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Master Photography May/June 2017 • £7.95



MasterPhotography Vol 14 No 1 • May/June 2017 4

From the Chair/In with the new, out with the old

6 News

Cover: by Jules Hunter BA (Hons) LMPA. The Jewelled Messenger.

May/June 2017 • £7.95

Our thanks to Jules for her help in the completion of this last edition of Master Photography in its present form, and for her interview with Josh Redman (page 36 onwards) which exemplifies the role MPA members should be able to play in the creation of their own magazine – to produce an excellent article when you are not trying to sell anything or sponsored to provide content.


Print and Prosper David Kilpatrick argues the case for hard copy and the printed page in the face of the digital media tsunami.


The Photography Show 2017 – MPA Report CEO Clare Louise sums up a show of growth and progress.


Master Photography Awards 2017/2018 New logos, new awards, new categories – it’s in with the new for the annual battle of quantity and quality, smudgers and judgers!


Profile: Jules Hunter, Inspired by Fine Art EXCEPTIONAL QUALITY Embarking on an MA and planning progress to PhD, Jules Hunter is simultaneously opening a new studio.



Interview: Josh Redman Jules Hunter LMPA interviewed Taylor Wessing and Kobal portrait prize award winner Josh. We present additional work from his portfolio.





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Licentiateships: Jamie Morgan, Daniel Adams and Mikaela Jade Dogs, studio portraits and newborns from three of the many newly qualified LMPAs.


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Mentor Profile: Mike Ward AMPA The Spirit of Professionalism distilled in an award-winning Scots career photographer, now a valued MPA mentor. Field Test: Elinchrom ELB 1200 Steve Howdle FMPA and Stephanie Thornton location shoot with the very first kit.

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Exhibition: Eyes Front Group Test of Labs... Advanced Photographer Gill Shaw AMPA talked to the organiser and two featured photographers from the Fujfilm-sponsored project at Headley Court, where service personnel recover from lifechanging events.



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Master Photography


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ACSďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ pďŹ ďŹ ďŹ ďŹ &ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ gďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ ďŹ :ďŹ pďŹ ďŹ ďŹ ďŹ ďŹ ďŹ p g p

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MASTER PHOTOGRAPHY MAY/JUNE 2017 • 3 From the Chair: email: Units 2-3 Stewartfield industrial estate Edinburgh EH6 5RQ

out with the old, in with the new – the MPA renaissance

t:0131 553 3548


ell… we come to the end of an era, another chapter in the history of this amazing association that we all own. This will be the last Master Photography magazine edited by David Kilpatrick Hon.FMPA and published by Icon Publications Ltd. After 22 years association with Icon, your board has decided the time is right for change – for a new fresh, young look to our magazine and our association. I would like to take this opportunity on behalf of the board of directors to thank David for his sterling work and loyalty on our behalf over these 22 years. I’m sure he has seen many changes in that time within the board structure and administrations, and through thick and thin has given the membership a regular read. Change is inevitable in various forms, and we as an association have probably changed more things in the last four months than in the last four years… Maybe the magazine is the biggest change of all, but we feel it is necessary to do it now, as we are looking towards our future growth within the industry. This year’s awards will be incredible, but only if the membership gets involved – new categories to promote

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pure photography, new open categories that will allow any photographer to put their work alongside those of the professionals, street photography being recognised on its own for the first time. This is a thrilling time for us all. The awards event, October 8th and 9th, will be two days of learning from the masters in our industry. On the Sunday there will be a large trade show and lots of short punchy talks (followed by the awards dinner) and on Monday, masterclasses with the best speakers around. This will be learning and training at its best for everyone who wants to improve their photography and their business.

Regional regeneration Another change that has started to take us forward is the exciting regeneration of the regions around the UK. As your Chairman I visited four different regions in a two-week period in April and each one was exceptionally supported by the members with many new faces coming along for the first time. The quality of the speakers at all regional meetings is now outstanding in quality, and for as little as £10 on the door everyone learns so much for so little. If you have not yet visited your local region, please make a point of doing so. You will be really pleased you did as they are great experiences and if you need help just drop me an email and I will direct you to the right place and person. Our new monthly image competition is into its second month with a huge entry level in April which I’m sure will be bettered this month. If you want to enter just click on the link in my weekly chairman’s newsletters. It is only open to members of the MPA and its free, as this is a membership benefit. It is all about getting more help and advice and getting better as a professional, all part of the change.

Communications My weekly Chairman’s newsletters are being really well received with so many positive comments of how you are feeling more involved and informed on everything that is happening, you now get to hear about everything that is current and happening in your region and from your board. Another change is the MPA Forum that has now been set up for members, so they can seek advice and help from other members. This is another membership advantage so members can get involved with each other across the world as our membership is growing both in the UK and overseas in leaps and bounds. All this positive and exciting change is just a small part of your new MPA moving forward and I look forward to meeting more of you as I visit all the regions around the UK this year. I look forward to writing the leader foreword in our new publication in July – so until we chat again, keep busy and smiling! – Ray Lowe Hon FMPA, Chairman



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NEWS PLAN YOUR YEAR May 15th-16th 2017 The Newborn Photography Show Windmill Village Hotel Fillongley, Coventry May 23rd-24th 2017 Masterclass workshop with Greg Moment and Dumitrel Rada, London June 5th 2017 MPA Licentiate Judging Contact MPA Head Office 01325 356555. June 15th 2017 Food Photography training Aspire, Burton-in-Kendal, LA6 1NJ May 29th 2017-June 2nd 2017 England and Wales Schools half term holiday period June 28th 2017-Aug. 15th 2017 Scotland Schools Summer Holiday July 26th 2017-Sept. 5th 2017 England and Wales Schools Summer Holiday (some from July 17th) October 7th-22nd 2017 Scottish Schools Autumn Break (may be 1st or 2nd week) October 8th & 9th 2017 Master Photography Awards and Masterclass Day Jury’s Inn Hinckley Island Hotel, Leicestershire. October 23rd-27th 2017 England and Wales Schools Autumn Break (some schools, 16th-20th) December 18th-Jan. 5th 2017/18 England and Wales Schools Christmas break Dec. 22nd-Jan. 7th 2017/18 Scotland Schools Christmas Break

Send your news releases & events to Nikon celebrates 100 NIKON is to offer commemorative models and goods to celebrate its 100th Anniversary on July 25, 2017. The Anniversary range, which feature the 100th Anniversary logo and special finishes and detailsrative editions of three binoculars. A special collection of commemorative goods will also be available, see D5 100th Anniversary Edition: dark metallic gray finish and a stamp noting Nikon’s contribution to the study and exploration of space, anniversary booklet. D500 100th Anniversary Edition: metallic grey finish and commemorative logo, exclusive metal case with logo and serial number, special body cap and leather strap. The NIKKOR 70-200E 100th Anniversary Edition: comes with the individual glass elements that make up its internals, a special display stand and case. NIKKOR Triple ƒ2.8 Zoom Lens Set 100th Anniversary Edition: the same commemorative serial number is engraved on all three lenses. Nikon 100th Anniversary Crystal Creation Nikon Model I: Swarovski crystal reproduction of the first Nikon 35mm camera from 1948. Nikon 100th Anniversary Pin Collection: a collection of lapel pins replicates Nikon's most historic and popular products, as well as the corporate logo, over the past century. Nikon 100th Anniversary Miniature Nikon F Camera: faithfully reproduced 1/2-scale model. Nikon 100th Anniversary Premium Camera Strap: best Italian leather that “improves with use and age”. Nikon has also announced the new D7500 – see facing page.

Sigma 100-400mm ƒ5-6.3 DG OS HSM

Tamron 10-24mm VC Di II VC HLD

THE retail price of the new Sigma 100-400mm F5-6.3 DG OS HSM will be £799.99 (include VAT) in Sigma, Canon and Nikon mount available from this month. The lens claims top performance with the specification and functionality of a more expensive unit, but keeps a compact size with uncompromising image quality A Push/Pull zoom mechanism can take over from the regular twist ring zoom (just do it) and the lens hood ios also designed to allow this. The lens has a macro setting and a new optical stabiliser system.

TAMRON has introduced a new 10-24mm F/3.5-4.5 Di II VC HLD for APS-C DSLR cameras. It claims the largest focal length range in its classm it updates the earlier lens of a similar specification to include VC (Vibration Compensation), Moisture-Resistant Construction and Fluorine Coating, and the first implementation of Tamron’s new HLD (High/Low Torque Modulated Drive Motor). Along with this goes a redesign of the lens itself to resemble the full frame SP series. The new lens is coded NoB023 and comes in Canon and Nikon mounts only.

135mm Zeiss for Sony FE THE NEW Zeiss Batis 2.8/135 is the first 135mm AF focal length for Sony’s Alpha 7 system with E-mount. Like all lenses from the Zeiss Batis range, this new addition is an AF design. An optical image stabiliser has also been incorporated into the design, as with the 85mm ƒ1.8 model introduced last year. An OLED display enables visualisation of the depth of field. Dust and dirt shielding protects in adverse conditions. The lens uses 14 elements in 11 groups, an unusually complex design for a 135mm ƒ2.8, for ultimate sharpness. Available now, the RRP is £1,749.99 (inclusive of VAT).

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First seen at The Photography Show, Sigma’s new ciné primes

Fuji GFX 50S Lenses

Sigma Cine range expands.

ALREADY shaking up the medium format digital world, Fuji’s GFX family continues to grow with the unveiling of the latest roadmap for FUJINON GF lenses. The previously announced six lenses, three of which are available now, have been joined by an additional telephoto prime lens and tele converter. Although no details are given on focal length, with the current range extending from 23mm to 120mm there’s plenty of scope for traditional 645 formats around 150mm to 200mm. The eight lens lineup anticipated by 2018 should cover most photographers’ needs, and that’s without taking into account the existing range available via adaptors.

FEATURING metric or imperial scales, optional fully luminous marking and geared drives for focus and zoom where applicable, Sigma’s aggressive push into the movie marketplace continues with the addition of the 14mm T2 FF and 135mm T2 FF high speed prime lenses intended for movie making with DSLR, movie and mirrorless cameras. Derived from the award-winning Art series lenses, Sigma’s Cine options are available in Sony E, PL and Canon EF mounts and are naturally supported by mount – and focus scale – conversion services to allow the investment in glass to transcend platform choices.

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£TBC Sigma Imaging (UK) Ltd

Nikon D7500 £1299 Nikon

NIKON’S position in the careers and camerabags of professionals around the world is undeniable, with countless iconic images captured through the lens of venerable F-series bodies in the hands of photojournalists through to the groundbreaking series of DLSRs. 2017 naturally brings new models to the range, with the D7500 marking the latest step in the prosumer SLR category. Unusually the pixel count falls backwards from the preceding model, trading resolution for sensitivity in the form of the D500’s 20.9Mp sensor and an astounding ISO 1,640,000 extended capability. Nikon’s first engineers and technicians would be proud! 4K video, electronic stabilisation, an articulated monitor plus true optical pentaprism finder and a host of connectivity and control options ensure the sweet spot of cost, size and performance first set by the D7000 remains intact; 8 fps performance, 51-point 3D tracking AF and 180K pixel metering also feature in the £1,299 body. Nikon have also announced cashback schemes on existing models, with the D3400 and D5600 getting £45 rebates and lenses ranging from £25 to £130, until August 4th 2017. MASTER PHOTOGRAPHY MAY/JUNE 2017 • 7

NEWS Lomography LOMO’INSTANT Automat Glass £169

PUSHING the boundaries of Instax photography further, Lomography’s Instant Automat Glass was available to demo at The Photography Show this year, and is now shipping from stock. 2016’s Kickstarter launch of the Automat saw refinements to the inexpensive instant, including a lens-cap remote trigger and easier readout of remaining frames. The Automat Glass, as the name suggests, finally puts some decent optics between the subject and Fuji’s remarkably high-resolution film. Initially available in black-andorange Magellan design, the package includes a close up lens and splitzer attachment. The multi-coated six-element ƒ4.5 wide angle (21mm equivalent) lens is currently unique in the low-cost Instax market, with even Leica’s Sofort still using plastic lenses. We tried out the Automat Glass in March, and predictably every frame was kept by the subjects - the image quality is markedly better than the conventional Lomo’Instant models.

Photo art made from the sands of time…

GoPro and Sennheiser Rock the Mic

GLASS is one of the most durable materials ever invented. ow thanks to leading photo wall art creators Adventa you can assemble for your clients a new contemporary sealed-in product to last for generations – the Adventa Glass Mount Pro. The design lets you open the sealed back, clean the glass perfectly and then close it. You can seal it with optional adhesive strips to ensure it stays perfect. The front shows off the framed image with a black border behind high gloss toughened safety glass. At first glance it could be an iPad or a computer screen, with two sizes of 6 x 8” (a desktop frame with light blocking easy fit clip-on easel stand, which won’t wear out like a strut mount) or 12 x 16” (a wall art frame with portrait or landscape hanging clips included). For further information see: and search the catalogue for Glass Mount Pro. You’ll also find the full range of Adventa products including QuickPro Art Wrap system and Vision Wall acrylic panels.

MATCHING the robust reputation of the ubiquitous GoPro is essential for any accessory, and Sennheiser have gone for lifting the audio capability of the HERO4 to match the audience-pleasing video. The MKE 2 elements microphone has been developed to offer traditional Sennheiser quality in a wide range of environments, including underwater, and is verified by GoPro; it incorporates a rear case mounting that preserves the environmental sealing of the compact camera. Internal shock mounting is coupled to a weather-resistant windshield to ensure good sound quality in all environments with minimal noise transfer from the GoPro itself. At £179 typical street price, it’s an affordable rugged solution for action videography.

Sennheiser MKE-2 elements.

Sony Alpha 9 £4500 Sony

Above: new A9 Below: new 100-400mm zoom

£1045 Photo Training Overseas ONE OF the most successful and enjoyable training events, Photo Training Overseas continues into a 4th decade with the 2018 destination of Madeira. Escaping British Winter for sub-tropical sun is already appealing, but your week in warm weather comes with an intense programme of speakers, including Saraya Cortaville, Sean Conboy, Gerry Coe, Brett Florens, Paul Fowler, Guy Gowan, Stu Williamson and John Young alongside our very own Ray Lowe. There’s an opportunity to promote your own expertise too, as there’s room in the schedule for speakers on Album Design and Layout, and Social Media. Supported by respected trade partners like Loxley Colour, Fuji and The Flash Centre/ Elinchrom, PTO has proven time and time again to be an invaluable learning, networking and relaxation event. If you want to extend it to a holiday, a second week is available giving time to explore the local colour and take that inspiration a little further. Book now with a deposit of £60 and you have six months to pay the balance for this all inclusive package.

Right: new 100mm ƒ2.8 STF portrait lens, and 85mm ƒ1.8

MIRRORLESS continues to gain ground, with Sony achieving strong sales in stills and video markets, and their latest full-frame offering looks certain to continue that trend. The 24.2MP CMOS sensor uses a new “stacked” architecture - not, as you might think, stacked sensels, but a single module containing sensor, buffering and image processing in the same unit. Avoiding the need for external interconnects and circuitry, this innovative new design offers faster processing and reduced noise. The new camera offers many capabilities that are not possible with a modern digital SLR camera including high-speed, blackout-free continuous shootingiii at up to 20fps, 60 AF/AE tracking calculations per second, a fastest shutter speed of up to 1/32,000 second and much more. The industry-leading speed and silent shooting is combined with a focusing system that features 693 phase detection AF point covering approximately 93% of the frame. The new α9 also features a vibration free, fully electronic, completely silent anti-distortion shutter with no mechanical mirror or shutter noise, making it an ideal for any shooting situation that demands quiet operation (weddings, concerts, court proceeding, television and movie sets for example). A new Z battery has approximately 2.2x the capacity of the earlier batteries, and there are dual SD media card slots, one supporting UHS-II cards. An Ethernet port (wired LAN terminal) is fitted to enable sports event connection and tethered shooting is a key point of the new camera.


PTO 2018 Lineup



e have produced a magazine of the highest quality over the last three years, since incoming MPA CEO Clare Louise approved a suggestion to go bi-monthly and make the production match the relaunched f2 Freelance Photographer. At The Photography Show 2014 we unveiled this format, and it has been most successful in a market where print media has generally been declining. Why? Because hard copy – the printed image – is the means by which nearly all our MPA members earn their living. Only a few make a good business from purely electronic delivery of still images, whether it’s commercial or social. Even when they do, a final printed version is often the objective, from the house sale brochure to national magazines and newspapers. Hard copy rules the day. It is how the MPA’s annual awards are ultimately judged – there is no category for purely digital work, every image must be printed for a final decision. As magazine editor, I have avoided entering awards and for many years considered myself disqualified to do so. Then in 2009 I was told to do so, because MPA was losing ground in the editorial and press photography field, and the process is completely anonymous. I picked up a bunch of merits and the overall UK Press/PR/ Stock title, which surprised me. In the process I had to do something unusual. I just don’t print my images. I am not in a camera club and I’m not covering events


Miners’ strike era negative, 1974. 10 x 8 print, 1977. Scan, 2005. Harman FB AI Gloss archival inkjet print, 2007. Photo on this page, 2017. ©DK

of international importance or pretending to be a photographic artist. I just take images which are intended for newspapers, magazines, books and web media. As the owner of an Epson 3800 printer, my first step was to make 20 x 16 inch prints from the images which had been selected for print judging. But this was when mounted work was required, and I quickly found that my old Ademco heated press mounting skills had been lost along with the equipment. I purchased some Ilford Galerie pre-mounted pearl sheets, and


they have been really useful over the years for making showcards… they simply didn’t have the quality look which MPA award-winners needed. The flatness, the surface, the overall appearance fell short of the mark. Most awards entries at that time were finished prints which could have sold to a client for hundreds. So, for the first time, I placed an order with Loxley Colour for mounted 20 x 16 prints from editorial photojournalism. I use colour management of course: without the i1 Display and

the ColorMunki Photo, the DataColor Spyder and other devices producing this magazine would be a hit and miss business. My Epson 3800 relies on profiles I create myself with the ColorMunki as well as custom profiles made by Fotospeed, Permajet and Marrutt alongside Epson’s own very good off the shelf ICC data. Well, the prints when delivered fell short of my expectation. They were not a match for my profiled display or in-house printing. I had never sent a test file to Loxley or created a custom profile as I would for a new inkjet printer. Very quickly, we went through the process and fixed the problem to ensure my files and their prints looked identical. It was interesting because normally, I just don’t see my work printed (except on magazine pages). Later on, I was asked to do some fine art black and white paper tests. Armed with the materials and the brief, I went for A2+ size which is larger than 20 x 16. Some of the older photographs were scanned from A4 or smaller prints made in the 1970s for national newspapers and picture agencies. It was amazing how well these enlarged over four times to create striking big wall art (if you can call it that). After this I started making prints more often, including a local exhibition of sixty framed prints in 2012. People were, indeed, very happy to pay for these relatively simple products – a routine 20 x 16 oak wood frame and aperture overlay with an A3/12 x 16 or smaller print. It wasn’t even a fine art project, and used

Epson Professional Lustre paper which is not fibre based. Today, I would never consider wasting my time making sixty prints on this paper. I would pay the extra up front to use something like Permajet Smooth Baryta Gloss (recently introduced) or Epson Traditional Photo Paper, another fibre-based baryta. It’s the difference between a two-figure sum for a framed print and a threefigure sum, even for ‘local view’ category images. For the portrait sitter it could be the difference between a threefigure order and a four-figure one. Recently, the whole business of wall art and decor printing (as opposed to what I’ll call fine art) has been transformed by new media. My favourite print made over the last few years of testing services is a waterfall view which went on to a Welsh slate, printed by the Acrylic Picture Company. Since then image transfer on to slate, metal (as with Loxley’s Alumini), wood, marble and many other substrates has become easy to find. A comment was made, on the MPA’s member-only Facebook group, that really posh clients simply wouldn’t have an acrylic or a metal print mounted on the wall. I would disagree; clients owning really old traditional houses might not, but a quick peek at the London luxury housing market would show that prints like this are ideal for display in modern interiors. There are photographers who don’t say much about their work or clients for good reasons but sell sets of the highest quality mounted images to developers and hotel chains. In some cases one single order of this kind could well exceed the annual turnover of a small town social studio. At The Photography Show, Graphistudio took over the running of the Pro Lounge. One of their big talkingpoints was the HD print, created on their Canon DreamLabo system. I’ve seen this now at a couple of regional promotions too. All they have

If you have not yet seen prints made by Graphistudio’s DreamLabo system, it’s worth getting hold of the samples (four paper types, with the high gloss a clear winner for sheer saturation, but a warm toned natural cotton rag included). The colours and archival permanence go beyond photochemical process standards.

to do is print a handful of digital camera images with a gamut making full use of AdobeRGB on any regular photo printer, and also on their HD print system. It’s like the difference between 1970s first colour television and a current 4K HD screen! It is also something we can not show in this magazine. You’ll have to ask Jeremy Price and his team to send you or show you samples. Originally meant for album pages, the HD printing was rapidly taken up for boxes of pre-mounted prints. It’s also possible to use it for something like MPA Awards final prints. It is as close to the experience of seeing the image on a good computer screen as a print can get. Then, in contrast, consider work like the examples used in this issue from Jules Hunter. Because she is aiming to evoke the feel of old paintings her print processes don’t need to have a huge gamut, but they do need to have spot-on colour management and a physical presence. The

message is – get this right, get the wall print and its mounting and framing to the right level, and you could be making individual photographic prints worth not hundreds but thousands. Along with this professional photographers should think hard about the cameras, and sensors, used to capture the original image. Over the years of producing this magazine our greatest problem has been the inadequate size of the finished files. There have been pictures we wanted to use as double page spreads where the largest available file was only suitable for a half page. There have also been plenty of pictures intended for single column use which arrive in wall-poster size. New medium format cameras with 50 megapixel sensors, whether from Hasselblad or Fuji or Pentax or Phase One, rapidly converge in capital investment cost with higher end DSLR kit. Work with something like the Fujifilm GFX 50S and don’t waste the sensor (compose to use

the full 50 megapixels). You will then be making metrewide portraits, prints as big as the oil paintings lining the staircase of your local stately home, with millimetre-fine detail. A very fine photographer sent news of his success to us. The information and pictures were on a CD. That was a reminder too. It was the first CD we have handled in over a year. The computers no longer have CD drives. The hardly-used add on Samsung CD drive struggled to read both copies we were sent. Copying failed two or three times. The CD didn’t mount at all between going AWOL. All your digital files, no matter how well you copy them and archive them, are only as good as a few undamaged bits holding the key to read them. If some ransomware criminal manages to encrypt your PC and every disk attached to it, either your work or your bank account may be gone for ever. The same applies to your clients. Social media and cloud storage is no permanent answer: we have already see entire collections disappear, websites lost, cloud archives erased as accounts change and providers change hands or close. Ultimately, it will be the hard copy print, the album or the wall print or the shoebox full of loose 6 x 4s which survives into the next century. As will this magazine, and all the copies of the MPA’s magazines over the years which we have lodged with the libraries of deposit in England, Scotland, Ireland and Wales for permanent preservation. Seven of every issue, going to the different major archives to be kept for the future. It’s one of the reasons I love working in physical print and not just the e-magazine world. It is real. You are holding it. Even if just a few copies outlast you or me, others will open these pages again – and others will value the prints, albums and books that you sell your clients. – David Kilpatrick



The stand that delivered! MPA’s presence at The Photography Show boosts membership by over 10% including eleven new LMPA passes.


hat a show! This is one of my favourite times of the year and has been for many years, both as a photographer and as CEO of the MPA. This year was no different, with the show exceeding all of our expectations. The stand, as always, looked amazing as we proudly showed off some of your work, with images displayed selected from our awards entries. The positivity on the stand was utterly magnificent and certainly contributed to the success of the sign-ups at the show. We reached a record number this year, and with the new systems that have been implemented, we were able to cut down our after show follow up work by more than half. Processing each membership at the show also meant conversion of show sign-ups reached 100%. Of course, this now means we have many new and eager members looking for mentors – please let us know at head office if you can offer us your time and fellow members your knowledge, as we go from strength to strength we continue to need your help. We really must say a tremendous thank you to all those who helped out on our stand over the four days of the show – Amanda Buckle, Ray Lowe, Paul Wilkinson, Paul Cooper, Steve Howdle, Richard Bradbury, Steve Walton, Greg Moment, Ross Grieve, Karen Massey, Mike Ward, Ian Boichat, James Musselwhite, Melanie East, Jules Hunter. Without your support and contribution we couldn’t achieve the levels of success that we do. Your passion and dedication to the association does not go unnoticed by us here running the MPA, and the new members signing up. Cherubs made its debut to The Photography Show in its new format, headed up

The MPA stand at The Photography Show 2017 looked amazing with large prints on display from the awards. Bottom, Paul Inskip tells prospective Cherubs members what’s on the table. Photos ©MPA.


by our new Cherubs Director Paul Inskip LMPA, we saw a new and improved Cherubs Programme wowing photographers at the show with an educational programme and carefully managed postcode areas. Cherubs has now become an invaluable platform to grow a successful portrait business from. The Cherubs community continues to grow from strength to strength, with Paul’s unwavering passion to helping members succeed and Rays enthusiasm to not only support Paul in his role, Ray continues to share his wealth of knowledge to all who are open to learning. Cherubs has quickly stepped into its new lease of life and the future is definitely bright. Of course, none of this could be possible without the help of our Cherubs Ambassadors and Cherubs Members who help Paul as he drives Cherubs forwards in its new direction. We would like to extend our heartfelt thankyous for all their help at the show and continued support to – Paul Inskip, Helen Rushton, Steve Reid, David Loney, Michael Shilling, David Doyle, Garry Stacey, Rose Stacey, Collin Davies, Gary Orgles. If you would like to find out more about how The Business of Cherubs works please contact Paul Inskip – The show was Ray’s first major public engagement as Chair since his appointment and his passion for our Association was at the forefront of our presence at the show. Ray spent much time meeting members old and new, connecting with Regional Chairs and heading up the EGM answering questions and listening to members as the MPA takes its next steps on this ever evolving journey we are on. Ray’s enthusiasm is infectious, his motivation inspirational, we are seeing

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the regions go from strength to strength, a huge contributory factor to the success of the show. I am sure I am not alone as I take this opportunity to thank Ray for all his hard work and dedication to the MPA. Keep a look out for your regular chairmans missives, Rays regular communication with members on all matters MPA. You can also contact Ray direct on: Once again this year we had some amazing speakers at the show, we kicked off with our first speaker, Greg Moment AMPA, a relative newcomer to The Association whose wedding work celebrates all the reasons why he’s not only gained an Associateship in weddings and won many awards for his work, it also exudes the elegance, gracefulness and the passion of a photographer who shoots from their heart. Greg demonstrated simple yet effective techniques that can be implemented in our everyday photography to step up our creativity. Greg, from Poland, follows up his session at the show with a May 24th25th wedding workshop with Dumitrel Rada in London for which MPA members receive discounted entry. There are limited spaces available, to find out more information about the event both in the UK and Internationally you can connect with Greg here: The first day of the show ended with our very own Paul Wilkinson FMPA, who held a Capture Birmingham session at the new NEC Resorts World. Whilst his time as chair has ended, Paul’s dedication to the association and passion for sharing knowledge is still at the core of all of who he is, and again I am sure I am not alone in thanking Paul for his valued input into the MPA as he continues his journey with renewed vigour and passion as the Central Regional chair. Paul’s session pulled in dedicated photographers who were keen to improve their environmental portrait

Photographs from the show by editor David Kilpatrick: above, the MPA stand attracts visitors. Below, Graphistudio’s excellent Pro Lounge meeting place; Calumet’s busy retail stand highlighting Sigma and other brands; and Fotospeed’s stand where large format prints spilled out into the walkway.


work, and what better way to do that than with a highly regarded expert in this field. With a fellowship under his belt in Portrait Photography and a large portfolio of awards, Paul’s humour, as always, ensured the event was both educational and lighthearted and a really great place to be. For those of you who didn’t get chance to see Paul’s session you can buy his book Mastering Portraiture on Amazon, where page after page Paul shares his expertise, passion and creativity in the art, educating the reader in all aspects of creating the perfect portrait. You can also see Paul in action across the regions this summer. Make sure making one of Paul’s seminars or workshops is on your list of must do’s this year: September 4th East Midlands Region

September 20th South Central Region Richard Bradbury FMPA took to the Behind The Lens stage, interviewed by Paul Wilkinson. Richard shared his fascinating story of shooting extraordinary images of extraordinary people for the world-famous Guinness Book of Records. Richard, a Fellow of the Association and our UK Commercial & Creative Photographer of the Year 2015/16 as well as a multi award winner, held nothing back as he told the story behind each image and his thought processes for each shoot. Keep an eye on next year’s Regional Events for a chance to see Richard in action sharing his passion. You can follow his blogs and workshops/events at I was honoured to be asked to be a part of the Women In Photography networking session at the show, where key women in the industry were able to offer advice to women just starting out or looking to take their careers to the next level. With around 20% of our amazing industry being made up of women, it was great to be given the opportunity to help more female photographers step up and become more involved. I also had the privilege take up a slot on the Behind The Lens stage with my latest seminar ’Turn On The Light Your Passion Is Calling’ put together to explore our challenges as creatives and inspire us to connect to our passion and follow what lights us up. If you didn’t have chance to see this, I’m speaking at a number of regions over the coming months and would love to see you there. May 8th 2017 West Midlands Region June 27th 2017 East Anglia Region July 3rd 2017 Welsh Region September 20th 2017 South Central Region Just before the show we launched our Newborn Safety Certificate. Our qualifications team, headed by Paul Cooper Hon.FMPA , has been working extensively with Melanie East

Melanie East receives her Newborn Photography Certificate from Clare Louise, above. Mikaela Rackham, below, gained her LMPA, seen with President Steve Howdle.

AMPA , one of the UK’s leading Newborn Photographers. The team has put together the certification to ensure photographers are educated in all areas of safety when shooting Newborn Photography. I had the pleasure of interrupting Melanie’s Live Stage session at the show presenting her with our first Newborn Safety Certificate. To find our more about how you can gain your Newborn Certificate contact Melanie, an advocate of Newborn Safety, took to the Live Stage to demonstrate the art of creative posing whilst working safely in newborn photography. Melanie’s first book, The Art of Newborn Photography, is now on sale online at Amazon and in Waterstones Bookstores. Melanie’s commitment to safety in Newborn Photography is at the heart of her book as well as her inspirational craftsmanship in this genre of photography. A must read for all newborn photographers. Steve Howdle and Stephanie Thornton put together an amazing session on ‘Working with a Creative Team’ covering posing, styling and lighting. Steve Howdle FMPA,

our current MPA president, Fellow of the MPA and lighting guru, along with creative photographer Stephanie Thornton AMPA, an up and coming name in the industry, are regular speakers at the show, sharing a wide range of knowledge and creativity with all those who enter their space. Both Steve and Stephanie will be making a number of trips to the regions during the rest of Steve’s term as President so be sure to book in and be educated and motivated in style. At the show we had a number of candidates submit for their Licentiate qualifications, and with a 78% pass rate this year we would like to congratulate all our newly qualified Licentiate Members for their wonderful achievement. Taking the first step to professional qualifications is often the hardest, it is your response to the outcome that determines your future successes, for those who were not successful this time, keep going, from my own experience of submitting an unsuccessful qualification panel, the drive to succeed and all I learnt in succeeding far outweighed my initial disappointment. Congratulations to – Dan Adams LMPA, Imelda Bell LMPA, Karen Fuller LMPA, Kim Gunn LMPA, Hayley Hadden LMPA, Graeme Hewitson LMPA, Nevina Holland LMPA, Jamie Morgan LMPA, Mikaela Rackham LMPA, Sharon Wallis LMPA, Selina Walton LMPA. It is no mean feat gaining a qualification, a candidate’s level of success is determined by their ability to continually push themselves to improve. We would like to thank all of our mentors, especially Carol Taylor AMPA, Alexandra Lord AMPA, Melanie East AMPA, Ray Lowe Hon.FMPA and Hossain Mahdavi FMPA who dedicated their time mentoring to ensuring this year’s candidates at the show gained the success they deserved. We must also thank our Qualifications Team this year, headed up by Eric Jenkins Hon. FMPA, the team consisted of Paul Cooper Hon.FMPA, Melanie

East AMPA, Kate Cooper FMPA and Steve Walton FMPA with regional Director Collin Davies LMPA at the helm ensuring the efficient running of the day. Mentoring and Qualifications is all a result of the voluntary work by our members who are dedicated to helping others succeed and committed to helping the MPA be the premier qualifying body for the professional photographer. We are always looking for new mentors, if you are an AMPA/FMPA and are passionate about helping others then please contact head office to find out how you can be more involved in this valuable part of our community. In our quest to help others, Steve Walton FMPA joined by David Calvert FMPA and Deborah Selwood AMPA, along with other associations at the show, donated their time to help students at the show take their work to the next level and offered advice and hints and tips at the student portfolio reviews. My lasting memory of this years show is, without a doubt, that strong sense of positive community spirit that we have built over the years that comes to the fore at events like these. The passion of our members for our Associations success is enviable and never ceases to inspire me as I watch this build year on year. It’s a magical time for our association, and our members and I have never been prouder to belong to the MPA. See you all at the show next year!


Ray Lowe by RTK/Fujifilm GFX 50S


Photographed by David Kilpatrick. Sony A7RII, Voigtländer Hyper Wide-Heliar 10mm ƒ5.6 16 • MASTER PHOTOGRAPHY MAY/JUNE 2017


his year’s awards will see changes requested by members and some additions of our own. After listening to members’ feedback regarding the re-introduction of the Bronze and Silver Awards, the Competitions committee has removed those titles and replaced all our category winners with The Gold Awards – celebrating the achievement of all our category winners equally. We will still have the highly coveted titles of Wedding Photographer of the year, Portrait Photographer of the year, Commercial & Creative Photographer of the Year and these too will be classed as The Gold Awards. Our awards will finish with top award titles UK Master Photographer of the Year and Overseas Master Photographer of the year only, celebrating the absolute best of our members work. The title Master Photographer of the Year has been removed. This title was decided between UK Photographer of the Year and Overseas Photographer of the Year in recent judgings. It was felt that the awarding of this title demeaned the incredible achievement of both the UK Master Photographer of the Year and Overseas Master Photographer of the Year. When looking through the categories and criteria you will also notice more changes, after extensive research we have brought them in line with other major global competitions to ensure that the Association is at the forefront of industry awards. We also open this year’s awards with some exciting new categories which we will be explaining in more detail over the coming weeks. We have designed new logos for our awards which will be

sent out to the respective recipients for Merit Wins, Awards of Excellence and our top title winners. These badges of success can be shared across social media, displayed on websites, used in advertising and displays to celebrate your success and use as a tool to raise more public awareness of your achievements. As always, we are really excited about this years entries and can’t wait to see your images coming in – with entries coming from across the globe, our prestigious awards are celebrated by photographers all over the world, our standards high. We celebrate the success of our merit winners as much as our top titles and encourage all our members to enter and join us as we recognise your mastery and revel in your success. For those of you new to entering awards, remember every winner started off where you are – join in and discover your potential as you push yourself to be your absolute best. Use the monthly awards for aspiring and Licentiate members, and your regional awards, as your first steps. Learn from the invaluable knowledge shared in print critiques and live judging. To get the 2017/2018 Awards started we will be giving away a pair of dinner tickets to our first entrant of the competition. Look out for notification of the moment the on-line portal opens for entries! Let’s make this our best year yet and celebrate all of our successes… The Master Photography Awards, A Celebration of Mastery. – Clare Louise FMPA Chief Executive Officer, MPA


“Show us your pure unadulterated photographic skill” – Paul Cooper FMPA


know it’s a cliché, but this year’s awards are going to be the best yet. Why? Because the MPA is evolving, and the members who have stuck with us are forward-thinking photographers producing world-class images. I’ve stepped into the role of Chairman for the 2017 competition and although I’m firmly of the belief that “if it ain't broke then don't fix it”, I do want to ensure that our awards continue to be lauded as the best in the industry. And the only way to do that is through continuous change and improvement. So when compiling your entries for this year, don’t use previous winners as a reference point. Instead of copying the style of previous gold winning images, show the judges what you can do with your own creative thinking. But bear in mind that ultimately we are an association of photographers, and it is pure unadulterated photographic skill that will attract the highest scores in 2017. – Paul Cooper FMPA, Chair, Master Photography Awards 2017/18



Online Entry Deadline July 31st 2017 Online Judging August 4th–9th 2017 Notification for Print Submission August 11th 2017 Prints to HQ Deadline September 7th 2017 Open Print Judging September 11th & 12th 2017 Awards Presentation October 8th 2017 COMPETITION GUIDELINES 2017

UK & Overseas – qualified MPA members only

Commissioned: this simply means that someone paid you to create the image or asked you to create the image with the intention of purchasing the image/print.

Creative Wedding Classical Wedding Reportage Wedding Creative Portrait Classical Portrait Studio Portrait Family Portrait Lifestyle & Location Portrait Boudoir Under 5s Newborn Animals Fine Art/Pictorial* Commercial Fashion & Beauty Industrial, Architectural*, Commercial & Advertising Landscape*, Travel*, Nature & Wildlife* Press*, PR* & Events* Licentiate Photographer of the Year

Un-Commissioned: this means that, while no-one asked you to create the work, it was still created with the intention of commerce e.g. Fine art prints for sale, use on a stock library, at events where the person photographed may (or may not) buy a print of file. Personal: personal work is defined as images with no commissioning client and the images were not intended for resale. All entries into the Qualified Members Only categories MUST be from commissioned or paid work unless you see an asterisk after them in the listings on the right. Note that none of the social photography categories allows un-commissioned personal work to be entered. However, this does not rule out speculative sittings, promotional free sittings, and work undertaken at the photographer’s initiative. If the results have been offered for sale to the client they are eligible for entry. This applies even if the client did not buy the image concerned. Landscape/Travel/Nature/Wildlife; Press PR & Events; Architecture only within the Industrial/Architectural/ Commercial/Advertising category; Fine Art/Pictorial – all are open to un-commissioned work. This does not mean personal work. The images should have a commercial intent, and should have been available to license or to purchase as prints during the entry year. 18 • MASTER PHOTOGRAPHY MAY/JUNE 2017

UK & Overseas – open to all photographers

(including MPA qualified members except for Aspiring Member and Student Photography) Bride Image of the Year Street Photography* Beauty & Places* Black & White* Aspiring Member* Student Photography* Creative Photographer of the Year*

Open Category – UK Cherubs Partners only Cherubs

Guidelines for MPA Member Only categories What is meant by ‘Creative’? For both Wedding and Portrait categories, this description is used instead of Contemporary, Portrait Art Fashion or Avant-Garde which have been used in past years. Creative Wedding Wedding images created at any time other than the day of the wedding ceremony MUST be entered into this category. This includes pictures taken at locations remote from or unconnected with the wedding venue, such as beaches/ landscapes/studio at a distance from the event requiring a separate session. Creative Wedding may include pictures taken at any time, including pictures using models and commissioned by venues, for editorials or other third parties. Composite images must also be entered into this category. Please note that bridal fashion commissioned work for designers or dressmakers should also be entered into this category. Classical Wedding Restricted to images that are commissioned and are traditional and un-manipulated. Images must be taken on the wedding day. Minor retouching such as blink removal is acceptable but composite images, for example where a couple are superimposed on to a completely different location, are not accepted and should be entered into Creative Wedding category.

By Johnson Wee – Wedding Art & Fashion Merit from the Master Photography Awards 2016/17 (2017/18 category: Overseas Creative Wedding).

Reportage Wedding This category is restricted to images taken on the day(s) of the wedding ceremony and must be taken from commissioned weddings. Home, gardens, function rooms, ceremony venues, parks, photogenic locations or public spaces accessible on the day of the wedding are all acceptable. So is coverage of any extended gathering or party surrounding the wedding ceremony - for example, weddings where several days of gathering or rituals are involved, weddings on cruises or at destinations abroad such as beach weddings. The Bride or Groom does not have to be present in the image. This category can be used to enter images of guests and documentary style images. Creative Portrait Commissioned personal portraiture, even if it has has the look of fashion, should be entered in this category and not in Commercial Fashion & Beauty. If you, a stylist, accessoriser, costumer designer or make-up artist style a portrait and this contributes substantially to a private and not commercial commission, it belongs in this category or in the Fine Art/Pictorial class. There are grey areas – if a professional clown wants a promo shot, it’s probably a Classical or Studio portrait despite make-up and costume. Classical Portrait Classical refers to portraits which do not rely on makeup, hair, styling or similar additional services (see above note). The focus here is on the traditional disciplines of portraiture, lighting, posing and composition.

By Lisa Beanie – Portrait Art & Fashion Merit from the Master Photography Awards 2016/17 (2017/18 category: Creative Portrait).

Studio Portrait Images entered can be either Creative or Classical portraits specifically taken in a studio setting. This category can MASTER PHOTOGRAPHY MAY/JUNE 2017 • 19

include family portraits and groups. Judges are looking for saleability, exquisite lighting, flattering posing, maximum engagement between subject and photographer, and minimal post production. It's about raw photography in a fully controlled studio environment where the image is created ‘in camera’. Post-production should be limited to basic colour/density corrections and cosmetic retouching of blemishes. No composites or ‘warping’ of subjects. Family Portrait Images with two or more generations of one family present. From two individuals to group size. Lifestyle & Location Portrait Environmental or editorial style portraiture in which the subject is placed in context, in their home or workplace, or reflecting their interests. This is also the category for outdoor portrait work, where you take your subject into a setting such as woodlands, or urban architecture. Boudoir Portraits that celebrate the beauty of the human form. This category may only include the exposed form including nudes, semi-nudes, subjects in lingerie and photographs that are consistent with the Boudoir genre including women in a robe, wearing her husband’s shirt etc. This category may include images featuring the exposed male form as well. Under 5s Subject must be under the age of 5 years old when the photograph was taken.

Newborn Commissioned work of babies under 14 weeks. Composites are expected in this category. Animals Includes pets and livestock, domestic and farm animals, riding or working animals. Any animal owned by the client, whether private or a breeder or farmer is eligible. This category is neatly summed up by saying that if the subject depends on a human, it belongs here – domestic pets, farm animals, zoo exhibits, captive birds, horses and so on. Fine Art & Pictorial Images entered into this category must have been taken for their artistic merit – creative art, to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content. This category can be un-commissioned work but must be taken with the intent to sell Commercial Fashion & Beauty Model portfolio and hair stylist, makeover commissioned work. Please note that personal work or TFP (time for photos) using models and involving no commission or payment must not be entered in this class. Images should show clothing, jewellery, make-up, hair or any other fashion and beauty accessory. Please note bridal fashion photography must be entered into Creative Wedding. Bridal Fashion photography will not be allowed in the Fashion & Beauty category. Industrial, Architectural, Commercial & Advertising Images must be of a specific commercial, advertising, architectural and Industrial nature. Images entered should be commissioned, except Architectural, which may be entered if taken for commercial intent and made available for license or to purchase during the time frame set out in the rules for entry. Landscape, Travel, Nature & Wildlife Open to un-commissioned work, taken with commercial intent and should have been available to license or to purchase as prints during the time frames in the rules of entry. This category can include images taken showing features of the land for aesthetic purposes, images taken to display natural elements such as plants, close ups, textures and images documenting animals in their natural habitat. Animals that are fed by humans in zoos, farms or enclosures should be entered into the pets and livestock category. Travel Images should be of photojournalistic nature and document an environment or culture of an area. Press, PR & Events Images should be commissioned work. Event photography should have been taken at an event capturing the essence of both the subject and event simultaneously. Press & PR images should have been taken of the subject matter for the purpose of publicity, these can be either photojournalistic or styled images. Licentiate Photographer of the Year For Licentiate (LMPA) photographers who have been qualified three years or less on July 31st 2017. Left: Architecture Award of Excellence, 2016/17, by Giles Christopher.


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UK and Overseas Master Photographer of The Year

UK and Overseas Master Photographer of The Year

A Gold Award will be given to ALL category winners replacing the Bronze & Silver Awards

Awards Of Excellence

Merit Winner

Relevant logo’s will be sent to Members and social media usage at time of notiďŹ cation A Gold award Award will be given to ALLfor category winners Awards for Of website Excellence Merit Winner New artwork merits, awards and winners replacing the Bronze & Silver Awards

The former Bronze and Silver award logos, which were considered to be a ‘second best’ despite applying to important categories, are replaced with Gold Awards. Entrants will be notified andand will be media sent copies to use in social Relevant logo’s will be sent to Members for website social usage at of timeartwork of notiďŹ cation media, publicity and display. No reference will be made to Silver or Bronze.

Guidelines for Open Categories Bride Image of the Year This image can be taken on the wedding day, pre or post wedding. It must show a real bride and be commissioned work. Street Photography This category is all about being the observer of the streets. Street Photography is conducted for art or enquiry and features un-manipulated chance encounters and random incidents within public places. Photographer will be judged based on their ability to capture the real-world essence and energy of a person, object, or location. Beauty & Places This category is to celebrate the aesthetic beauty or interest found in people in interesting situations or environments.




These can be both un-posed or styled and controlled shoots where the people are the prime subject of the image. Black & White Images must be black & white, and can be of any subject matter. Images that are sepia, spot coloured will not be accepted into this category. Aspiring Member For members who are not yet qualified or are aspiring members to the Association. Members can not enter this category for more than two consecutive years. The Student Award adRocket adRocket This category is all about giving tomorrow’s professional

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photographer a place to flourish and gain recognition as they take the next steps of their journey. Judges are looking for good composition, lighting, unique viewpoint and creativity. This year the brief is ‘Reality’. Creative Photographer of the Year This is for personal work and can be of any subject, composites are accepted. This category is to allow entrants creative freedom, and an opportunity to express their creativity. Cherubs This is open to Cherubs Partners only. All images must have been taken on a Cherubs Session. The overall winner will be taken from the highest accumulative score of their top scoring three images. COMPETITION RULES 2017

✱ There is no limit to the number of entries you may submit ✱ Any image which has already won a major award or title from any other Professional Photographic organisation is not permitted ✱ Images previously entered for MPA national awards are not permitted, including reworked images ✱ Images produced on photographic workshops/seminars are not permitted. Some categories must be from commissioned work. Noncommissioned work in the Nature/Wildlife, Landscape/Travel, Press PR & Events, Architectural and Fine Art/Pictorial categories must have been offered for licence or sale. ✱ Photographs that have been knowingly or subconsciously plagiarized will be disqualified. Copying or emulating a pose, style or concept is not considered plagiarism. Copying a photograph where all or 90% of the elements are exactly the same (ie subject matter, pose, location, concept, crop, finishing etc.) may be considered plagiarism if not enough elements are considered different. Achieving elements from a painting in a photograph is not considered plagiarism as the execution to achieve the desired result is of a different artistic discipline ✱ All images, and all elements of an image if a composite, should have been created/produced between June 1st 2016 and July 31st 2017. ✱ Metadata will be checked and if found outside of the specified production date range above, images will be automatically disqualified from the competition. ✱ Entrants may submit each image only once and may NOT enter the same image in more than one category in either Member or Open Categories ✱ By entering, the photographer acknowledges that employer, client and/or subject have copyright release or model release giving permission for the image to be published or exhibited in connection with these awards and that he/she is the Author of the work as defined in the Design, Copyright and Patents Act 1988 ✱ Entrants agree that any entered image may be used by the Master Photographers Association in any of their printed material, publications or electronic media ✱ Any entries which do not confirm to the rules will be withdrawn from the awards judging and no payments returned ✱ The decision of the judges is final and no correspondence will be entered into ✱ The judges, if agreed unanimously, may transfer any image into a more appropriate category ✱ The MPA reserves the right to remove from the Competition any images submitted, which in the Association’s opinion, contravene legal guidelines on public decency or which would bring the Association into disrepute ✱ The closing date for entries for digital files is midnight July 31st 2017 (00:00 hrs August 1st 2017). When notified, prints will need to be received at MPA Head Office no later than September 7th 2017 ✱ Prints will NOT be returned ✱ Information correct at time of publication – the MPA reserves the right to amend any of the above without notice ✱ Events may occur that render the competition itself or the awarding prizes impossible due to reasons beyond the control of the Promoter and accordingly the Promoter in its absolute discretion vary or amend the competition / promotion and the entrant agrees that no liability shall attach to the Promoter as a result thereof ✱ Responsibility cannot be accepted for entries lost damaged or delayed in transit. Proof of postage will not be accepted as proof of entry. The

promoters records of entry shall be the definitive record. ✱ All overseas entries delivered to Head Office MUST have customs & taxes already paid by the sender – The MPA will NOT accept liability for any monies due & delivery will be refused which could result in images not being judged. Preparing for Digital Entry Entrants are required to upload a digital file for each image entered. Specification: maximum 4500 x 3600 pixels, minimum size 2400 x 3000 pixels, maximum of 5MB compressed JPEG data. When your image is uploaded you will automatically receive an email confirmation of your reference number for that image. If you are successful at the Digital judging stage: You will be notified of acceptance of any image(s) to the second (print) round of judging. At this point you need to arrange for your image to be printed and delivered to MPA HQ by the closing date given. The reference number only must be placed on the back of your print entry, together with your MPA membership number. MPA HQ can provide details of labs which offer to add this information and undertake direct delivery on your behalf. Each print must be a minimum size 20 x 25cm/10 x 8", maximum 30 x 25cm/12 x 10", and un-mounted. Prints will not be returned. You may use lamination or textured papers. You may not enter sheet metal, acrylic, canvas, fabric or wood (etc) media. It is advised a copy of each entered image along with the designated computer generated reference number is saved by the entrant as these details will be used when confirming images selected into the second round. Cost per Entry UK/EU zone: £9.99 inc. VAT per image. Entries from outside UK/EU zone: £9.99 (zero VAT). Awards Presentation All trophies will be presented to winners at the Annual Awards Gala ‘A Celebration of Mastery’, October 8th 2017, Hinckley Island Hotel, Hinckley, Leicester, England, United Kingdom. Anyone not present will be required to pay any postage costs for trophies in advance should they wish to have them couriered to an alternative address.




Inspired by the works of Joseph Wright of Derby, one of the great provincial painters of the English Enlightenment, ‘Ava’ is typical of Jules Hunter’s disciplined approach to tradition. 24 • MASTER PHOTOGRAPHY MAY/JUNE 2017

FINE ART S ometimes a late entrant into a creative career brings not only a wealth of other experience but a sense of urgency to match that of the teenager. For most of us, a week or two is an infinite amount of time at five years old, a measurable window to work or play at fifteen… and the expiry date on your next ready meal at fifty. Jules Hunter has passed that waymarker but at sixty-plus she’s fired up like someone a third of that age, enrolled and ready to pursue her Master’s degree in Fine Art Photography at one of the UK’s most photographically renowned universities, Trent. Simultaneously, she’s opening a new studio in a heritage railway station building in Worksop and unless something is seriously amiss with professional standards should be looking at a Fellowship before she gets that degree. She already holds a BA (Hons) in the subject from Derby, where she enrolled at 48 to be taught by the great John Blakemore. There was a time, dear reader, when a degree such as a BA (Hons) in photography entitled the holder to professional body Associateship the moment they started employment or trading. That’s how nearly all the AIIP/ABIPP photographers your editor grew up with obtained their letters. But Jules remains an LMPA, even if an award-winning one, and she’s shining example of how deceptive qualifications can be today. Licentiateship used to be given for ‘work of merchantable quality’ and anyone creating new approaches, bodies of work, and uniquely personal styling would be expected to belong to a higher circle of our photographic inferno. In the last few years she’s established a reputation for the most carefully posed and

Jules Hunter’s new studio in Worksop is like a blank canvas waiting for the artist. Below, she is photographed with her retro-friendly Nikon DF digital SLR and genuinely retro old art encyclopaedia which she has kept beside her for 56 years. Right, ‘Hope’ by George Fredrick Watts, one painting from this book singled out as inspiration.

The journey so far, as told by Jules Hunter to editor David Kilpatrick lit portraiture of young ballet dancers (students) and for subtle references to an eclectic taste in classical, renaissance, baroque, picturesque and modern art. Where some photographers create the occasional pastiche of a known painting, she’s taken the keys of colour, light, pose and composition and used them to unlock doorways to new images. The painterly references are so deeply embedded they are cultural and not contrived – coming from her own unique culture, a one-off background. “I believe my interest in visual arts stems from my childhood”, explained Jules. “As a family we travelled to Cyprus, Malaysia and Singapore with my father’s postings until I returned to England at the age of fourteen. “Moving from country to country every four years or so, as a young child I quickly learnt to adjust as most of us did – it was the norm, never having long-term friends or a base, changing schools, not allowing yourself to become attached to anything or anyone. Personal items were precious however, and at the age of five in 1960 I was given an old heavy encyclopaedia of The Masters of Famous Paintings. “This has remained with me for 56 years. It is my constant inspiration and source for most of my portrait photography. In particular, one painting by George Fredrick Watts called ‘Hope’. Growing up I knew nothing about metaphors or symbolism, art or conversations. My environment was regimented and disciplined, children were seen and not heard and most definitely not to be conversed with, any flighty ideas or freedom of thought were soon put to bed.


The self image Jules has been working on projects which reflect how others see us, and how we see ourselves. Above, from her dissertation and exhibition on Reversing the Negative Imagery of Disability and Disfigurement within the Social Media. Right, from the current work destined for her MA degree – the Lady Garden project (no explanation needed). 26 • MASTER PHOTOGRAPHY MAY/JUNE 2017

“Nevertheless, despite the noticeable despondency in the painting it actually comforted me. The soft bluishgrey background stimulates a melancholy mood; her posture bent over and humbled, but not yet broken, holding on to a single string of the lyre… in some way I identified with the vulnerability of the girl in the painting. “Conversely, the years spent in the Far East surrounded by over-saturated explosion of Asian colours, imagery and culture have also become deep-rooted within in my life and senses; leading me to believe that visual imagery is able to cross so many unspoken boundaries – reaching out to a multitude of audiences, through colour,

codes and representation. Life to me would never be this stimulating, or so I thought. “Returning to England in the 1970s was a shock, a disappointment. Grey, cold and unfriendly. I left school and home at 16 with no formal qualifications: my salvation at this time until I decided to work in Italy was my friend Maureen Rogan and her family who took in this rebellious and almost feral teenager. Maureen was my first introduction into photography although it would be 30 years later I would actually pick up a camera for myself, we have remained steadfast friends for over 40 years”. In her early 20s the travel bug bit Jules so she embarked on an adventure travelling to

Italy with no rationale, no appreciation of why except that she had met a few Italians in an hotel where she worked. “It appeared I couldn’t shake off my peripatetic upbringing. I found work as an au-pair and teaching conversational English. For once I was grateful for my strict upbringing and use of grammatically correct vocabulary. Living amongst Italians was so very different from my own background. The openness, the gusto for life… it was impossible not to be not to be affected by the passion. The people welcomed me without reservation; Italy was full of life, art, sculpture! I was privileged to travel to Venice, Rome and the most beautiful of all, Florence. This

stimulated my craving and thirst for knowledge. “I returned to England and stayed, embarking on a career specialising in psychiatric nursing, later retraining as an operating theatre practitioner (I still do a few hours a week and maintain my service record). I worked in the homeless sector tackling drugs, alcohol and body dysmorphia – and alongside people with varied disabilities. “My studies and practice within the operating department in anaesthetics and scrub allowed me to gain great insight into the working of the body, an appreciation of anatomy especially in the field of cosmetic surgery and the desire to sculpture of one’s given form. These


variables all impressed on my portrait photography and philosophy. “One summer I found myself alone in the Photographer’s gallery, London, having a coffee in awe of the images that surrounded me. The book I was revisiting at the time was Jonathan Livingston Seagull by Richard Bach – We can lift ourselves out of ignorance, we can find ourselves as creatures of excellence and intelligence and skill. “I thought – this is what I want to do. I had a Nikon FM2, some Ilford film, and began taking photographs of people. “A couple of years later I applied to Derby university at the age of forty-eight I was accepted onto the Fine Art Photography degree course on my portfolio, dreams and enthusiasm! Having never studied art or photography this was in itself an achievement. I sold my house, gave up my job, and traded in my pension all to follow a whim. “The degree work opened my life to the history of art/photography, lectures, contemporary imagery and philosophy. I treasured the writings of Roland Barthes, philosophies about the hidden message, semiotics, the narrative of the image. I was discovering there was more to just seeing a photograph. “The three years I spent at university took me to a world of, seminars, workshops, developing film in darkrooms, and being tutored by the great Bohemian, humanitarian and print maker John Blakemore. I watched him dodge and burn like a composer of music with fluttering fingertips, dropping the image from one tray to another, gliding along the darkroom… he produced breath-taking prints effortlessly. There was I, bungling along counting out loud, one elephant, two elephants, not mastering the tonal range test strips and learning the hard lesson not to lick one’s fingers after dipping in the fixer. “John and I have remained friends and I pop in for a strong coffee sitting in his

The “Little" Music Box, redesigned by Jules and constructed by Dale Shields of Crow Studios Derby as a background for ballet student portraits. This is an ambitious and portable concept in every way.

Above: dress by Ditzy Boo Boutique, model Rachel Taylor, make-up by Rachel Elizabeth. Pre-Raphaelite inspiration courtesy of Dante Gabriel Rossetti. Model, Eden Curzon. Facing page: an image inspired by Julia Margaret Cameron and days gone by. “Slow shutter speed whilst sitter turned, here I was exploring what I could do with natural light and movement. Although this didn’t reach any award it remains one of my favourites and has sold as a prints. For me personally this image is cathartic and emotional.”


untamed garden, listening to him talk of poetry and books whist smoking his beloved Camel cigarettes whilst complaining they are hard to come by these days! “I was especially drawn to portraiture. My nursing had a great effect on how I saw, related to concepts about beauty, social acceptance, art and photography. One photographer in particular excited and intensified my interest; Diane Arbus. I was amazed by her personal detailed sketchbooks, exposed alongside negative, drawings were what appeared flights of ideas, jargon scribbled amongst reminders to pay taxes and dentist appointments. “Arbus was a persuasive woman who photographed the less than ordinary. Her portraits of the underworld formed a ‘contemporary anthropology’ of eccentrics, gays, transvestites, so-called freaks. Her work became the basis of my research exploring, ideologies between social acceptance, appearance, identity, belief systems and reality. “Gathering all my previous and newly attained knowledge, experiences and understanding of theoretical values I began my dissertation which explored how we view or interpret people with differences. I suggested that we learn and conform to social ‘norms’ associating disfigurement and disabilities with badness or evil, nurtured from an early age to fairy tales and films where the portrayed a disfigurement. My final body of work was titled Reversing the Negative Imagery of Disability and Disfigurement within the Social Media and gained me a first class honours degree in Fine Art photography.” During her university holidays Jules travelled to in Sarajevo after contacting one of the female judges involved in the horrors of the Bosnian war and the crimes committed. “I was concerned that even after ten years the savagery of the leaders was still being examined. I was


allowed to sit in the courts amongst survivors and witnesses, listening to their ordeals. I was also invited by the curator of the museum opposite the notorious Holiday Inn and ‘Snipers Alley’ to take photos of the few archives which remained. People of all races and religions remaining here to keep the history of Sarajevo alive, The Serbs were not only trying to eradicate a nation by genocide they were also destroying any evidence of their historical existence! “Taking my work back I held my first exhibition at Derby Art gallery, entitled ‘Ten Years Later’, in 2006. My next exhibition was at The Waiting Rooms, Brick Lane, London in 2007 and was based on my degree portraits.” Jules went on to practise as a professional from Crow Studios, in Derby, and held an exhibition ‘The Reclamation of Gaia’ which looked at how we discard rubbish and mother nature’s abilities to reclaim. Then in 2014, she was commissioned by Transcend of Derby to photograph a set of portraits which told the lives of persons who had decided to live their ‘true’ role, as part of educating the public portraying Trans people in a positive way. ‘The Narratives’ was a collaborative concept showing the diversity within a community, hoping to bring about a better understanding and awareness that would help break down barriers, and was shown at Birmingham Art Gallery that year. This was also when Jules joined the Master Photographers Association and – recognising the need for a sound commercial basis – became a Cherubs Partner. “Cherubs was a great learning curve into the world of commercial photography – supported by Ray Lowe, Paul Inskip and Clare Louise and ALL the members I started on my journey in how to sell my photography. Cherubs became my extended family and I don’t think I would have been the commercial

Classic ballet – Bethany Johnson from Hannah Alexandra Academy of Dance, Derby, by Jules Hunter, Philter Photography.

photographic artist I am today without those early steps and friends”, she says. “Lisa Visser was my first mentor and has remained a great source of support, she guided me towards gaining my Licentiateship and was so proud of me when I won Fine Art and Pictorial Photographer of the Year in 2015. The same year I won East Midlands Photographer of the Year and Under 5s. It was also the year I was chosen to photograph Kevin Paul, celebrity tattooist/actor for his biography book cover.  “Last year started successfully as the featured artist with my award-winning published in Derbyshire Life.  This led on to the magazine booking me for a fashion shoot resulting in a four-page article. “In January 2016 I was nominated by Derby LBGT and won Derby and Derbyshire Inspirational Women Awards (IWA) 2016 in the category of Inspirational Woman in ARTS for my charitable work.   “I embarked on further training in maternity plastercasting – Claire Bradshaw and


I founded and work collaboratively on ‘Bumps to Cuddles’, incorporating bump-casting with newborn shoots. “Throughout these last two years I have continued with updating my photography skills believing that my work was never quite ‘there’. I’m sure many photographers feel the same; the quest for originality and individualism in a world over-saturated with imagery, how can one find an innovative body of work that hasn’t been thought of or accomplished? “For this reason, I am grateful and so very fortunate that I have met and work with some amazing people who have had such an effect on my work as a photographicy artist. As an example take the Hannah Alexandra Dance Academy in Derby. Their dancers – and owners Fiona Watson and Alexandra Mahjouri – are my constant inspiration and instruments for my ballet projects. The concept of The Little Music Box, a studio setting prop I designed and commissioned, was brought about by my love of dance and old master paintings.

“However, coming from the ‘fine art photography’ background what I gained in enthusiasm and passion I lacked in technical ability in some areas so I embarked on a mentoring course with Gary Hill. With his tutoring and patience I finally felt I could execute my photography ideas with greater proficiency. Gary and I have continued a wonderful friendship and many a happy discourse on the subject of what constitutes Fine Art. That has fascinated me enough to continue my education to MA level at Trent University.  “The MPA has introduced me to so many people and new friends, and is continually taking my work forward. Trevor and Faye Yerbury’s classical training allowed me to revisit my fondness for the era of traditional filmic contemporary styled photography. Recently, having been on a refresher newborn course in Italy with Melanie East and Jeremy Price at Graphistudio’s Castle Ceconi, to say we delegates were ‘blown away’ is an understatement! Alexandra Lord, Fran Stephenson and Clare Louise are inspirational friends who are there at times when one doubts oneself. I wouldn’t have met them at all, if not for the MPA.” So where does this leave Jules at what she describes as the ripe age of 61? “Moving forward after a quiet beginning this year… I’m hoping to move to my new studio where I can reinvent my work, combine the necessity of earning enough through my commercial work to support my photographicy art. Exciting times ahead too, planning my Associateship panel, moving forward into the realms of becoming perhaps the First Mam-ship in the MPA (Fellowship!) and commencing my Masters degree (in Fine Art Photography and Philosophy).” What next? “Hopefully to lecture, to inspire students, and to learn from them too.”



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Jules Hunter interviewed Kobal prize-winner Josh Redman about his striking portrait, which has won popular acclaim in contrast to so many art award choices. Behind the fine art there’s a solid foundation of commercial work and a background in ceramics.


reelance photographer Josh Redman, 32, has scooped the John Kobal New Work Award for his portrait titled ‘Frances’ (left). Already winner of the Taylor Wessing photographic portrait award in 2016, his £5,000 value Kobal award includes a commission from the National Portrait Gallery to produce a photograph for their permanent collection. The portrait gained first place in the People’s Pick, where the public vote for their own favourite at the exhibition, by quite some margin. Josh is now regularly commissioned by commercial clients on the basis of what started as personal photography. His clients have included Adidas, the British Museum, GQ Magazine, Nationwide, Sky Television and Wired magazine. Josh Redman was a sculptor and potter until 2012 when he decided to sell his kiln and buy a camera. The judges said that they were intrigued by the former potter’s “sculptural and tactile rendering of the human body”. East Midlands MPA member Jules Hunter LMPA interviewed Josh as part of a series of profiles she is producing for on-line distribution to the membership, and in preparation for her MA degree in Fine Art Photography at Nottingham Trent University. JH: Welcome, Josh, to our regional MPA page – congratulations on your awards, and thank you for taking time to allow us to gain a little insight into you and your work… already an amazing career path for a young man. I understand you were a potter and sculptor long before you even picked up a camera. Would you tell us

about your work in this field, and at what point you felt you wanted to change from working with physical 3D elements to photography?

Josh Redman, above, and his striking portrait of age, ‘Frances’, on the facing page. Josh is a potter, and his photographs display a ‘sculptural and tactile rendering’ – as in his earlier study ‘Noah Genazzano’, below.

JR: Before I took up photography, my life revolved around clay glazes and kilns. I did a three year apprenticeship in traditional thrown pottery, so I ended up with some niche but pretty high end skills. I was obsessed, and over time my ceramic work evolved in such a way that it didn’t fit in anywhere. Art galleries didn’t want to touch it, and when they did it never really sold. I survived on a few private collectors and the fact that my cost of living rarely went above £300 a month.

I worked from a huge converted dairy farm where I paid just £80 a month for the space, until I was told I had to leave. Downsizing would have compromised my work, and without the income to afford anything of a similar size, it became apparent that a change in artistic medium was logical. I was debating between papier maché and photography for a while, and opted for photography at the suggestion of my girlfriend. So it was never a creative choice. I took to it immediately though, and never really missed the ceramics once I got into photography. JH: I know you worked previously as a photography assistant. As an artist how did you find the technical side of photography – would would you say you have a preference, for example working with controlled studio lighting or natural light? JR: The technical side of photography is interesting in that anybody can get started in it and achieve something good straight away – the whole aperture/shutter/ISO thing is a lot simpler than anything in ceramics, and lighting/ composition are already there for the taking, if you look for it. Other art-forms are much more like playing an instrument, where getting the basics down takes a fairly commendable effort in its own right. So the camera itself didn’t pose much of a challenge, but working out what to photograph was a nerve-wracking and exciting step. The first time I went out with my camera I was really nervous of what people would think of a stranger walking about taking photos by


ing off a tinted polyboard, is still light. Even when you’re shooting an event in natural light, or doing candid street photography, you still have the choice of particular angles in relation to the light source. Just stopping and looking, and thinking ‘’what is the nature of this light that I’m seeing, and why is it the way it is?’’, is a form of controlling how it ends up looking in a final image. I guess I’m currently more interested in studio lighting, and as of March 2017 my candid work is taking a backseat in favour of studio portraiture, but that may change by June. Having said that, I took a couple of hundred pictures out in the street yesterday. JH: How would you say sculpting has assisted in the way you view and photograph your sitters?

Above: Durassie.

himself. I’ll never forget this moment that I missed on that outing – a tall very athletic runner was coming toward me, and so was a short, painfully slow blind guy, who was overweight with his belly hanging out of his stretched T-shirt. He was cocking his head, eyes rolling around and mouth open. In retrospect he was probably following the runner’s location with his ears to avoid getting knocked over, but the moment where

the two were side by side was quite a sight. I had instinctively ducked slightly to get a better angle for the shot, but never raised my camera as I felt guilty for wanting to take such a fantastically sad image. Regarding lighting, that was something I didn’t feel confident with until I had a fair amount of practice through assisting and testing. Assisting taught me a lot about the craft of lighting, and photographing commer-


cial work stretches your skills and makes you more efficient. I focus on the principles of lighting rather than the rules, and think about the actual kit secondary to the nature of the relationship between light source and subject matter. The most important thing is to be aware of light and what it does. The actual light source, whether it’s a sun diffused by a cloud bouncing off a red brick wall, or an Arri through a scrim bounc-

JR: I’d say that my immersion in art in general has informed much of how my photography looks, and how I think about it. The fact that I’d already been making things for nine years meant that I was used to getting my hands dirty, figuratively and literally. Many artists who have only produced work via art school get overly sensitive about their need for a hardwon but easily communicated idea that can be boiled down to a label on a wall, or a five minute tutorial with a teacher before diving into the act of making, and that prevents them from producing work in the first place. I hear it from graduates quite a lot. For me, ideas come through doing things, and doing one thing leads to doing another thing. It’s much like talking – the worst thing to do is plan too long about what you’re going to say, because you’ll never say it. If you change your mind half way through your own sentence that’s totally fine. Of course you can go down the poetry route, but you need to exercise with more casual work in between. Technically speaking, I think my traditional training

Above: Untitled. Below: Jordan and Connor.


as a potter on the wheel has informed my sense of line and proportion, but I might just think that because otherwise my previous life was a waste of time! Certainly coming into photography at the age of 28, after all that selfeducation as well as formal training in art in general, has really affected what I do. I’d probably have been producing much more technically anarchic images if I’d have started as a teenager. JH: You found your sitter Frances, aged 83 when she had recently joined a modelling agency. How did you break the ice and what did you talk about during the shoot? JR: The shoot with Frances was extremely low key. We met at my previous studio in Hackney Wick. It was a pretty messy little studio. I think we started with a cup of tea and a chat, and I probably set the light up while she was there. We talked a lot about Frances’s family and her 80 odd years before she started modelling. She was a typist her whole life, but always had background dreams of being an actress or something like that. She’s a very kind and giving lady, and devoted herself to her husband and children. Now it’s her time to do something fun like modelling, and she’s great at it. JH: Our MPA members are encouraged to enter competitions. I can remember the feeling of my first major award, how did you react and celebrate when you heard the news? JR: I’m actually pretty cynical about what it truly means to win an award, no matter how big. At the end of the day it’s the opinion of a few judges that then gets blown out of proportion. Of course I was excited to know that I’d get some publicity, but the so-called validation doesn’t mean much to me. I also got the People’s Pick a few months later, which was nice because it shows that

my photo gave the gallery goers a certain level of visitor satisfaction. What that means in terms of creative achievement is not clear at all. In all honesty, when I got the phone call to say I’d won, I then called my girlfriend at work as I needed to tell somebody, and then I carried on with some retouching for a client. The next day I intentionally did nothing, I just sat on the sofa and gave myself a day of not thinking about photography, as I’d been flat out working on commissions and I felt like resting on my laurels for twelve hours. JH: Winning such prestigious awards obviously brings some notoriety, how do you feel with this publicity? JR: The publicity for my particular image was overwhelmingly positive, and I got the people’s choice award. The other winners got quite a lot of the classic negative response about being boring or too fashionably deadpan or colonial, but I managed to avoid 99% of that. In all honesty I don’t take positive or negative criticism of my work personally. Of course if it’s a client I feel the responsibility and take great pleasure in their own approval, but when it’s art I have a more personal agenda. My sculptures were nearly universally disliked, so I learned to take criticism of my personal work without worrying about it. For me, if someone loves or hates a piece of my personal work, it’s interesting to be informed but it doesn’t hit me on a spiritual level. JH: Coming from a fine art background I am influenced by many artists, painters, sculptors, photographers both historical and modern. Which artists or  photographers have influenced you? JR: I go to exhibitions pretty much every week. My taste in pretty much any art-form, be it music or painting or cutlery, is broad but select. It might not show in my work in any explicit way, but Bar-


nett Newman and Mondrian really helped me to ‘’see’’ in an organic, human but structured way. I love how a Mondrian has the initial appearance of constrained logic, but it’s full of human activity and excited intellectual curiosity. Cezanne never fails to amaze me. More recently Hilma af Klint has blown me away. Musically, I’m currently on The Shadows, Sister Nancy, Flaming Lips, Dizzee Rascal and Nick Cave. I’m making a conscious decision to look at cinematographers more. Individual photographers that I love include Harry Callahan, Angus McBean, the scientific images of Berenice Abbott, Lorenzo Vitturi and anything by Toiletpaper. JH: We all start somewhere, so what was your  career path? How did you get from being an aspiring photographer to actually doing it full time, for a living? JR: I spent a few months back at home with my mum in Whitstable after ten years of independent living. I emailed hundreds of people trying to get photography and assisting jobs, and went out to take personal art images, mostly at night during the winter. I got a few very basic jobs from family, friends and so on… and after a while I just moved to London with my girlfriend despite having no economic plan. I got a job in a bookies, got sacked from that after about six months and by that time I was making just enough to pay rent from a combination of photography and assisting. It slowly got better from there. I got an advertising agent very early in my career, and I now do a combination of advertising and art photography, with some other odd photography jobs to keep me going. During this time I have been producing as much personal work as I can muster. JH: This leads me on to ask you what motivates you to continue taking pictures economically, politically, intellectually or emotionally?

JR: Well economically I’m of course motivated to build my ‘’career’’, whatever that really means. I’m comfortable living on very little, which has opened up my life to more freedom in my work. Emotionally I have the typical artist’s temperament of thinking that nothing is ever quite right, so I need to carry on to find that elusive great picture. About 50% of my income is advertising photography in London and the UK, and the rest is a combination of various corporate, fashion, still life and other kinds of photography jobs. When I’m not shooting for money I’m either working on personal projects or visiting art galleries. I am going through a long phase of photographing people in studios, because I feel that every time I take a picture I’m just scratching the surface. It’s like the problem Giacometti claimed to have – you can look and look and look, and you never feel satisfied with having seen anything at all. JH: Would you say Living in London assists your photography career and if you could live anywhere in the world where would it be? JR: I love London. I love the melting pot of people, galleries, objects… I love how there are so many people that you basically have anonymity. I particularly love my little area of North London which hasn’t yet been gentrified. There are more opportunities for a varied career here. Even when I’ve had jobs in the rest of the country, it’s because I lived in London. If I could live anywhere in the world it would be either London or New York. It’s not just a career thing – I’m a fan of great galleries and museums, and London has got the lion’s share.


For more information about Josh Redman and his photography please go to Right: Untitled.



Learn more about the Sue Bryce Collection – register your interest now on-line. Go to or scan the QR code or enter the full address shown below MASTER PHOTOGRAPHY MAY/JUNE 2017 • 39


EYES FRONT Gill Shaw AMPA encountered the powerful camerawork exhibited by service personnel recovering at Headley Court, Epsom. Their camera group plays a vital role helping to overcome life-changing trauma. A dedicated supporter of Help for Heroes, Gill interviewed the group organiser, vocational therapist Joanna Olney, and two photographers – Corporals Dan Stubbins and Lisa Johnston.

Portraits by Corporal Dan Stubbins – recovering his ‘eye’ has been a vital part of rehabilitation from injury in RAF service abroad.


Photographs by Dan Stubbins – the Spirit of Headley


oanne Olney is a Vocational Occupational Therapist at the Defence Medical Rehabilitation Centre, Headley Court, Epsom. Her use of photography to help service personnel face the world with confidence came to our attention, and MPA was privileged to be invited to the opening of an exhibition of the centre’s photographic group work. We asked her first how the group started (writes Gill Shaw AMPA). “Perhaps you could say that I initially identified an interest in photography from a couple of patients who were struggling to progress with their rehab”, said Joanne. “Photography appeared to help these individuals to move forward because it encouraged moments to look outwards and to be mindful in their pursuit of a good shot. After you very kindly came and had a chat to some of the patients and you really put a spark in us all, I realized that starting some type of camera club could intro42 • MASTER PHOTOGRAPHY MAY/JUNE 2017

duce the activity to other similar patients. Your introduction to Mark Reynolds of Fujifilm, who donated five cameras on our first meeting, was the start of what has now become an established and well respected part of the Occupational Therapy service. “The group now meets weekly with external trips offered alternately Thursdays. Many of the patients have subsequently elected to purchase their own cameras and are now practising their skills whilst on leave and at the weekend with their families. “Corporal Dan Stubbins is a great example of someone whose interest in photography has been re-kindled by the group at Headley Court. The unit now recognises the potential of this activity both therapeutically and socially, and Dan was asked to take photos as part of Commanding Officer Group CaptainTeresa Griffiths’ ‘Celebration’ events program. “The portrait exhibition was inspired by the idea


of capturing the ‘spirit of Headley’ through portraits of the characters both permanent and transitory. Dan has demonstrated enormous skill and enthusiasm for this project which was exhibited in the Officers’ Mess. There are plans for another exhibition of the camera club’s work and a hope to launch an annual cometition.” Above: Joanne Olney by Dan Stubbins. Below: Dan Stubbins by Gill Shaw.

Dan Stubbins

Photograph and comment by Ray Lowe Hon.FMPA on visiting the exhibition: “Gill Shaw, on the left, is holding what I consider is the best shot in the exhibition. Dan is an untrained RAF boy who was a patient at Headley Court, and much of his portraiture would put many photographers in studios around the country to shame…”

Gill also asked two of the featured photographers about their work. The first to give his story is Dan, whose pictures appear on the first two spreads. “Here is a little about what photography means to me – Corporal Stubbins, Weapons Engineer. “I’ve had an interest in photography from a young age and always had a camera for holidays and days out. It was when I first got a DSLR that I really started to learn more about photography and would spend hours on YouTube learning the relationship between ISO, aperture and shutter speed as well as the rules of composition. “I then used my dogs and my friends as subjects and this led to me experimenting with off-camera flash and investing in a very basic low and high key studio set up. “I was very lucky to be on a shift pattern that allowed me to have free time to volunteer at a local wildlife park. I ended up as their volunteer photographer. I was also asked to shoot images for a Royal Air Force Rugby game and from this I became their official photographer. As a result I’ve been lucky enough to travel to Paris and all over the UK with the RAF team.  “In 2015 I was injured whist abroad serving with the RAF and I now suffer with chronic neck pain, lower back pain, sciatic nerve pain and almost constant headaches. Due to the pain and the medication I was taking, photography was put to one side and I lost the ‘bug’ for it. As part of my recovery I attended a course at Head-


ley Court, which is set in stunning surroundings. As part of that course I learnt about mindfulness and how to appreciate what’s around you and be in the ‘here and now’ to improve one’s mental health. This gave me the bug back and I would go out shooting the gardens, really taking notice of what was around me – looking for ‘that’ shot, thinking about what depth of field I want, what composition, waiting for the right light and moment… very much slowing my shooting process down and going back to basics. “After giving those images to the staff at Headley Court I have been lucky enough to become involved in many projects creating pictures documenting celebrations and events. The most recent was the project to take portraits of staff and patients for a small exhibition capturing the spirit of Headley Court. “I have been very privileged to get involved with the very successful photography club run by Joanne Olney. I’ve helped with teaching and meeting patients, it’s amazing to really see how photography is genuinely helping people’s well-being. It really means a lot to me to be able to give something back after receiving such fantastic care. “Looking ahead to the future I think I’ll always have cameras around me – I love shooting with 35mm film and experimenting with different cameras and lenses. As cheesy as it sounds, photography has opened my eyes to the world and no matter where I am or what I’m doing there's always a part of me looking for a picture.  “To finish with a quote from Duffy that for me very much sums up how I feel about photography – ‘There's no art in photography, I just want to be good at it’.”


Dan Stubbins is on instagram as: @danieljames_photographer and his web site is in development.

Lisa Johnston Corporal Lisa Johnston came to Headley Court after being a Medic RAMC (a nurse in the medical core). “By the time I was diagnosed with Complex Regional Pain Syndrome (CRPS) in October 2014, I was completely immobile”, she says. “To get around I had to use crutches or in most cases, a wheelchair. “The only experience I had at that point was a point and shoot, using my phone as a camera. Joanne Olney had started up a photography group at Headley Court and had encouraged me to attend. I thought to myself ‘Na, not my thing’ and ‘Taking pictures is kinda boring’. Oh, how wrong I was… “A Fuji X10 camera was put into my hand and I was shown what buttons and dials did what. I didn’t have a clue what all the jargon was about but it did seem quite easy, and, to my surprise, I really enjoyed it. Just by playing around and fiddling with the buttons I seemed to lose myself in concentration. With having something to focus on, my pain was temporary turned down. “I tried taking pictures in different ways but found that I most liked up close and zoomed in pics. I even learnt that there was a special setting called ‘Macro’ or ‘Super Macro’ which has amazing focus levels. “I started taking photos of flowers in Headley Court’s own garden. Don’t get me wrong, I’m no expert and I took loads of one particular thing to get the perfect shot. I found the more pictures I took, the more interesting the photos became. “I ended up purchasing my own camera, a Fujifilm X30. It was similar to the camera I learnt on (X10) but this one had an added filter option. To be honest, this was the only reason I chose it. With a flick of a button, the whole picture would be black and white and only a certain colour would show. It’s amazing! A picture would completely change

when taken in a filter mode. “When I came home from Headley I thought that would be it until next time at Headley. But it wasn’t to be. I found I kept tinkering with my camera and started taking pictures of my three boys. I couldn’t join in and play with them so the next best thing was to capture them playing, growing up and changing. “With all the medication combined with my injury, I had awful memory loss. By taking pictures of them, I had a lifetime of memories captured and recorded. “I look at things differently now. It’s like looking at the world through a camera lens and capturing everything beautiful and perfect, just one more time before it passes us by. Everything I see can be such a great photo whether it be in landscape, zoomed in, parts in/out of focus or filtered. “If I’m out and about without my camera and see something, I still think ‘Hmmm, that’ll make a good photo’. When I don’t have my camera with me I feel that part of me is missing, but when I have it in my hand, I feel complete.”

Photographs by Lisa Johnston, and (right) Lisa herself photographed by Gill Shaw AMPA


Interview by Gill Shaw AMPA Photographs courtesy of the photographers and Headley Court. With thanks to


THE SPIRIT OF PROFESSIONALISM Entering the industry as a staff photographer for a big whisky brand before he was old enough to drink the product, Mike Ward’s later self-employed career and diverse interests have made him a popular cornerstone of MPA Mentoring.


any photographers who have successfully qualified to Licentiateship have benefited from the help and experience of one individual – a now-retired former Scottish distillery staff photographer and aviator, who was honoured by Faye Yerbury FMPA with the MPA President’s Award in 2015 for his work in the mentoring programme since his return to residence in Scotland in 2010. Though a veteran photographer in the best sense, Mike has always kept up with technology and trends, and has never been out of touch with the younger photographers he has guided on their way. Very few, perhaps, will have asked about his career. It has spanned eras of professional photography, some hard to recognise now in a world where there are few staff photographers and the proliferation of formats and techniques has all too often been replaced by an iPhone. Mike had a rather unusual but challenging start to his working career when he landed what could only be described as his ‘dream job’. On leaving Kirkcaldy High School at the age of seventeen, he joined a big name in the Scotch whisky distilling industry, one of the Fife new town’s key businesses – John Haig & Co. Ltd. of Markinch. He became their in-plant industrial photographer. This was in an era when many large companies had their own salaried in-plant photographer to deal with all photographic aspects relating to their particular business. This

Out with the old

Mike with his current Nikon workhorse – he still has the black Nikon F he bought, personally, to be able to hire lenses for ambitious shots for the distillery, at first from Pelling & Cross but later from Calumet.

was usually in the advertising and publicity side of the business but could also cover production, training, public relations, technical projects, and so on. Initially, the job entailed taking pack shots for publicity purposes, photographing visiting parties and dignitaries at the bottling premises and other distilleries within the group and microfilming records… especially those of the company's secret blends in case they were destroyed by fire. Some other general photography was also involved, often on location,


necessitating improvisation for a useable studio. It was a very challenging role with a lot of responsibility for a school-leaver of his age, especially since he was also his own boss. He had his own office, dark room, small studio and store room together with a sizeable budget to work with and all necessary expenses. The company employed over 950 people and one of the biggest hurdles he had to cross was setting work priority for different department heads and the importance of their particular photographic needs.

The equipment he had to start with was that which had been used by his predecessor who had retired, and it belonged to the past. It consisted mainly of a half-plate De Vere monorail camera together with a 35mm Kodak Retina! One of the first things he asked the company to provide was a new 6x6cm twin lens Rolleiflex camera, which proved to be his main workhorse until he acquired his first Hasselblad a few years later. He also had the obsolete half-plate De Vere monorail changed for a lighter Sinar 5 x 4". Soon after he started, the job evolved further with different department heads requesting his services in various other areas of photography. The training officer required 16mm films to be made of different production processes, so the company invested in a 16mm Bolex camera with lenses and accessories. Luckily, they already had three 16mm projectors which were used to show their publicity films to visitors. The marketing manager involved his photographic services in all the company's promotions and sponsored events, which often led to lots of travel and nights away. Another area was in the engineering department when he was approached by the chief engineer to hire a high-speed camera which could be used in fault finding on a particular machine that had been giving trouble. He was also asked to help

other companies within the Distillers Group with their photographic requirements, some of it involving research. Mike was given the task of drawing up safety guidelines concerning the use of flash by visitors within different areas of distilleries and bottling plants. This was mainly due to the potential for explosions in places where whisky was maturing or being ‘roused’ during blending.

Qualifications all round A few months after being in the job Mike realised that he wanted to become a properly qualified professional photographer even though the company employed him with only amateur status and were quite happy with that. His interest in photography had started when he was given his first camera for his eighth birthday. He realised that not only would being qualified help him progress but would also improve his future position. Mike approached the company and they agreed to let him have one day a week at day release provided he was able to keep his workflow up to date. He enrolled at Napier College in Edinburgh on the City and Guilds Photographic Technician’s Course – a thorough five-year grounding. He completed it in three years and gained his City and Guilds Photographic Technician’s Advanced Certificate. He later submitted commercial images to the Institute of Incorporated Photographers and gained his Associateship. General photography was used in many other areas especially involving the publicity of whisky agents from other countries visiting Scotland. Not only would they visit the bottling premises in Markinch but also some of the company's distilleries throughout Scotland. These visits took place about eight times a year and usually began with photographing the party coming down the aircraft steps on the runway at Edinburgh Airport. Thereafter, during the next four

Mike’s early black and white photography for the distillery was often tackled using a 6x6cm Rolleiflex, using the approaches taught by industrial photographers like Professor Walter Nurnberg. He was soon involved in applied photography, including the use of the Hadland high-speed recording camera seen being set up below.


days, photographs were taken at each venue visited so that a portfolio could be given to each person on departure. Although these commissions were highly pressurised there was time to relax and enjoy the good Haig hospitality with the visitors. Apart from the photography aspect, Mike had to have a good knowledge of the complete Scotch whisky process due to the fact that he was asked many questions from visitors and had to have the answers. He was trained as a qualified guide at Glenkinchie Distillery near Pencaitland, East Lothian, where he was also responsible for turning their bowling green reception centre into a cinema to show visitors the Haig publicity film.

Whisky no more In 1983 the production of Haig's Whisky at Markinch ceased due to the age of the premises and the logistics of modernising the plant and the cost involved. Mike started his own business as a GP photographer from his home in Ladybank, Fife, concentrating mainly on building up a good clientèle, both in the social and commercial sector. He extended his house to provide a proper studio and good professional working environment. He has embraced many changes in the profession over the years starting from his black and white days with Haig's Whisky to the introduction of usable colour for professional work – and now to the digital era. From 1983 until he retired in 2005, Mike's business flourished. He was fully booked every year with weddings and portraits and had many regular commercial clients who still attempt to call on his services even though he is now retired. Mike's decision to retire was not taken lightly but he realised it would be very difficult to wind the Mike progressed to Hasselblad cameras and acquired a 40mm lens – almost as good as the SWC’s 38mm… 48 • MASTER PHOTOGRAPHY MAY/JUNE 2017

– Fast recycling times (1.7s in FAST mode, 3s in DEFAULT mode). – Head with 92 CRI dimmable daylight LED equivalent to 250w Halogen. – Heavy duty compact head 22.5 x 14 x 23 cm weighing 2.2 kg with silent video mode. – The most compact pack 18 x 13 x 28 cm including battery. – Weight 4.3 kg including battery. – Li-Ion Battery Air; 215 full power flashes, weight 1.1 kg (included). – Li-Ion Battery HD; 400 full power flashes, weight 1.5 kg (optional). – Both batteries include a 5v USB power output max. 1A. – Weather resistant design. – The Creative Suite, strobo, sequence and delayed flash. – Next generation Skyport™ offering more range, channels and control. – USB for firmware updates .


Today Mike photographs the colourful Kingdom of Fife, from the paintwork of the Forth rail bridge to the harbours of Anstruther and Lower Largo. His commercial staff work introduced him to colour early with some of the first promotional shots of products, below, and to his enthusiasm later in life – flying. Aerial view of Markinch while the distillery was still operational, bottom right.


Above, a maltman measures the temperature of the barley in the maltings. Below, the maturation casks. Mike had to assess the dangers of flash photography in both these hazardous environments, for his own work and visitors.

business down as he found it hard to refuse a commission whether social or commercial. He thought about doing something completely different and the end result was to sell the house and studio and buy a house in rural France and take on a completely different challenge. He and his wife Marilyn spent their first year renovating the house, having a swimming pool built, learning a new language and integrating with French neighbours and their way of life. It was a massive learning curve as Mike wanted to continue his hobby of flying gliders and power planes and to do that in France he had to learn aviation French. Luckily he was welcomed by one of the local clubs and successfully became their tug pilot who towed the gliders up and enjoyed this immensely. They even let him fly the club gliders for free when he wasn't towing. As well as flying, Mike continued to take photographs for himself and kept a camera in the car at all times. He also kept in touch with all his UK photographic friends and flew over regularly to visit Focus on Photography at the NEC. Shortly after his return to Scotland in 2010 Mike was approached to become an MPA Mentor to help new members become qualified with their licentiateship. He was very honoured to be asked to do this as he has always enjoyed helping others and wanted to put something back into this wonderful profession. In 2015, this was recognised with an MPA President’s Award. This was the ideal chance to combine the years of experience he had in many different fields of photography by helping others and at the same time keep his hand in with what is going on in the profession today. In the future, Mike hopes that he can be involved in helping the MPA encourage photographers from disciplines other than the social sector to become qualified members.



ELINCHROM ELB 1200 Portable high powered li-ion flash


he light can change so fast when you are aiming to use a fading dusk sky and the lights of buildings. Add the need to set up flash for your subject and it becomes a race which may depend on how familiar you are with the gear. We took the new Elinchrom ELB 1200 location kit out of The Photography Show at the end of one day, with Steve Howdle and Stephanie Thornton bringing their long-suffering models Annabelle and Sian for fashion poses. Fortunately, the basic operation of the big ELB is not so far different from the smaller ELB 400 kit which we

We had a chance for the first field trial of the kit which came over from Switzerland to be shown at The Photography Show. Stephanie Thornton and MPA President Steve Howdle took the system out beside the NEC’s Pendigo Lake. were all familiar with, though a few details of how long to press which button for and what to turn for adjustment needed to be taught by The Flash Centre team before we were allowed to abuse the prototype. The only problem we encountered was that with one pack and two heads the


pair of 4m cables didn’t allow as much separation for one set-up as we wanted. The best shots of Sian, here, ended up taken with a single head fitted with the 70cm Deep Octa LightMotif. The cool, silent-running ELB 1200 head uses an LED modelling or video light which puts out the equivalent

of a regular 250W halogen – a long way removed from the 50W equivalent of most LED modelling, and bright enough when focuses by the deep reflector to allow continuous light stills as well as flash. By controlling the flash power, aperture and exposure Steve was able to get the depth of sky tone he wanted within the shutter speed choices offered by the Pentax 645Z. The entire shoot including a different set with Annabel (not seen here, but published in f2 Cameracraft this month) took a matter of thirty minutes including lugging the flash kit to the ‘beach’ and

packing it away afterwards. This kit was in a shoulder bag, but Elinchrom also make a roller case and it would have been a wiser choice. The li-on battery pack which clips to the base of the power unit is surprisingly light but the total kit with substantial stands and the EL-size heads (not Quadra type) is not something you would want to balance against your camera gear for a long day of twoshoulder shifting. The shoot proved the value of digital image reviewing as well as flash metering, and also showed that this pack is far more powerful than a dusk single figure shot required – we could, of course, have done this with the ELB 400. But the 1200 is incredibly well made, weather sealed and very safe. The connector which has to carry up to 1200Ws and the chunky cables indicate that safety is

The ELB 1200 Pro to Roll kit can be recommended to save shoulders. It costs £3,499 with one Pro head and one Air battery. Above: our team in action. MASTER PHOTOGRAPHY MAY/JUNE 2017 • 53

ELB 1200: the pack with Air battery; the super-tough connector and weathersealed covers; EL Skyport HS Plus; EL-fit aluminium head; carefully designed battery connector; 250W LED modelling – and silent mode.

a prime consideration for the Swiss makers. When this article was being completed, we had news of distributor recalls of a well-known Chinese flash brand in Europe after it was discovered many of the heads were able to deliver a mainspower current to the bare trigger wire wrapped round the flashtube. Chris Whittle of The Flash Centre observed that their engineers often take ‘bootleg’ or cheap copy flash units apart and examine them, finding that an insulation gap which should be specified at 6mm can be as little as 2mm. With its massive rubber sealing caps and deep water trap designs, even a shower while working with a live ELB 1200 would be little risk (though like all flash units, they are not intended for use in the rain or in dangerous environments with explosive gases or suspensions – special customisation is needed for that). What they can do is to travel with you, taking advantage of the smaller liion battery pack ‘Air’. There are rules on how powerful a

pack you are allowed to carry on flights, and the 90Wh Air battery is designed for these. One ELB 1200 unit with a battery Air attached is allowed as carry-on baggage for travelling by air, plus one spare battery. Included with the basic kit, the Air battery weights 1.1kg and will provide 215 full power flashes or 80 minutes of continuous (dimmable) LED light. The heavier 144Wh Battery HD weighs 1.5kg, gives 400 flashes or 120 minutes of continuous LED light. Both battery packs have useful 5V DC USB outputs to charge mobile devices. These powerful battery packs have extra safety precautions to ensure the terminals are never live when exposed. The latch system is positive and very easy to use. There is a shipping mode that turns the battery off via a user switch. The clip-on cover physically protects the contacts and has a charge state indicator. There are three different type of flash head, all accepting EL-bayonet accessories and with through-reflector


umbrella shaft fitting. Action, Pro and Hi-Sync heads have durations to suit these uses and are made of aluminium with very strong, large tilting stand mounts. The large grab handle on the rear of the head makes adjustment easy when heavier lightshapers are attached (one benefit of this system over its smaller Ranger Quadra cousins). Elinchrom tends to compare this kit with the Ranger 1100Ws, not the smaller Quadra. The Action head for example yields a fastest duration of 1/8850s at 33% (Power Setting 4.7) – the pack can recognise different head types, and will display flash durations as well as power over a massive 8.5 stop range. That’s a minimum power of 6Ws and – we didn’t try it – a likely 40,000 flash pops! The ELB 1200 pack itself, without battery, is 18 x 13 x 28cm and weighs 3.2Kg. Recycling time is 1.7s in fast mode, 3s in default mode, at the full 1200Ws (asymmetric two-head 1:2 split, or 1:1 symmetrical). All adjustments are shown on a large OLED control display, which was easy to see at dusk and then to illuminate when it got too dark. It shows activated or deactivated staus for each head separately, the flash duration display, and also some programmable Strobo, delay and sequence settings which

you would need to learn (it was not an option to test these). It is compatible with the EL Skyport Plus HS trigger which gives access to much of this control from the camera position. Elinchrom claims high colour and exposure accuracy with optimised flash durations, across the whole power range, and there is a USB input for firmware updates. As video lights with one pack and two heads running in silent mode, you get the equivalent of up to 500w of tungsten, near daylight quality with a CRI of 92. The cost of a comparable video light system of this quality would be into four figures, which mitigates the cost of the ELB 1200. A single head Pro to Roll kit will set you back £3,499, light a warehouse, and last a lifetime…



JAMIE MORGAN Moving north from Kent to Staffordshire, Jamie Morgan qualified as a Licentiate at The Photography Show and has already pitched in as a key member of the MPA’s revived West Midlands Region. He’s a canine photography specialist.


nyone in the MPA West Midlands region will have spotted Jamie Morgan’s name in recent Facebook group conversations. He’s become a real ambassador for MPA and one of the new intake of members driving the recovery of the regions, which had suffered from the apathy of old committees and resulting poor attendances. After taking over as chair in December Ray Lowe had several conversations with members which convinced him that regional revival was the way ahead. Along with his board colleagues, Ray was delighted to see the quality of Jamie’s LMPA panel in canine portraiture – we wish him all best in his new Midlands business.


The Staffordshire moors will be as much home for Jamie Morgan as his old haunts further south – with no shortage of canine clients, and their families, for great outdoor sessions.



DANIEL ADAMS New Licentiate Daniel Adams takes strong, simple portraits with power and a directed gaze. He’s come to this successful line of business in the wake of a life-changing sports injury.


aniel Adams is one of the eleven new Licentiates qualified at The Photography Show in March, where MPA signed up dozens more provisional members to follow in his footsteps. His story made the local paper in St Albans, where he has a thriving wedding photography practice. His licentiateship, in portraiture, shows another side of his business and in the strength and simplicity of the compositions reflects some of his own determination. In 2013, Daniel was a special needs teacher for both primary school children and adults, and an athletic footballer too. That was ended when a serious accident on the pitch left him with a dislocated knee, four snapped ligaments and a broken shin bone – the kind of injuries which can result in a lifetime of pain from the surgery needed to avoid something as drastic as amputation. Forced to rest in order to recover for one and a half years, he resumed a hobby interest in photography but realised he make this into a future career. With the help of the MPA mentoring scheme, he was able to qualify as a professional and it is now his business and work in Wheathampstead. “I wanted to become more than just a hobby photographer”, he said. “The journey has been rough between operations. With the support of my wife and kids.I have really pushed myself to gain the knowledge needed to get to where I am today. Although you wouldn’t tell to meet or talk to me, I absolutely love

the technical side of photography. The lighting, setups, lighting patterns, ratios and the maths behind it.


“I am striving to be one of the best St. Albans photographers alongside my wife Carli, who is a phenomenal

and well-respected newborn and baby photographer. Over the last 12-18 months I have invested in my professional development. I have an amazing group of photographers I train with through ‘Progress To Success’ with Gary Hill every six weeks, learning new techniques and honing my skills. My fantastic mentor through the MPA Licentiateship process has been Mr Ray Lowe.” His website attests to a high standard of local work from 2014 onwards, and he says “I offer wedding photography that’s less formal and formulaic and more free-flowing and captures the love and fun of your wedding day”.


Daniel’s portraiture clientèle includes actors and models, businesses, couples and families and he is well know for his head shots. MASTER PHOTOGRAPHY MAY/JUNE 2017 • 57

Daniel Adams LMPA




Trading as Mikaela Jade Photography, MPA’s latest Licentiate in Newborn photography plans to move from a home based business to a studio, offering weddings and family portrait photography.


ikaela Jade Photography was born in December 2012, and ever since then it’s been growing alongside the babies Mikaela loves to photograph. She has become one of the first Licentiates presenting a panel of newborn portraiture, and she is already an experienced and well trained specialist. It’s hard to see how a body of newborn work can be created safely without a steep learning curve. “I have always had a love for photography, since the age of 10”, says Mikaela. “I never thought I could actually do it as a job. My ambition was to teach art, so I completed an Art and Design course and in 2013 I graduated with a

BA(Hons) in Fine Art. After graduating I completed a postgraduate certificate in secondary education. “Both of my art courses incorporated photography, during the final year of my degree I started Mikaela Jade Photography. I was a mobile photographer for three and a half years, and now I have my own studio which I love! “I still teach as well, A level photography. I am able to use the darkroom (film photography) and experiment with lots of vintage techniques as well as keep up to date with current artists and photographers”. From her home studio in Woodbridge, Mikaela offers Newborn Sessions, Portraits


(including pets), Families as well as Weddings and Location Sessions during the Spring, Summer and Autumn months. “I am passionate about keeping my images simple, elegant and timeless”, she says. “I like to create images that are as natural as possible whether that is on location or in studio. Especially in regard to my Newborn photography, I like the focus to be purely on the Newborn and all of their tiny features. I try to keep their poses as natural as possible and with minimal use of props. “My main inspiration for my Newborn photography has been Kelly Brown from Little Pieces Photography – I have followed her and watched her business grow. I also take inspiration from Kristina Mack from Tiny Posers who keeps her images clean and crisp. “I regularly set myself achievable goals but also long term goals, which will push and challenge me. Whether that may be to learn a new editing technique, try out a new software, give myself shorter deadlines, go to two

exhibitions a month, attend talks, and so on. They are always goals that will not only benefit my clients and business but also help develop myself.


“In the future I would like to move from my home studio into a studio elsewhere – or maybe create one in a barn or an outbuilding near my home. I would like to have

two employees to help with weddings, editing and admin. Preferably, I would like to specialise within Newborns and Portraits and move away from weddings… or hire someone to assist with weddings so I could focus purely on Newborns and Portraiture. “I would love to achieve my MPA Associate qualification by 2020 and plan to enter for awards too. I want to continue to learn and develop my skills and push to be the very best version of myself and create a lively business. “This year I will be attending another workshop with Kristina Mack and hope to one day attend a workshop held by Kelly. I would like to continue to develop my own style, maybe adding something extra to make my brand and company unique and memorable. “One day I would like to pass on my skills, and I would also like to try to create my own Newborn Props as I do have an artistic background. Then I would be able to pass these on to other photographers.”


Mikaela Jade LMPA


Four Fellows lead the way to regional revival REGIONS Central Region THE CENTRAL Region has a long and very successful history when it comes to its regional meetings with vibrant and well-attended get-togethers and interesting, engaging speakers. However, at least for the past few years, nearly all of the meetings have been held in Abbots Langley (to be precise, at the Pin Wei Chinese restaurant – a convivial establishment with particularly good food!) but this has meant a bias toward that southern quadrant of a very large region that stretches from Peterborough to Swindon: something that has needed changing for a while so that more people have an opportunity of a meeting with less than a two-hour drive! So, the committee (Paul Wilkinson, Esme Robinson and Ian Boichat) decided to see if something that the East Midlands Region has adopted might work and to hold its meetings in different photographers’ studios giving an opportunity for members who can’t always make the long journey to get to somewhere more local (and to give a chance for members to see someone else’s studio setup – something we all love to do!) The first of these was held at Paul Wilkinson’s studio and it was decided to capitalize on the talent within their own region, asking three Central Region Fellows to show what they might do with the same model and lighting but each with their own unique approach. So did it work? Certainly in terms of energy and numbers, it’s one of the most successful meetings ever held in the Central Region. So much so that the number of Fellows had to be increased from three to four and split into two parts of Paul’s studio: David Calvert and Hoss Mahdavi shooting in the full studio upstairs and Paul and David MacDonald shooting in a slightly more confined space downstairs, each with a dozen or so members watching and chatting through the various approaches. With Graham from Loxley Colour and Martin from Graphistudio both on hand to show off their respective new products as well as plenty of

opportunity for chat and sharing, this really was an opportunity to pick up new ideas and tips as well as laugh a lot with a very friendly bunch of people! So much so that the region is going to continue moving the meetings around the region! Which, has to be a good thing! If you’d like to host one of the meetings and have a studio or space big enough, then please contact Paul, Esme or Ian on the Central Region Committee.

Photographs by Paul Wilkinson from the Central Region meeting where four Fellows demonstrated portraiture in different studio settings.


East Anglia – the first meeting in April was a success.

East Anglia Contact for info –

London & Essex May 17th 2017 – 7.30pm London & Essex region has the 2014 MPA International Photographer of the year in Deborah Selwood AMPA , giving her first regional talk for years. Deborah has put together an excellent new talk with amazing digital slideshows! At Ye Olde Plough House, Brentwood Road, Bulphan, Essex RM14 3SR. June 21st 2017 – London and Essex Annual Print Competition. Judge Hossain Mahdavi FMPA . At Ye Olde Plough House, Brentwood Road, Bulphan, Essex RM14 3SR.

South East May 23rd 2017 – London Social Night. 19:00-23:00 hrs. At: The Antelope, 22-24 Eaton Terrace, SW1W 8EZ.

DEBORAH GOES SOUTH: Deborah Selwood AMPA (below) will be visiting the London & Essex Region on May 17th. She is renowned for her skills in styling portraits and retouching for superb skin tones (above and left). November 27th 2017 – Christmas Social evening. This will be a social evening centred around a meal at a restaurant or hotel, yet to be chosen. We will need to know well in advance who is going to attend so that the best venue can selected to make it as centrally located as possible. More details will be published nearer to the date.

West Midlands July 3rd 2017 – West Midlands Region Annual Print Competition. The West Midlands Region has been re-formed with the new committee of Karen Massey as Chairperson, Mike Baker as Secretary and Jamie Morgan as Treasurer. Jamie also achieved his Licentiate at The Photography Show. For further details contact Karen on 07791 853810 or email:

September 19th 2017 – Kevin Mullins Street Photography Workshop. £39.00, 8 delegates per sessions, 2 sessions available. 9:30-12:30 (coffee break in the middle); 1:30 – 4:30 (coffee break in the middle). Location – London Charring Cross station.

Scottish Region The Scottish Region awards were held in at the end of February, too late for inclusion in the March/April issue of this magazine. You can find a full set of pictures and also a video slideshow of the winners on the region’s Facebook page.

Welsh Region July 3rd 2017 – Annual Competition, Grove Golf Club. (12 noon to 10pm approx). MPA CEO Clare-Louise DipPP FMPA will be our judge. September 25th 2017 – Presidential Tour by Steve Howdle FMPA , Grove Golf Club (2pm to 10pm approx).MPA President Steve Howdle, plus Stephanie Thornton, will spend the afternoon and evening with us, giving a combination of practical demonstrations of their techniques and a broad overview of their work.


A group of the winners from the Scottish Region Awards, at the Royal Dunkeld Hotel in February. See the regional Facebook page for information and future events. To view a Facebook video of all the Scottish Region Awards images visit:

The editor thanks our advertising representative, Diane Henderson, for volunteering to telephone all regions before the production of each magazine in the last few months. Regions should from now on inform the Chair, Ray Lowe, and Chair or Regions Collin Davies to ensure their events are publicised in the new magazine.

MPA Regions 2017 Central East Anglia East Midlands Northern Ldn & Essex Scotland South East South West Wales South Central West Mids North East

Paul Wilkinson FMPA Zoe Gibbs LMPA Steve Walton FMPA John Woods LMPA Ray Lowe Hon.FMPA Martin Leckie LMPA Michael Shilling LMPA Bob Willingham LMPA Collin Davies LMPA James Musselwhite FMPA Karen Massey LMPA Steven Hattam LMPA

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t is with much sadness we have in this edition of Master Photography to commemorate the life of former MPA Chief Executive Colin Buck Hon.FMPA, who passed away peacefully at home in Hurworth-on-Tees on March 29th at the age 70, after a long illness. Colin knew his time was limited and took care to call many friends and colleagues including those like your editor who had only been in occasional contact since his departure from the MPA in 2013. There was little time to reminisce, though Colin had a lifetime of stories to share. His forces career, in the RAF Regiment, took him to Aden and Cyprus while back at base in Wales he made his mark in the force as a boxing champion. Entering professional photography, he was an active member of the MPA in the 1980s and established Studio 81 in Darlington. The 1990s saw him accept an offer to set his sales and marketing skills to use in Florida, while his wife Linda and studio staff maintained a successful business at home. Returning from his work for Monte Zucker’s studio in the USA, Colin Buck took over as chief executive of the MPA in October 1993. The Board had recently agreed that membership would be restricted to photographers who were full-time professionals, with many leaving as they were no longer eligible. There were just 850 paid-up members – but ten years later the figure was almost 2,000. Colin closed the rented offices in Epsom, moved the HQ to similarly rented space near his studio in Darlington, and handled everything alone with one personal assistant, Hazel Jordan. Together they established what became the Cherubs programme. The Association began to grow at a rapid pace and employed Maureen Hartley as Cherubs coordinator. At this time the Association decided to purchase its own premises. Maureen retired in 2003, by

Colin Ronald Buck

Hon.FMPA September 5th 1946 – March 29th 2017 Chief Executive of the Master Photographers Association, 1993-2013

which time the MPA owned not one building but two and had a full-time staff of five. Colin and his board had commissioned a feasibility study to build a new office on the adjoining car park This went ahead and today the MPA owns both buildings, leasing out the second offices to a charity to bring in useful income. Each MPA member is a shareholder of the Association so the investment benefited everyone. In 1997, Colin’s wife Linda had been asked by the management to join the Association as office manager and became to Company Secretary in 2001. By the mid-2000s there was a full staff team, almost a half a million pounds turnover and annual growth. Working with the BIPP, MPA established the UK Professional Photography Qualifying Board and in 2004 held the first British Professional Photographic Awards, a joint


venture between the two practicing bodies. The MPA Diploma in Photographic Practice was also introduced. Under Colin’s management, MPA became the first Association to establish media links with the Daily Express, News of the World, Daily Telegraph, Radio Times and Daily Mail, You and Your Wedding, and Cosmopolitan Bride. The Cherubs programme was developed further. The NatWest streamline credit card terminal scheme, saving members money, also showed from its statistics that over £40 million of credit card turnover was generated by MPA members fifteen years ago at a time when overall sales were thought to be over £75 million. Colin’s visits to the Far East, especially, resulted in overseas membership rising. At home, Colin recognised the importance of digital photography and in 2004

wrote that “I foresee digital will become the first choice in most studios within the next two years, though there will be many of us who will still rely on film for many years to come”. He was right on the first point but kept faith with film for his business longer than many, often travelling with his Hasselblad neatly dismantled to fit into a slim business attaché case alongside paperwork. Colin always enjoyed working with people, and most days in the Darlington office were taken up with a diary of visitors, if he was not out on the road visiting the regions and running events. He recognised the potential of Graphistudio’s book printing system early on and worked with Jeremy Price in years before such things as brand ambassadors existed. With great diplomacy and an ability to retain friends, this enthusiasm never affected MPA relationships with competitors like Loxley Colour, Colorworld, One Vision, Dunns, Mario Acerboni, Art Leather, Spicer Hallfield, and GF Smith. In his last few years at MPA, Colin was joined by his son Chris manning sales desks and exhibition stands, driving the length of the country with display material and merchandise. Linda and Colin together worked with the main sponsors of the annual awards (the insurance company which is now Risk Alliance) to add a real showbiz feel through celebrity guests and an eclectic range of entertainers. That tradition of glittering awards events continues. We attended Colin’s funeral on April 11th, along with many of his old friends and colleagues from the MPA and the photographic world. Ryan Wong’s fiancée Queenie Koh flew in from Shanghai to represent the MPA Far East. Richard Dutkowski gave the eulogy to a full congregation, in the service at St Peter’s church in Croft-on-Tees. – David Kilpatrick Hon.FMPA Editor and Publisher



Icon Publications Ltd hands over the MPA’s journal to another publisher after 22 years – and more

rom the next issue, MPA members will be receiving a different official magazine. At a meeting at the beginning of the year, the MPA CEO was given unanimous agreement by the board to seek tenders for a new publisher. Invitations to tender were sent on March 22nd with a deadline for proposals to be placed before the next board meeting, by April 5th. No precise specifications were given – the tender was open to any suggestions from those invited. Icon Publications Ltd was not successful in tendering to continue to provide Master Photography to the members of the association, and was given notice of the board’s April 7th decision that a new publisher would be taking over from July.

John Hannavy was the first editor of the improved Master Photography magazine published by Dr Roger Saunders’ TMT Co. Ltd from 1981 (January 1982 cover by David Kilpatrick – yes, that is Shirley). By 1986, the title and ownership had changed (from TMT to the MPA) and David was editor. Cover: Roger Phillips. In August 1995, the magazine was licenced to Icon Publications Ltd, with Andy Aitken as editor. Cover: Trevor Yerbury. In 2009 the name was reverted to Master Photography with Icon Publications Ltd. Cover – Paul Walker from the Fellowship he gained – in a year which saw a record number of new Fellows, the first judges’ training day, and Loxley Colour’s £1000 bursary for Wedding Fellowship success. Bottom left: the design as a monthly in 2013 (cover Christopher Bradbury) and the current look as a bi-monthly in May/June 2014 (cover Jingna Zhang).

Moving on Because Icon Publications Ltd owns this title, and has a commitment to subscribers along with orders for advertising for the year ahead, we can’t simply shut the magazine down. Nor do we want to – it’s not just a job or a contract, it is a vocation. While we will miss our involvement with MPA, it has changed a great deal since 1995 when our company agreed to take on publication of The Master Photographer under license for a five year contract. With MPA’s rapid growth, the magazine was successful and the contract was renewed twice, becoming more involved with the MPA as an organisation. By the time the magazine title was passed to Icon, it felt like a permanent working relationship, and that is also how many of our friends in the trade and in the association

master photography

ISSN 2042-0234

Master Photography MAY/JUNE 2014 • £7.95

Licentiate Profiles Issue Louise Sumner: from the 2012 Awards Leo Edwards: Hello Dubai! Sam Whitton: creative model portfolios Carl Reeve: home and away DEC/JAN 2012/13 • £5.00



viewed it. Of course, it was never a ‘given’ status quo and MPA has sought competitive tenders in the past. The termination of our 22-year relationship has been sudden, with so many readers and advertisers committed to two titles (Master Photography and f2 Cameracraft) and our team used to a monthly schedule. Because of this, we must continue to publish two titles – or one title monthly – perhaps working with other associations or groups. Our focus has always been on presenting the work of professional photographers in the best possible light, recently through use of excellent reproduction and a classic design. I hope we have succeeded.

30 Years of Icon Icon Publications Ltd, as a company, marked its 30th anniversary the week after we learned we must part company with our hundreds of friends in the Master Photographers Association. My own work editing professional photographic organisation magazines goes back well beyond that. I was first appointed editor of The Photographer, the magazine of the Institute of Incorporated Photographers, at the age of 23 in 1976. This work proved to be the best crash course in professional photography you could wish for, and by 1979 I was a qualified Licentiate and partner in a very successful industrial, commercial and advertising studio. In 1984, with my own studios operating just off the A1 trunk road and in central Nottingham, I became editor of The Master Photographer for the rapidly-growing MPA. I remained in this position, winning a major national


CEO Clare Louise FMPA Tel: 01325 356555 e-mail: President Steve Howdle FMPA Tel: 07932 372216 e-mail: Directors Ray Lowe Hon.FMPA (Interim Chairman) Tel: 01992 636152 e-mail: Paul Wilkinson FMPA (Commercial Director) Tel: 01844 291000 e-mail: Paul Cooper Hon.FMPA (Qualifications) Tel: 01904 416 684 e-mail: Paul Inskip LMPA (Cherubs) Tel: 07736255666 e-mail: Steve Walton FMPA (Accreditation) Tel: 0116 2994901 e-mail: Collin Davies LMPA (Chair of Regional Chairmen) Tel: 01792 883274 e-mail:

award for the magazine in 1987, until we moved to Scotland in 1988 and established a new digital technology bureau and studio. We instigated the formation of Professional Photographers of Great Britain in 1989, publishing PHOTOpro. In 1991 this group agreed to be transferred into BIPP membership. The intake of over 500 new members involved BIPP changing their admission terms and accepting our freelance and multi-skilled members. I then spent three years producing The Photographer once again. In due course Tony Freeman, the first President of PPofGB, went on to become President of BIPP. In 1995, Adrian Berkeley took over as editor for BIPP and I moved on to help Colin Buck build up the MPA once

again. We have been helping ever since. There was a time when reaching 65, as I do this year, would mean retirement beckoned. But there are too many good reasons for this 2am workaholic not to retire – most of them are you, my photographer friends and colleagues. Be seeing you! – David Kilpatrick Hon.FMPA Editor and Publisher


mercrƒt C ƒ2 MAY/JUNE 2017 • £5.95


Head Office Contacts MPA, Jubilee House, 1 Chancery Lane, Darlington DL1 5QP Tel: 01325 356555 Fax: 01325 357813 Website: Membership: Amanda Buckle – Cherubs: Cherubs Direct line: 01325 952259


ISSN 2042-0234 Vol 14 #1 published for the membership of The Master Photographers Association six times each year Icon Publications Limited Maxwell Place, Maxwell Lane, Kelso, Scottish Borders TD5 7BB Publisher/Editor in Chief: David Kilpatrick Hon. FMPA Tel: 01573 226032 Mobile: 07971 250786 email: Ad Sales: Diane Henderson Tel: 01573 223508 email: News and Press Functions: Richard Kilpatrick Mobile: 07979 691965 email: Icon Publications Ltd can accept no responsibility for loss of or damage to photographs and manuscripts submitted, however caused. Responsibility for insurance and return carriage of equipment submitted for review or test rests with the owner. Views expressed in this magazine are those of the individual contributors and do not necessarily represent the views and policies of The Master Photographers Association, Icon Publications Ltd or its advertisers. All technical data and pricing information contained in news and feature articles is printed in good faith. While all advertising copy is accepted in good faith, neither Icon Publications Ltd or Master Photographers Association Ltd can accept any legal responsibility for unjustified claims or the quality of goods or services arising from advertising in this publication. All contents including advertising artwork created by Icon Publications Ltd are copyright and cannot be reproduced by any means without prior permission. ©2017 Icon Publications Ltd. E&OE.













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Keep in touch through Cameracraft

04/04/2017 13:26

For a year or so we have been sending MPA UK Associates and Fellows completely free copies of Cameracraft. We have also provided a digital download link to MPA for use in the member newsletter, giving access to a free PDF version to all members worldwide. Both have been entirely free to MPA and the membership. We can not continue to do so but you can find a half-price subscription (£17.85 a year) for MPA members at:


Now available TTL & HSS for Olympus Attach this small unit to your Olympus camera’s hotshoe to wirelessly integrate your Profoto Air TTL flash with your camera. The Air Remote TTL-O gives Olympus users full functionality with the entire range of Profoto Air TTL flashes. Find out more: 68 • MASTER PHOTOGRAPHY MAY/JUNE 2017

Master Photography May/June 2017  

The last edition of Master for the MPA. From our next ISSUU edition on, the magazine will be independent of any organisation. We welcome sub...

Master Photography May/June 2017  

The last edition of Master for the MPA. From our next ISSUU edition on, the magazine will be independent of any organisation. We welcome sub...