting with art directors / art buyers / architects / interior designers and so on. It can be one of the best ways to get your work in front of them. LinkedIn these days has changed dramatically and is a great tool.

Competition Be 100% aware of the competition. On your desk at the side of the computer you should have a list of the top ten interiors photographers in your area. What are they doing right / wrong?

Print You should have a great printed brochure. Zillennials and millenials like to look at screens; a 50-year-old senior partner does not. He likes to touch and feel things. Have it delivered with a personal note to the top 50 architect / interior design firms in your city.

Teaching Any good photographer should be teaching. I’ve had numerous projects come in to me this way. It’s great

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for networking and keeping your skills sharp. You’d be surprised what a great way it is to meet other photographers and also, so many young architects and interior designers take up photography / software training. Whether it is 4 year olds or 24 year olds, my city for example has a great Nikon kids club. Get on it. Training What training have you undertaken recently? As a very simple and quick example, it doesn’t have to be three days of on-location training that costs £2,500. Last week I attended a ‘Disrupt the Portrait’ iphone photography lesson at my local Apple store with my 5-year-old daughter for free. I left filled with inspiration and ideas. Do you have a personal project on-going, or when did you last assign three hours to shoot for yourself ? Networking, other photographers Network / connect with other photographers. There will be times when you have too much work and they have too much work. Partner with trusted professionals. Learn from them too, exchange ideas. I’m about to leave for two weeks on holiday and each of those two weeks is being asked for by clients to shoot, I don’t want to force them to go to Google, better if I connect them with a trusted photographer. Networking, industry Do you know and follow all the local industry architecture and interior design magazine editors? Do you know the top architecture firms in your city? Networking is key, if you are reluctant (as was I), you need to close up shop. Begin now, you will slowly get better. Cold call See a building / architecture firm you want to shoot / work with. Research them, find out if they have a marketing head / new business development head, connect and move forward. UGC When you complete a shoot, look for how that company uses the images – chances are they will PR the hell out of them. When Coca Cola brought out their

personalised coke bottles, the world went crazy for them. Dubbed the ‘Share a Coke’ campaign, it took off all over the world with bottles named after people in every different destination. To keep momentum going, customers were asked to share pictures of themselves enjoying a drink with their personalised coke bottle on social media. The result? Coca Cola’s customers stepped into the role of advertiser. This wasn’t just a one-off campaign, or a fancy fluke. Instead, it is one of thousands of User Generated Content (UGC) campaigns that brought the business it promoted millions in revenue and a whole new image. If a brand gets your images “out there”, whilst copyright breach may come to mind, think, though, about the possible positives for you that can come from it. Re-post, re-post, re-post. UGC is getting bigger and bigger and is the future of marketing. Just this week I was on a shoot and the designer was creating Instagram stories as I worked, with “behind the scenes” images, brilliant! Giving What are you doing for charity, what are you giving back to society. Are you volunteering? What are the local “needs” of your area? Perhaps a charity needs photography skills, but cannot afford them? You have to give in life, to receive. Start today. And finally... Look at your brand. Better still, get feedback from others that will look at your brand. How do you look? Too expensive? Too cheap? Lacking experience? Does your website need attention? Does your Instagram account need more time spent on it? Brand is not just your photograph watermark or your company logo, it is the way you answer the phone, it is the way your website looks, it’s your e-mail signature, it’s the way you communicate with clients. Additionally, from quote stage through to shoot and delivery and beyond, be utterly, thoroughly professional and you will shine above the sea of photographers out there and the work will flow…’

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A story to tell

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hen asked what he considers his ‘USP’ to be, rising star Gavin Smart doesn’t hesitate: ‘This is one of the great questions any photographer setting out has to face, and something I have genuinely given a great deal of thought to. Whilst I pride myself on craftsmanship and careful eye for detail, I think my strongest quality, as well as possibly the most important part of my whole brand, is storytelling.’ The image opening our discussion with Gavin for The Producers could be said to be his signature dish… a multi-layered celebration of intrigue and meaning all fashioned out of a commercial brief. Gavin’s had a number of different creative careers already, from a

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professional tuba player in London to an artisan baker in Paris. He says: ‘Each step has given me a wealth of life experiences as well as a back-story, all of which translates into my work. It is the ability to channel these experiences into compelling visual narratives that is one of the most rewarding aspects of photography. For me, it’s an almost pathological need to translate ideas and experiences into thought-provoking narratives.’ And this is entirely borne out by the non-stop list of awards that flowed through his time developing at Edinburgh College. He was BIPP Photography Student of the Year 2017; MPA Photography Student of the Year and AOP Student Awards finalist in 2018; and was Moscow International Foto Awards New Talent of the Year, 2019. Gavin himself is among a raft of fine talent that continues to benefit from commercial

nurturing at Edinburgh College, but is his idea of what a commercial photographer is today the same as what it was when he began his course? Gavin replies: ‘To be brutally honest, I think almost all of my ideas about photography are completely different from when I first started out. My course at Edinburgh College was incredibly valuable and informative, looking at each genre of photography through the key practitioners who informed each style. Following those who have lived and worked in the business gives a real-life application to my work within the photographic industry. I think it’s not so much my idea of what a commercial photographer is that has

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completely changed, as my idea of where my own individual style and voice fits into the commercial world. It was when I realised that advertising, for example, could include work for charities, NGOs, and other important causes that I learned where my I could position myself as photographic artist.’ He continues to explain where his creative inspiration originated: ‘My heart will always lie with the fantastic work of the Farm Security Administration photographers in the 1930s: Dorothea Lange, Walker Evans and Jack Delano featured in the first books I ever bought on photography, and still inform my creative practice and my desire to create

thought-provoking stories. In terms of contemporary influences I adore the work of Nadav Kander. He has such a clear artistic vision and colour palette that permeates all of his work. From his landscapes of the Yangtze River to his theatrical posters for the Almeida Theatre, there is a style, narrative and colour grade that binds all of his work together as one cohesive whole. I hope to do something similar with my own work.’ In his earlier work that featured a couple of years back in the BIPP Student Awards, Gavin illustrated a liking and not insignificant talent for composites and retouching – using that approach to create a message and tell a tale. Now it seems that the narrative has become part of the image in camera rather than being a separate thought and input. He comments: ‘I think this is a natural progression. In the past I’ve done some crazy composite works – I was flexing my creative

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muscles a little bit there, but by my third year I wanted something much more mature. There’s people out there doing all sorts of amazing work in CGI and I’m never going to be able to match the big retouch studios without it becoming my sole focus. I find the retouching side of contemporary digital photography a very rewarding process, as for me it is equivalent to the darkroom techniques of analogue. The RAW image, like that of a 35mm or 120mm negative, is only half of the process – how it is handled and processed can bring so much more to the final presentation. It is a photographic art in itself and one that can add so much drama and emotion to an image. I would love to know more and progress in this area, as even if I were to work with a dedicated retouch artist further down the line it is vital that I know what I want to achieve and how best to facilitate that at point of capture.’ Gavin feels that, when starting out, there’s no choice but to be a ‘one-stop shop’ as there simply isn’t the budget for anything else: ‘Collaboration is a big part of my workflow, and I love working with those who can bring their own talent and creativity to the final image, adding things that I could not or would not have ever considered. I also have a particular soft spot for the work of Swedish surreal photographer, re-toucher and visual artist Erik Johannson – purely because he has the imagination, skill and technique

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to bring seemingly the most amazing or impossible idea to life. Right now, I see myself as continuing with the same levels of craft and planning but focused on a more “film directorial” way forward. With control of location, lighting and costume the theatre work has been perfect to progress this where the process is beneath a much stronger and tighter story.’ Reaching out from his relatively recent graduation, and being a Scot who has studied his craft in Scotland, Gavin also now faces the gritty decisions around geographical location and how much that matters. He says: ‘Location is a very interesting and challenging question. There are some great agencies as well as a lot of stimulating and diverse work going on in Scotland, but there is also a fantastic wealth of talent that sadly far outweighs the amount of available opportunities. It’s a nation of 5m people – around half that of greater London – so of course there are far more opportunities south of the border. In particular, the type of work that I enjoy is predominantly based in London. High-end advertising as well as the heart of the country’s theatre and arts scene all

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takes place there. I would love to reach a point where location is not a critical factor, being based in one place yet having the clients and freedom to shoot around the UK and beyond. This of course takes time, building the contacts and professional networks to facilitate it.’ But these were not the decisions Gavin actually expected to be making. Turn back the clock three or four years and he was going to be a revolutionary black and white photographer. His images above are from a earlier commission by Falcon Coffee where he headed off to Nicaragua for two weeks to produce work for an editorial story and brochure. However, it’s the theatre advertising side that’s apparently set to drive him forward. Off the back of his graduation show and contact with Source magazine selector Alicia Hart at AMV BBDO, he’s found his way into a salaried six-month placement at The Royal Opera House. He explains: ‘It’s a real dream for me. I start in October

and I suppose this is proof that you can forge a way forward in the commercial industry. With my tutor at Edinburgh, Jon Lee, our conversations were often about getting down to what I really thought and establishing a subservience to the story. It’s interesting how you can apply that stance no matter whether it’s bigger work such as The Producers or asking yourself what the story is in a small bakery where there’s a guy making bagels in the back of a little shop. What are the core elements there? It’s the same question.’ So Gavin heads to London shortly to take up residence at the ROH. He’s not wrong when he says ‘it will be a valuable experience for me both as photographer as well as photographic assistant, to

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experience a professional workflow at the highest possible level I can’. Another big change to tackle, then. However, as previously alluded to, he’s no stranger to a big move. He describes his earlier shift from being a professional musician: ‘Whilst the change from music to photography was never really a considered choice – it was one which found me over a very long period of time – I think there is a very strong link between the two disciplines. My years of training as a professional musician gave me a set of performance skills that I regularly call upon, especially on larger commercial shoots where there is a large ensemble of clients, cast, make-up and costume all looking at me to bring their ideas to life. Whenever I get nervous or worried, I think back to

my first ever public recitals at Guildhall as a first-year student, and laugh looking back at myself as those were some of the most challenging moments of my life. I think the question of psychology in photography is another fascinating concept. Learning how to communicate, interact and perform with those in front of the lens is a massive part of my creative practice. If I want to encourage the best performance out of my subjects, I must in turn perform to create something really special together.’ Gavin’s spent a fair amount of time assisting to date, largely through the Crew Scotland agency and doesn’t hesitate to recommend this route, for similar reasons: ‘It has been one of the most valuable experiences of my professional development, helping me to learn a vast array of technical skills in a relatively short space of time. I think the trick here is to try and assist as many top people as you can – if possible work with those whom you most admire and learn from them. I always

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try to figure out why a photographer uses the equipment they do, and makes the artistic choices they do, and then gradually incorporate those practices into my own work. Particular highlights have been assisting leading professionals such as Julia Fullerton-Batten for the BBC and Josh Olins for US Vogue, although I love working with local photographer and director David Boni as well as Yorkshire-based image maker Matt Davis, both of whom remain big supporters of my work. I would love to work more with some of the top theatre and arts commissioners around the UK, as I really do enjoy this side of my work. There is a way of working with a talented actor or performer which is completely different to that of a top model, and it is a very rewarding collaborative process. I can ask an actor for more sadness, fear, drama, happiness or any specific emotion as they are used to playing these types of characters as part of their professional daily practice. They can bring those same life experiences that I mentioned earlier to the table, to help inform the characters that they are creating. That’s effectively what I’m after.’

www.gavinsmart.com

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Forever remain

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othic culture was certainly much easier to find in the nineties and noughties than today – but even then, the ’80s heyday already felt like a far-distant mem­ory. The passage of time casts an eerie light when revisiting an aesthetic so critically linked to a specific decade – illuminating something that cannot generally now be found in the present day, on the high street of small town England. Of course, it was not always so. In terms of creativity and longevity, the punk movement was just a fleeting blink of an eye compared to the seeming endless regeneration of the goth subculture. The 1980s set all the groundwork, but the ’90s and even ’00s brought enough new blood to keep everything recognisable when it nudged into the mainstream. However, when London’s Kensington Market was demolished and the Slimelight nightclub moved away from the private members club format, you’d be forgiven for thinking it was all over. Interestingly for a culture so intrinsically linked to music, as the decades have gone by there’s less and less to say on that score. It’s a very long time indeed since a properly recognisable goth band dared to trouble the music charts. It’s been film that’s reminded us that goth has not gone away, having just dived deeper underground. From 1994’s Interview with the Vampire to The Twilight Saga from 2008 and formerly even Game of Thrones, goth repeatedly prods the mainstream awareness with a pointy black fingernail. The fact that Catherine Beltramini’s Fellowship project tells the big wide world that it’s by no means all over carries a weight and impact of its own. In large part this is because she’s gone about it in the right way, having taken great care to understand the genre and its history before setting out. And really this is historical – a style and substance that’s been knocking around for almost 40 years, it means a great deal to devotees and indeed ex-devotees alike. Hence Catherine’s subjects found here would not seem out of place hanging around with Specimen’s Olli Wisdom and co… in 1982… in the Batcave. Whilst all of this back story might not mean much to many without making the effort to engage Google, doing so and following the power of the picture is absolutely what this work is commanding you to do – because there’s so much more in here than meets the eye. As Lilith May comments, over the page: ‘I want you to believe, to believe in things that you cannot.’ And that’s one huge power of photography – set in the sub­conscious words of a sitter.

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Right: Aarron O’Conner ‘Even the most beautiful rose is man made.’ ‘I was first exposed to the culture at a distance through social mediums like Myspace and Vampire Freaks. The culture never really came through to me properly. I began listening to Marilyn Manson and lots of other goth and shock artists which brought me closer to it. I was only ever fully submerged when I moved to London. It was here I began to really understand the culture. Meeting real people and forming friendships helped me find myself within it. I feel that the goth community is the only community to fully embrace me. There are so many ways to fit in and find your place – you can be as ambiguous and strange as you like and no one is judging.’

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Image © Catherine Beltramini

Left: Lucius Nova ‘Goth is one way to celebrate, honour and have fun with what we are as human beings – half angels, half animals.’ ‘To me, goth means self-expression and wearing your demons on the outside, dancing with them, having fun with them, rather than disowning them and shoving them down on the inside. It’s old news now that suppression is unhealthy, it’s what the cheating family man, the paedophile priest and the friendly neighbourhood “he-seemed-like-such-anice-guy” serial killer are all made of. Most of what we’re fed in mainstream culture would have us believe that we’re not acceptable in our full glory, that we must be tamed, trimmed and watered down.’ Right: Lilith May ‘I want you to believe, to believe in things that you cannot.’ ‘I enjoy goth music and style – it’s quite a nuanced and different sub genre and the variety of individuals it attracts makes it much more interesting in my opinion. I feel proud to be part of it and have met some pretty awesome people along the way.’

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Left: The Miss Fortune ‘Never relinquish your terrors. That’s when they catch you.’ ‘Goth is a conformative culture of non-conformity. The culture is set in stone, static and very nearly unchanging, and yet, every year, probably every day, something new is brought to the culture, accepted and assimilated. To be a goth is to be part of a tribe – we share a common knowledge of music, our own dances, fashions, books, films and we have subcultures within our subculture that we all recognise. It’s nothing so simple as fashion or music – it’s much deeper. When we put on our corset or collar, we’re saying way more than “cool outfit”, were telling our tribe who we are.’ Right: Parma Ham ‘A subculture is born because mainstream culture is unsatisfying. I didn’t decide on what I like – I’m not sure if it’s ever really possible to curate your own interests – but from a young age I was seduced by it: the drum machines, melancholic lyrics and smoke machines, the androgynous skin tight black clothes and elaborate make-up and hair, the resistance to society both aesthetically and politically, and a social group tied together through it.’

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The strange thing is, however, that the early ‘subversive’ bands had no longevity. It was more of a ‘scene’ than anything offering up much musicianship – perhaps that’s one reason why goth remains. This year saw The Cure headlining at Glastonbury 40 years on… at the very pop end of the scale no doubt, but quite a serious career goth achievement. Now you understand the context, Catherine can tell us why she chose the gothic culture as a subject for her Fellowship qualification. She has worked with Kevin Wilson as her mentor since February last year and rates his input highly: ‘Kevin taught me the importance of understanding light, composition and posing – skills which have helped me immensely as a photographer.’ She continues: ‘I have always been intrigued by the gothic culture – the fashion, the make-up, the captivating dark beauty and 36 the PHOTOGRAPHER / 2019 / Issue Two

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Image © Catherine Beltramini

Right: Demondaz ‘Everyone has fetishes – they are just the things that give you a little thrill and raise your pulse.’ ‘Being a Vampire is subjective – it can mean different things and to itself is a fetish and many people associate that word as being dirty somehow when it is not. Some people may like men in smart suits or kilts, or ladies in lingerie or bikinis – these are very common fetishes. There is often a crossover between people who enjoy fetish clubs and vampire events. As for me, I’m part sanguinarian and part lifestyler. I do like to dress up to look like a very fabulous vampire but I also enjoy erotic vampire role play. I have fangs but these are not used for any bloodletting purpose, they are just there to provide the look and do serve a purpose in the foreplay.’

mystery of gothic individuals. I set out to create dark, powerful, yet beautiful portraits which would compel anyone to stop and think when viewing them, and also to to create awareness and acceptance of diversity and gender identity. This project has been an amazing journey that has changed the way I think in many ways.’ So what is ‘goth’ now and where is it headed? It will forever remain part hidden, representing many elements of beauty that don’t fit in with social norms – a space that is challenging and yet cosseting. Its many avenues will continue to diversify and grow with differing emphasis catching the light of the outside world from time to time. For many, it’s a place where they can enjoy freedom of expression despite a wider world that – decades on from goth’s beginnings – still can’t cope with that simple human right. Issue Two / 2019 / the PHOTOGRAPHER 37

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F EP J UDGI NG W EEKEND B E R G EN, NORWAY, J UNE 2019

Image © Martin Krystynek, Slovakia, MQEP 38 the PHOTOGRAPHER / 2019 / Issue Two

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Gateway to broader horizons Ian Cartwright MQEP, FBIPP talks about his recent experience judging European Photographer qualifications and why more BIPP members could take up the challenge

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have begun this account on the tram from the hotel to the airport in Bergen, Norway, feeling tired and somewhat gratified to have played my part and to have had an influence as the UK’s nominated judge in the latest bout of applications for the distinctions of Q ualified European Photographer (QEP) and Master Q ualified European Photographer (MQEP). We as an Institute have not done enough to promote or take advantage of our relationship with the Federation of European Photographers (FEP), with very few of our members going for qualifications. This is something now being addressed, and I have been tasked with acting as the BIPP’s official representative. The FEP is a wonderful organisation bringing people together from all over Europe – and beyond – who share a passion for photography. The standards and the procedures for FEP judging were set in place after consultation with leading British photographers. UK membership of the FEP is available exclusively to BIPP members and included as part of your BIPP membership. I see the FEP as an added benefit to BIPP membership. As BIPP members, we have access not only to the work of photographers in many countries, each with their own styles, but also through the FEP website, to a gateway to potential European clients. I have spent many years judging competitions and distinctions / qualifications so I feel able to make comparisons. From my recent experience, I can say with conviction that the standards needed to achieve QEP and MQEP (bearing in mind that the QEP requires 12 images, not 20) are at least as high, if not higher than ABIPP and FBIPP. The levels were set that way initially by BIPP Fellows, and it is my opinion that the

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FEP J UDGI NG W EEKEND B E RGEN, NORWAY, J UNE 2019

Image © Erlend B Enger, Norway, QEP, Nude

standards have been maintained. Make no mistake, achieving an MQEP qualification is an enormous achievement for any photographer. Some of the imagery on show this weekend took my breath away. The judges are nominated by their respective associations and selected by Jim Lowe FBIPP.Jim has been a BIPP President, and has had the role as Chairman of the judges for many years. Although a BIPP member, Jim’s performance was so appreciated that he and Sue, his wife

(as minute taker, PA) have been commissioned by the Federation directly. As far as the FEP is concerned, Jim is stateless, which no doubt helps his impartiality. The judging was spread over two days with 36 QEP applications and 7 for MQEP; 17 QEPs and 3 MQEPs resulted – that’s a 48% and 43% success rate respectively. When you apply for QEP, your work will be judged by five mainly

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Nina Kiseleva, Russia, QEP, Architecture

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FEP J UDGI NG W EEKEND B E RGEN, NORWAY, J UNE 2019

Image © Jan Nordveit, Norway, QEP, Portrait

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FE P JU D GI NG W EEKEND B E R G E N , N ORWAY, J UNE 2019

Masters from various countries (not your own), such as France, Germany, Slovakia, Russia, Belgium, Holland, Italy, Norway, Ireland and Finland. The first part is done in silence and a secret ballot is taken. A score of 5:0 or 4:1 is a result, but 3:2 triggers discussion, where every judge is given the chance to make their case. Following this, the vote is taken again and the majority vote stands. Whilst QEP panels are made from 12 prints in stated categories, MQEPs can be of whatever subject the photographer chooses. They can be of any size, within reason and can be accompanied by supporting evidence, such as a book, or a video, or simply a printed statement, if the photographer so chooses. Seven judges form a MQEP panel and at least five votes are needed for a pass. It is not easy to achieve QEP status and MQEP requires exceptional talent. I know that we have BIPP members who are capable of reaching these standards. We have around 30 UK QEPs and 2 MQEPs at the moment. It could and should be a lot more. You have to have QEP before you can go for MQEP, so Fellows of the Institute will need to go through that stage before they can rise to the ultimate challenge! Assessments are made every six months, provided the numbers are high enough. The next session is intended for the middle of November. You are encouraged to apply in good time by means of a significant early bird discount. Applications can go in well ahead of the closing date for image and print submissions. Mentoring is available, and recommended, as success is more likely as a result. I, and the Institute as a whole, would love more BIPP members to rise to the challenge and fly the flag for the UK, while at the same time gaining an incredibly exclusive qualification for you and your business.

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Image © Jeanette Larsen, Norway, QEP, Portrait

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J ANI CE WARD BEST LI CENTI ATE 2019

What is home?

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Image © Janice Dongworth

he subject matter for Janice Ward’s recent licentiate project dealt with her personal feelings following the death of her grandmother in a care home. Her work brought her a sense of healing, along with a wealth of sometimes unexpected joy. She explains in her own words. ‘I had quite a few reasons for choosing this subject matter. As an ex-physiotherapist, I was always aware of how interesting a life many of the elderly had lived. I had seen their struggles first hand and they sometimes confided to me their fears about being put into homes.

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I had seen care homes back then that had worried me at times. When my own maternal grandmother developed dementia and needed to go into a home, I was upset and filled with fear. My greatest fear came true when she died in a care home following a sickness bug. Before this project, I was aware I was definitely viewing care homes through the filter of my own fears, beliefs or prejudices. I also felt there was a generational disconnect and placing the elderly away from the community I felt added to that. With this project I wanted to look at care homes, to help dispel those misconceptions and bring some light onto those fears, to show the positives. After all, my fears were based on an outdated view from a decade prior. I hoped things had improved. What I discovered was that the care home featured in this project – Daver Court in Bury St Edmunds, Suffolk – was brilliant. The patients often had dementia and were not safe to live alone and

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J ANI CE WARD

All images © Janice Dongworth

BEST LI CENTI ATE 2019

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Image © Janice Dongworth

suddenly when in a safe, caring environment the residents were able to relax and be supported so that they were free to be themselves. The staff treated residents with kindness and dignity – which in its own way helped me to let go of my own fears and personal grief. The staff were various ages and commented on their elderly charges stories with genuine interest. I realised here in fact the young were learning from their elderly charges stories. This project turned into very much a personal healing for myself as I got to know all the subjects and staff and yes there were dark moments such as when one of the subjects featured died unexpectedly. Editing her photo knowing she had died and it was to go to her family was an emotional experience. I learnt from her how to truly live in the moment as she only had a 10 or 15-minute memory and yet she managed to 50 the PHOTOGRAPHER / 2019 / Issue Two

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J ANI CE WARD

All images © Janice Dongworth

BEST LI CENTI ATE 2019

maintain friendships as she seemed to stick with people she had an emotional connection with – those that made her feel good every time they met. It was quite something to see. Dementia and ageing have many emotions and faces presented to onlookers, but as one relative mentioned: “If you are able to let go of the person they were and just embrace who they are now, in this moment, rather than constantly grieving who they were it brings comfort.” I felt that if the sense of community, friendship, support and dignity were shown to the world at large this would help dispel fears for other families and also potential residents. Home for these residents is a place to be themselves whether that be happy, sad or reflective. Hence the title I eventually settled on: What is Home? A place I can be me.’ www.janicewardphotography.com Issue Two / 2019 / the PHOTOGRAPHER 51

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REGI ONAL AWARDS RESULTS 2019

Rebecca Northway

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Rebecca Northway Ian Taylor Katharine Tetley Rebecca Northway Rebecca Northway

Cotswolds Cotswolds Cotswolds Cotswolds Cotswolds

David Armour (L) & Paul Maddison

Commercial Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Paul Maddison David Armour Paul Maddison Paul Maddison

North East North East North East North East

David Stanbury

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

David Stanbury Pete Evans Andrew Whittaker David Stanbury David Stanbury

North West North West North West North West North West

Tony May

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Tony May Irene Cooper Simon Hill Joanne Gower Tony May

Yorkshire Yorkshire Yorkshire Yorkshire Yorkshire

Nigel Ord-Smith

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Carol Taylor Carol Taylor Nigel Ord-Smith David Wadley Nigel Ord-Smith

Midlands Midlands Midlands Midlands Midlands

Scott Johnson

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Scott Johnson Cathrine Beltramini Lucy May Newson Scott Johnson Scott Johnson

South East South East South East South East South East

Penny Payne

Commercial Photographer of the Year Portrait Photographer of the Year Overall Wedding Photographer of the Year Regional Photographer of the Year

Penny Payne Carolyn Oakley Emily Fairweather Penny Payne

South West South West South West South West

Barrie Spence (R)

Commercial Photographer of the Year Fine Art Photographer of the Year Portrait Photographer of the Year Wedding Photographer of the Year Regional Photographer of the Year

Gavin Smart Scott Hogg Barrie Spence John Parris Barrie Spence

Scotland Scotland Scotland Scotland Scotland

Classical Wedding Photographer of the Year Modern Wedding Photographer of the Year Overall Wedding Photographer of the Year Digital Composite Photographer of the Year Illustrative Photographer of the Year Landscape Photographer of the Year Studio Portrait Photographer of the Year Location Portrait Photographer of the Year Fashion Portrait Photographer of the Year Overall Portrait Photographer of the Year Non-Member Open & Overall Non-Member of the Year

Leigh Parke Audrey Kelly Audrey Kelly Ross McKelvey Gerry Coe Raphael Mason Paul Lowry Audrey Kelly Ross McKelvey Paul Lowry Laurie Campbell

Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland Northern Ireland

Ross McKelvey

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CEO’S COLUM N M ARTI N BAYNES

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t’s been been an amazing three months that have just flown by – we have achieved so much but we still have so much to do in the next few months and see Christmas as a milestone. So I have listed some of our recent achievements as well as on-going work – and apologise if it reads a bit like a to-do list… Over the last couple of months, I have reviewed the Institute as a business, continuing the good work that the directors and MSAB board had started at the beginning of the year. We are continuing to find places to save money, although not as big savings as at the start of the year – still some significant cost cutting by trimming things like unnecessary agreements and bloated contracts. As a snap shot, we have cut the mobile phone bill from £180 a month to £40 by just changing the contract. This is only one of many areas where we have been able to save money. We are now finically stable, but we still need to keep a close eye on expenditure and still need to make some savings to enable us to invest in other areas such as social media and revamping our website. There are now processes and procedures within the office to make sure we function as an organisation. We had to find three new Regional Chairs – these will be announced in an e-mail in the next couple of weeks. We’re visiting all regions (myself and the Directors) to answer questions about what happened over the last year – we have two regions left to go. We had to completely rewrite how we deal and work with our trade partners – they were at one time a big source of revenue. We currently only have only a handful of trade partners and must rebuild this relationship, by giving value to the trade. We have started to fill the diary with events – such as the GFX day (which was fantastic) and our upcoming drone training course – we have a lot to fit in before the end of the year, and we are already working on 2020. We are rebuilding how we work with colleges – this is taking a little longer than I had hoped but we are around half way there, and we will be speaking to colleges over the next month to make sure our offering to them fits in with their curriculum. Our involvement must be positive both for the students and the Institute, and not overall cost us money, which has been the case for the last few years. g

I would like to announce and please help me in congratulating the members below on their continued development, as photographers and business people in achieving the following qualifications. Licentiate Mark Grey LBIPP Iska Birnie LBIPP Mel Roach LBIPP Mark Grey LBIPP Roger Smith LBIPP Best Licentiate of 2019 with incredible supporting evidence: Janice Dongworh LBIPP Joining wonderful group of talented photographers with a Fellowship: Catherine Beltramini FBIPP A huge thanks to the Judges, for my first time just as an observer I was shattered at the end of the day, it was an emotional roller-coaster. I never realised how difficult some of the decisions can be. Bella West FBIPP Eric Jenkins FBIPP David Taylor FBIPP David Stanbury FBIPP Fiona Ingvarsson FBIPP

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C E O ’S C O LU MN M ARTIN B AY N E S

In October I am bringing all the Regional Chairs together to plan the 2020 calendar. By November, we should have a diary complete for the next year and it will be published in the Christmas edition of the Photographer. We have added 160 new members since the start of the year and have the first positive growth in many years. One of the things that I am most happy about is that we have introduced a new qualifications process, moving away from the portfolio system, to a printed and mounted panel – this was very well received and as you see in the magazine generated fantastic work. My congratulations to everyone who qualified. We have also been working on the mentoring system and had to make some changes to our CRM system – this work has been completed and we are looking good for pushing forward with matching mentors with mentees who are looking to get qualified. I will be sending an e-mail in the next couple of weeks explaining the process. We have carried out some work on changing the Articles of Association. This will move some of the decision-making back to members, including the Board and the MSAB. This is not to undermine the role of the CEO, but to act as a safety net, so history cannot be repeated. You will get a summary of the changes next month and be able to vote on them at the next AGM in November – it will go in front of the MSAB board this week. I am very excited about the progress we are making; I still have a lot to do, but we are on our way to being the most relevant and active association in the UK. Please feel free to contact me on martin@bipp.com or by calling the office

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henever you are faced with a legal problem or require information on a legal matter – no matter how small it may seem to you – please call our team of legal advisers and they will explain your rights and work towards giving you the best solution available. This is a service that comes as part of your BIPP membership – there’s no additional fees to pay, it’s there for you to use as and when you need it. You only need your BIPP membership number to hand when you call. The telephone helpline is available 8am to 8pm Monday to Friday and 9am to 12pm Saturday and Sunday. This invaluable service is available for all BIPP members and is provided by Law Express – the UK’s leading specialist provider of telephone legal advice, on-line information and legal services. They help over 1.5 million people with their family and employment law issues as well as offering property, motoring and bereavement advice. Their advisers handle every call with confidentiality, sensitivity and respect. How to use the service All Law Express advisors and call handlers are based in the UK (and cover all UK jurisdictions). When you call Law Express, a call handler Law Express provides advice on all sorts of problems and queries including: • Employment issues within the workplace • Commercial and company law • Data protection (GDPR) • Housing (owner occupied and rented) • Consumer issues • Family and relationship difficulties • Personal injury • Road traffic accidents and motoring offences • Small claims court proceedings • Pensions, tax and welfare benefit • Neighbour issues • Criminal law • Power of attorney, wills, probate and bereavement

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LEGAL ADVI CE SERVI CE

will ask you some questions about the nature of your enquiry so that they can match you to the best adviser. An experienced legal advisor who specialises in the area of law that you need will call you back, usually within two hours. If you wish to speak to an advisor straight away, the call handler will do their best to help you. Call the helpline on 01275 378 709 and please tell the call handler that you’re a member. Frequently asked questions about the BIPP telephone legal advice service What is the telephone legal advice service? The Law Express legal advice service is a free helpline service for everyone who is a BIPP member. What does the telephone legal advice service provide? We have partnered with Law Express to give you free access to legal advice and information. This arrangement entitles you to unlimited calls with qualified advisers. You can call them about any business or personal legal issues and they will be able to provide advice and further information on your particular issues. What can I call the advisers about? You can contact Law Express about any subject affecting you. Most frequently callers wish to discuss issues concerning commercial, company and employment. Other popular topics include: divorce, separation, children, driving offences, wills, probate and property issues. How can I contact Law Express? The helpline is available 8-8 Mon to Fri, and 9-12 Sat and Sun. Please have your membership number to hand when you call. A Law Express call handler will take your details and arrange for one of their advisers to call you back within two hours.

Will I be talking to a solicitor? Advisors have at least five years’ post-qualification experience as a practising solicitor or hold a high-level legal degree and are experienced in providing legal advice. All the advisers at Law Express are recruited for their ability to explain the law in a way which is easy to understand. Is the service confidential? Any contact you make is completely confidential. The details of your conversation remain personal to you and will not be released to anyone else. Do I have to pay for any advice? This is covered within your membership. Examples of the service in use Dispute with a bride over her dissatisfaction with her photos A member wanted to check that they were following the correct procedure for a dispute. It is an on-going situation, but they now have more confidence to continue the process. ‘Gave me all the information I needed, and explained everything in detail, and that the client had no case. This prepared me for my response – they even helped me with wording a letter – service extremely useful.’ Complaint from a client A Member rang in to ask about how to deal with a complaint. The Member followed the advice given and the problem has now been resolved. ‘You helped my understanding of what I could do from a legal standpoint – it was good to have the information, it was like putting meat on the bones.’

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C O MPA N Y PA RT N E R S

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aselblad has been synonymous with photography since its earliest days. But it was Victor Hasselblad’s invention of first the 1000 and then the 500 series in the 1950s that turned a camera into an icon. Here in a small, robust, rectangular box was an unrivalled combination of camera reliability and image quality. Such was the lead that it had over its competitors it became the choice for NASA’s space programme. Edwin ‘Buzz’ Aldrin’s shots

A

IM has recently launched a new insurance package for the modern professional photographer. The photographers’ package insurance policy provides a comprehensive range of covers including photographic camera and computer equipment, public liability, employers liability, professional indemnity, money and legal expenses. It combines very competitive premiums via interest free Direct Debit with leading edge cover, which has been extended to help deal with some of the risks associated with operating in the digital environment.

of Neil Armstrong, the first man on the moon, were taken with a Hasselblad 500EL/70. The same relentless pursuit of excellence motivates Hasselblad in the digital age. Today they are the authors of the world’s most advanced medium format digital system and the owners of a truly global brand. Photographers who want to excel in their craft can now get their hands on a Hasselblad in 75 countries. www.hasselblad.co.uk

Examples include: • computer and equipment breakdown, • data reinstatement • cover against damage caused by computer hackers This year we have appointed AIM as broker to look after the BIPP’s own insurances. As well as providing a significant cost saving, we can thoroughly recommend from first-hand experience their friendly personal service. Please do give them a try when your renewal comes around! www.aimriskervices.com

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COM PANY PARTNE RS

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stablished in 1965 in the heart of London, AC Cooper has been providing Photography and Print services for over 50 years. As specialists in the industry we produce the highest quality of work to a diverse range of clientele, Auction houses, Luxury brands, Photographers, Artists, Private Collectors and other like-minded creatives. We provide a personal touch and have an open, dynamic approach to our work. AC

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FU JI GPX & BRONCOLOR P R E S TON OPEN DAY REVI EW

A Knight, a Scotsman and a Scouser go to the Fuji GPX & Broncolor Day

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ounds like the opening to another of those familiar jokes, doesn’t it? Well, it’s actually about some of our illustrious members who travelled quite a distance to spend the day with us at our cool new HQ in Winckley Square, Preston. It was for our first open event of what we intend to be many more to come. Well, it’s been a tough, but interesting year for the BIPP. There have been many changes from the ground up to save the Institute from what was an imminent meltdown at the end of 2018. So much needed to be done in the background with so little time, leaving the Institute more open in other areas. Events was one of them. Now it’s fair to say that BIPP HQ events had not exactly been flooding the membership in recent years anyway. In fact, it was like listening to Zoe Ball’s Radio Two morning show – totally flat and devoid of anything. It was something the new Board still wanted to address as soon as was theoretically possible. Judging by a 2018 edition of the Photographer having a total of just one full page advert, it was quite clear that the Institute’s connection with the trade needed addressing too. So much potential waiting for our membership! The last time I remember a kit review appearing was when Les Dawson was still alive (well not that long ago, but still a while). The importance of trade connections is obvious, enabling increased dialogue (of course), relationships (yes please) and discounts (bingo!) with the membership. Is it something the BIPP had forgotten? Or was the trade just frightened of us? It has become legendary that professional photographers are a tough bunch to please. To coin a phrase from our Les: ‘If they like you, they don’t shake your hand, they just let you live.’ Now before I get a Facebook backlash, I would like to say that I think we are a cuddly lot on the whole, just misunderstood! Anyway, something had to be done to get the two sides talking again and then building those all-important bridges. Hardly like having the mother-in-law around for tea, as the idea is to entertain each other and we wouldn’t need to muck her out afterwards. Once CEO Martin Baynes literally cycled in to our shiny new HQ in Preston, he set about liaising with his extensive

list of contacts gained from all his years in the industry. Like anything, it will take time to cultivate for the benefit of all, but with Martin, the Institute has a welcome head start. Within a couple of weeks of starting, he launched his tenure with an event as ambitious as it was exciting: The Fuji GFX and Broncolor Open Day on 7 August. Held at Artistry House, it was a chance to not only visit our much talked about new home, it was a glorious opportunity to have a play with some top-of-the-line gear. And largely uninterrupted too – the added bonus was that you didn’t need to fight off the Photography Show’s weekend warriors armed with their own kit for comparison.

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No pretty models to entice us either – well, there was me! Such is the bohemian beauty of the decor in Artistry House, we already had our subject. That and solid, honest to goodness kit that sold itself. Everything kicked off at 10am with a steady arrival of photographers keen to get their mitts on this fantastic array of products. Nathan Wake of Fuji UK brought along the full GPX system. This was headed by their Excalibur if you will: the amazing GFX 100 megapixel. Providing awesome support were the GFX 50R, the GFX 50S and all, yes all, the lenses. Chris Burfoot of Broncolor supported with a truckload of their lights and accessories for demonstration purposes in the downstairs eclectic lounge area. For those of you not familiar with the term eclectic, it’s decoration for those who can’t afford a matching three-piece suite. It also gives you the excuse to start using G-Plan again – just have some glue and screws ready. Also, upstairs the two brands were demonstrated with still life subjects. Two takes on two brands, both great to watch in action – and use – as the biscuits and brews started to flow for the keen professionals in attendance. All we needed was David Attenborough narrating about some strange creatures at home in their natural environment. Deep in concentration, studying the pluses and minuses of this new gear as they went about their day. Sandwiches broke up the afternoon with the odd doughnut thrown in. Another great find – Sainsbury’s do make wonderful doughnuts! When all was said and done by 5pm, it was time to pack up and head home in what felt like no time at all. Fuji has some very special new medium-format products here which deserve to do well. Broncolor as many professionals will testify, was as reliable as ever. Job done, and our Knight (or should I say Chieftain of the Children of the Mist – what a fantastic title), Scotsman (Barrie), Scouser (sorry Iain), pie eating Wiganers (The Stanburys) and other esteemed colleagues departed with their wallets feeling shaken and a bit stirred. Keep an eye out for more great open days and other events that the BIPP will be holding around the country. And please support them. The more you support these events, the more we can do for you! Chris Wright

YORKSHIRE Wednesday 16 October Simon Hill ABIPP FRPS FRGS ‘Past and Present: an unconventional career path’, 7:30pm. BIPP Photographer of the Year 2019 and Yorkshire Region Portrait Photographer of the Year 2019 will talk about his unconventional career path. See www.simonhillphotos.com Wednesday 20 November Jonathan Beer FBIPP and Sean Conboy FBIPP FRPS, 7:30pm. These commercial photo­graphers will present their work and talk about their recent advertising campaign for Hyundai which included location and studio shots in the UK and Mallorca. See www.jonathanbeer.co.uk www.seanconboy.com Events are held at The Wheatsheaf, Altofts Lane, Castleford WF10 5QB. Meeting fee: £5 payable on-line or on the evening. Why not come early and join us for a meal? Contact Irene Cooper regional Chair – irene@irenecooper.com

NORTHERN IRELAND Thursday 17 October Members only meeting with Mr Martin Baynes CEO British Institute of Professional Photography and two directors Sean Conboy FBIPP and Jonathan Beer FBIPP. This is to give full and frank information on the recent happenings at BIPP HO so

Regional contacts Cotswolds Stefanie Calleja-Gera ABIPP stef@scg-photography.com Midlands David Taylor FBIPP david@chapelstudio photography.co.uk North East Kevin Weatherly LBIPP kevinweatherly@mac.com North West Jonathan Beer FBIPP info@jonathanbeer.co.uk Northern Ireland David Campbell ABIPP cabocampbell@me.com Scotland Jon Lee ABIPP jon@bippscotland.com South East Fiona Ingvarsson ABIPP fiona@ fionaelizabethphotography.com South West Bella West FBIPP bellawest@me.com Yorkshire Irene Cooper irene@irenecooper.com

it is important that as many members as possible attend. 7.30pm Newforge Country Club Newforge Lane, Malone. Thursday 14 November Fundy designer software A talk and demonstration on the use of Fundy designer software. 7.30pm Newforge Country Club Newforge Lane, Malone.

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Important ImportantGuidelines Guidelineson onPresenting Presentingyour yourEntries Entries Important Important Guidelines Guidelines on on Presenting Presenting your your Entries Entries for for the theNational National BIPP BIPPAwards Awards forfor the the National National BIPP BIPP Awards Awards BI PP GUI DANCE In preparation In preparation forfor thethe National National Awards Awards we we have have decided decided to put to put together together a printing a printing and and NATI ONAL AWARDS mounting mounting checklist. checklist. You You willwill be be able able to download to download a copy a copy of this of this onon both both thethe main main website website and and In preparation In preparation for the for the National National Awards Awards we we have have decided decided to put to put together together a printing a printing andand thethe awards awards website. website. mounting mounting checklist. checklist. YouYou willwill be able be able to download to download a copy a copy of this of this on both on both the the main main website website andand theAs the awards awards website. website. you As an an extra extra precaution, precaution, you should should print print it off it off and and ticktick all all thethe guidelines guidelines saying saying that that everything everything is correct. is correct. Then Then if anything if anything is wrong, is wrong, there there willwill be be nono excuses! excuses! So So here here you you go:go: As an As extra an extra precaution, precaution, youyou should should print print it off it and off and ticktick all the all the guidelines guidelines saying saying thatthat everything everything is correct. is correct. Then Then if anything if anything is wrong, is wrong, there there willwill be no be excuses! no excuses! So here So here youyou go: go:

Important Guidelines on Presenting your 1 1 Each Each entry entry must must be be paper paper printed printed and and mounted mounted onto onto either either card card or foam or foam core core Entries for the National BIPP Awards 1 21 You Each Each entry entry must must be paper be paper printed printed andor and mounted onto onto either either cardcard or foam or foam corecore 2 You may may produce produce the the prints prints yourself yourself use ormounted use a lab a lab 2 32 Paper You You may may produce produce the prints prints yourself yourself or use or use a lab a lab 3 Paper choice choice is important is the important

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for the National Awards weOVERALL have SIZE 3 entry: Paper choice important 3 n43preparation Paper Paper choice choice is important is important 4 You You have have two two options options for for thethe OVERALL SIZE of each of each entry: 20 20 x 16 xisinches 16 inches or A3 or A3 decided to put together a printing and mounting

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on both the main website awards website. OVERALL SIZE ofbe each entry: print print may beand either bethe either flush-mounted or window or mounted mounted - see -will see the the diagrams diagrams below below 5 6 5 No The The 6 No frames frames aremay are allowed. allowed. If you Ifflush-mounted you supply supply prints prints in window frames, in frames, the the entries entries will be As an extra precaution, you should print it off and 20 x 16 inches or A3 immediately disqualified! disqualified! 6 6all No No frames frames are are allowed. allowed. If you If you supply prints prints in frames, in frames, the the entries entries willwill be be tick theimmediately guidelines saying that everything issupply correct. Then ifimmediately anything is wrong, there will be no excuses! So 5 The print may be either immediately disqualified! disqualified! here you go: flush-mounted or window mounted – see the diagrams below Mounting Mounting Reference Reference Diagrams Diagrams 1 Each entry must be paper printed These These are are shown shown as 20 as 20 x 16, x 16, but but also also apply apply to A3 to A3 Mounting Mounting Reference Reference Diagrams Diagrams and mounted onto either card or foam core 6 No frames are allowed. If you supply prints in frames, the entries will be These These are are shown shown as 20 as x20 16,x but 16, but alsoalso apply apply to A3 to A3 2 You may produce the prints yourself or use a lab immediately disqualified. Equal Equal Border Border Format Format Flush Flush Mount Mount Format Format Equal Equal Border Border Format Format Equal Border Format

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PRESI DENT’S COLUM N SARAYA CORTAVI LLE

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I returned with a greater sense of purpose for my photography and a real appreciation of my friends and family and all that I am lucky to have. My work changed and it opened up a completely new avenue of working abroad for me. I needed that drastic change to get me to where I am now. So I am not suggesting that every time you get into a rut that

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Image © Saraya Cortaville

aving been a photographer for nearly 20 years I have periodically hit what most might call a creative block, lost my mojo or just been generally uninspired by my work. Recently I have seen others struggle with this also and it got me thinking as to how I have normally drawn myself out of a photographic ‘rut’. In all honesty when giving advice to others I quite often draw from my own experiences and what has worked for me in the past. As a creative, I think that these ‘blocks’ are self-­ inflicted and often are a symptom of a need to push ourselves in a different direction to where we are currently heading; a way of our minds subconsciously knowing that we need to grow and develop. So what do we do when we hit those barriers? Over the years I have come to know the signs of me feeling uninspired – it usually involves me doing something rather drastic and life changing! A few years ago being stuck in one such rut I decided to close down my successful studio in North London and travel to Tanzania and work as a photographer for an NGO for four months. This experience not only pushed me out of my creative comfort zone it also made me look at my life as a whole in a completely different way.

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you chuck everything in and head for the most remote country you can find – you may not need to make so many changes, however there are smaller things that you may do to help inspire and reconnect yourself with your work. I am lucky enough to be asked to speak about my work in a wide variety of places, more often than not alongside some wonderfully talented photographers. I always will make a point of sitting and listening to others and how they work – this is always a great source of inspiration to me. I will always take away some precious piece of knowledge or an idea to try in my own work. These days are not only great for networking with other photographers but they make us realise that every creative person has to really push themselves to be really fulfilled in their work. After seeing one photographer I was inspired to try something new… I have always been known for being a portrait photographer but recently on holiday I started to experiment with some ICM and found it immensely enjoyable – I loved that I had found a new creative technique with which I could create some pleasing results. On the same holiday I also decided to hire a new lens for my camera, one that I would not normally use in my day-to-day commissions and again it was something that I really enjoyed… playing with different angles and perspectives, again pretty happy with what I achieved – they won’t hang on any walls but it made me really think about my images and what I was trying to shoot.

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Image © Saraya Cortaville

SARAYA CORTAVI LLE

Personal projects and qualifications are also a great way reignite a passion for your photography – it is always wonderful for me to see how a photographer’s work develops when they are focussed on a project that they are passionate about. I have seen this first hand when mentoring photographers for Associateships and Fellowships – the journey that they take to get there is often more important than the final body of work. Really my point with this is that we all need to do something to challenge the way we work so as to keep our creative minds thriving. For some that may be listening to a podcast, for others this may be a visit to a

local gallery. For me it took four months in a totally new country to get back my creative mojo. I have learnt from this that every now and again I need to push myself… In the next issue I will be talking about a very exciting project I have recently been involved with in Madagascar – another such ‘out of my comfort zone’ moment for me! Saraya x

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Image courtesy of Mark Mc Neill

Firecrest N i g h t s ca p e Nightscape is a Neodymium filter designed to give your images the true colours of the night sky. £155 inc Vat

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