Master Photography MARCH/APRIL 2016 • £7.95
PHOTOGRAPH BY KELLY BROWN
2 â€¢ MASTER PHOTOGRAPHY MARCH/APRIL 2016
MasterPhotography Vol 12 No 6 • March/April 2016
CEO, President & Editorial
Cover: by Kelly Brown. Kelly is the guest speaker at the Cherubs Roadshow, April 5th 2016, to be held at Sketchley Grange, Burbage, Leicestershire. See page 48 for our major feature on Kelly’s newborn photography.
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Master Photography MARCH/APRIL 2016 • £7.95
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6 News 10
Trends: Boxing Clever, and Touchy Feely… Products which help you to sell them to your clients by looking different and feeling good.
The Photography Show – What’s On
Advertising Feature: Metro Imaging and Fujifilm Crystal Archive
Bullet Time and more than ninety-nine red, yellow and blue balloons… Richard Bradbury previews the live demonstration of high speed capture, and the multi-camera ‘bullet time’ technique, he’s going to explain at The Photography Show.
PHOTOGRAPH BY KELLY BROWN
MP MarApr 2016.indd 1
BROUGHT TO YOU WITH THE SUPPORT OF OUR ADVERTISERS
Meet the A-List – we pick out some Merit and Award of Excellence images from the 2015/16 awards created by Licentiates but with all the hallmarks of a higher ambition.
From 3D to PhD – Marek Czarnecki AMPA Our man in Poland has been doing some unusual things – a 3D book on his region, and a Doctorate of Film Arts.
Professional InkJet Media & Inks
A box of Victorian dimensional delights Musician, badger-protector and astronomer Brian May is also a leading collector and publisher of 3D stereo photography. Meet the London Stereoscopic Company!
For samples or to find your nearest stockist please contact us Tel: 01249 714 555 Email: email@example.com
Styled Portraits with Thornton & Howdle Two simple but effective examples to learn from.
Kelly Brown – the Queen of Newborn photography Visiting for an MPA Cherubs day in April, Kelly is one of the creators of today’s neonatal and baby stylesheets.
A Peace of the Action Paul Wilkinson reports from a newborn workshop with Melanie East AMPA .
Ian Lawson’s Harris Tweed A documentary exhibition on the real thing from the isles.
Memorial: Stanley Burgin AMPA by Peter Stanhope. A pioneer of front-projection portraits.
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MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 3
Let’s show ’em!
W CEO Clare Louise FMPA Tel: 01325 356555 e-mail: firstname.lastname@example.org President Steve Walton FMPA Tel: 0116 2994901 e-mail: stevewaltonphotography.info Management Team Paul Wilkinson FMPA (MPA Chairman 2015/16) Tel: 01844 290054 e-mail: email@example.com Steve Ramsden LMPA Tel: 01904 479063 e-mail: firstname.lastname@example.org Ray Lowe Hon.FMPA Tel: 01992 636152 e-mail: email@example.com Directors John Parris FMPA Tel: 01450 370523 e-mail: firstname.lastname@example.org Paul Cooper FMPA (Qualifications) Tel: 01904 416 684 e-mail: email@example.com Dave Thexton LMPA Tel: 01229 835035 e-mail: firstname.lastname@example.org Collin Davies LMPA Tel: 01792 883274 e-mail: email@example.com Paul Inskip LMPA Tel: 01243 861634 e-mail: firstname.lastname@example.org Head Office Contacts MPA, Jubilee House, 1 Chancery Lane, Darlington DL1 5QP Tel: 01325 356555 Fax: 01325 357813 Website: www.masterphotographersassociation.co.uk Membership: Amanda Buckle – email@example.com Cherubs: firstname.lastname@example.org Cherubs Direct line: 01325 952259
MASTER PHOTOGRAPHY MAR/APR 2016
ISSN 2042-0234 Vol 12 #6 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 www.iconpublications.com Publisher/Editor in Chief: David Kilpatrick Hon. FMPA Tel: 01573 226032 Mobile: 07971 250786 email: email@example.com Ad Sales: Diane Henderson Tel: 01573 223508 email: firstname.lastname@example.org On the Road: Richard Kilpatrick Mobile: 07979 691965 email: email@example.com 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 the Master Photographers Association 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. ©2016 Icon Publications Ltd. E&OE.
4 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
ith The Photography Show almost here, and 2016 now over two months old, there are a lot of business goals to achieve, as well as personal goals to fill us with passion and fuel us to keep pushing ourselves through those times that are more challenging. Personally, this year I am focusing on exploring all aspects of my creativity, setting myself some creative goals so I can unlock more potential that lives within me. With the loss last month of David Bowie, I had to consider that though not one of my personal musical icons he was certainly a creative influence. I was inspired by an article about how he lived, free to explore his creativity, unafraid to be labelled as different and not the norm, pushing his ‘self’ to his extremes, letting him ‘self’ go for all to see and cast judgment on without a care in the world. In doing so he explored his world with all of the possibilities that he saw within it, and whilst there’s no doubt he experienced some tough times, unlocking his creativity gave him a life so many of us can only dream of. Perhaps that’s something that we should do more often, do that one thing that we are afraid of what people might say if we do it, come to think of it, what would we do If we thought everyone would love ‘it’ whatever ‘it’ maybe? Creativity is a desire, a desire that comes from within us. Desire is an invitation to explore, and if it comes from within us… it is our own invitation to explore all of who we are. So perhaps we should take a leaf out of David Bowie’s book, put down our fears, pick up our desires and focus on our creativity? We’ll all be showing the world what Master Photographers are at heart. Come along to the MPA stand at The Photography Show where we are, also, showing all professional photographers why it’s so rewarding to become a member. – Clare Louise
Shot at dawn MPA PRESIDENT Steve Walton FMPA will be leading a dawn workshop at Pendigo Lake within the NEC complex during The Photography Show on behalf of Capture Birmingham on Sunday 20th March. The workshop will begin at 5.30am and end at 7.30am. This is now fully booked with 40 confirmed attendees who will spend a couple of hours photographing the changing early morning light over Pendigo Lake under Steve's guidance. He will be demonstrating long exposure techniques with neutral density filters and showing attendees how he uses graduated neutral density filters in his landscape photography. Following his Sunday workshop, Steve will be on the MPA stand throughout the Show until 1pm on Tuesday 22nd March and would be delighted to meet existing and prospective new members. He is also available to offer portfolio reviews for those who are considering applying for qualifications.
Meet your magazine THE EDITOR of Master Photography, David Kilpatrick, will be at The Photography Show for the duration but this year Icon Publications Ltd does not have a stand. The Press office and the MPA stand will be the place to meet David if you want to discuss any ideas for the magazine or show your portfolio for consideration in MP or in Icon’s sister title, ƒ2 Cameracraft. Current issues of both magazines will be available from the MPA stand along with a special show offer for aspiring MPA members to receive ƒ2 mailed as a bonus for their first year.
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For more information… Visit loxleycolour.com call 0845 519 5000 MASTER PHOTOGRAPHYor MARCH/APRIL 2016 •5
NEWS EVENTS DIARY March 15th 2016 Master Photography Awards 2016 open for entries March 19th-22nd 2016 The Photography Show Hall 5, NEC, Birmingham, UK March 21st 2016 Qualifications Day NEC Birmingham March 25th 2016 Online Qualifications Judging – Associateship April 5th 2016 Cherubs Roadshow with Kelly Brown At Sketchley Grange, Burbage, Leics and NOT at Hinckley Island Hotel as previously listed April 19th 2016 Photovision Roadshow Edinburgh MPA will be present at this event with their own stand May 17th-18th 2016 Newborn Photography Show Coventry May 27th 2016 Online Qualifications Judging Licentiateship June 22nd 2016 Licentiate Qualifications Day MPA Darlington July 29th 2016 Online Qualifications Judging Licentiateship July 31st 2016 Awards Online Entry deadline August 8th-12th 2016 Master Photography Awards International Online Judging August 26th 2016 Awards Print Entry deadline to HQ September 6th 2016 Photovision Roadshow Dublin MPA involvement TBA September 8th 2016 Open Print Judging Darlington September 9th 2016 A&F Judging Darlington September 30th 2016 Online Qualifications Judging Licentiateship October 16th 2016 Meet the Masters Open Day Hinckley Island Hotel Awards Dinner & Presentations November 19th 2016 Photovision Roadshow Epsom MPA will be present at this event with their own stand November 25th 2016 Online Qualifications Judging Licentiateship
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BOWENS QUASH SHOW RUMOURS BOWENS announced in February that it is pulling out of The Photography Show. The company made its decision when it became clear it faced ‘time challenges’ on brand new products planned for global launch at the show. Alan Walmsley, Bowens sales and marketing director explained: “The decision to book 2016 show space was taken many months ago – after fulfilling our commitment at TPS 2015 to create the biggest ever presence by Bowens at any show or convention in almost seventy years. “But this 2016 show judgement has been predicated on our full expectation to use the NEC event as the platform for introducing our new flash system products. Despite our all-out attempts to fulfil this ambition on schedule it is clear that the first models of our new ‘Generation X’ programme will not meet the required delivery deadline. This is a major disappointment and we apologise unreservedly to everyone who was
looking forward to seeing us and our new products in Birmingham.” John Gobbi, Bowens MD said: “We have noted social media noise, rumour and speculation but we must do what is right for the company. We want to launch our new-look products in fully working order and have them immediately available for our customers to buy – and sadly that is not now going to happen by the end of March. I can guarantee that our game-changing ‘Generation X’ programme will be very much worth the wait.” John Gass, technical director said: “Generation X is the result of a major acceleration of our R&D programme, combined with a deep analysis of what our customers have been telling us they need to compete in today’s commercial environment.” The company exhibited at BVE (British Video Exhibition) at London’s ExCEL with new Mosaic ll LED panel lights and a range of other products.
Cool LED Lighting IDEAL for newborn photography, the Hedler Profilux LED 1000 X should help keep things cool in the warmest of neonatal studios. A fully integrated unit with floodlight reflector, built-in ballast and quiet active cooling, the 185 Watt LED delivers illumination comparable to an 800 Watt incandescent halogen – with lower power consumption and vastly reduced heat. The flicker free 5600K light is ideal for video work, and essential for food or delicate materials. Small humans will appreciate the reduced temperature! The Profilux 1000 X is available from Flaghead Photographic now, for £699+VAT. * www.flaghead.co.uk * The Photography Show Stand J31
Sigma launches sdQuattro, E-adaptors and superlens THE SD QUATTRO is a Foveon sensor mirrorless interchangeable Sigma SA mount system with two sensor sizes. LCD and EVF are 1.6Mp and 2.36Mp respectively. Using the latest design of Foveon CMOS sensor, the APS-C sdQuattro offers 20Mp. The APS-H version offers 25Mp on a 1.3x crop, and a total capture of 45Mp. Image processing is via dual True-III processors. Phase detection and contrast detection AF have been paired in this body. The SD card slot supports UHS-1 cards and the camera body supports USB 3.0 for tethering. A new Super Fine Detail mode works with the required processing software to combine seven exposures for noise-free, high dynamic range images. To complete the system Sigma have announced a GN63 flash unit, which will also be produced in TTL versions to suit major DSLR brands. The Sigma to Sony E-mount MC-11 adaptor – around £229 – uses Sigma’s experience of Sony’s E-mount architecture and communications firmware. One version will accept Sigma’s own SA mount, opening up a huge range
6 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
of affordable used fast-focusing and stabilised lenses that previously only had a market among Sigma SA/SD users, the other uses Canon’s EOS mount (like Metabones, Commlite and most others). Full electronic aperture control and AF functions are retained, as both systems operate without mechanical links to the body. A new APS-C zoom breaks
aperture records – the Sigma 50100 ƒ1.8 DC HSM Art at £779 is a 75-150mm equivalent. The focus and zoom feel of the 18-35mm has been retained. Effectively offering 85mm, 105mm and 135mm ƒ1.8s in a single package, Sigma, Canon and Nikon mounts will be offered. * www.sigma-imaging-uk.com * 01707 329999 * The Photography Show Stand F51
BRANDING ON BOXES AND USBS
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NEWS Pentax K-1 HAVING turned the medium format world upsidedown with the 645Z, Pentax’s announcement of a full-frame 35mm camera last year prompted £1599 – Ricoh Pentax intense speculation. The K-1 is now here, and it is perhaps a more rational product than anticipated. Capturing the light is a 36 x 24mm 36 megapixel sensor with no AA filter, placing it on similar ground to the NIkon D810, and the body is fully weathersealed magnesium alloy. A novel articulated screen allows degrees of rotation, tilt and extension from the body, but can not be flipped to face inward for protection. Some detailed thought has gone into the body, which features hardware controls for even little-used functions like WiFi, customisable buttons and illuminated ports and minor controls. Frame rate, shooting to two UHS-1 SD cards, is 4.4 fps in full frame and 6.5 fps in APS-C crop, with 17 or 50 raw files respectively. As well as WiFi included, GPS is built in too, with support for Pentax’s Astrotracer. And that gives the biggest clue as to Pentax’s unique selling point. The K-1 features a fully stabilised, five-axis sensor, with all the tricks built in to the APS-C models such as slight rotation and shift functions, and a truecolour capture mode using pixel-shift and multi-shot which is ideal for the studio, but works quickly enough to be used handheld apparently. Shutter maxes out at 1/8000th, and the flash sync is 1/200th. K-mount gives a wide range of lenses – good and bad –- but Pentax’s roadmap includes development of optimised lenses. First to debut are a weathersealed ƒ3.5-5.6 28-105 kit lens at £499, and an interesting ƒ2.8 1530mm wide angle zoom.for £1,449 which we look forward to testing. All should be available at the end of April, and will be on display and demonstrated at The Photography Show. * www.ricoh-imaging.co.uk * The Photography Show Stand D91
THE NEW Olympus PEN-F combines retro-style design and ‘manual’ feel ergonomics with the full suite of technology from Olympus. This includes 5-axis Image Stabilisation, a newly designed MicroFourThirds 20.3mp sensor with no low pass filter, a 50mp sensor shift high-resolution mode, and a 2.36 million dot electronic viewfinder. It costs £999.99 with kits including lenses starting at £1199.99. Focus peaking and image magnification make manual use easy, with an effect preview of settings, including the BW and colour presets on a new Creative Dial. A Supersonic Wave Filter which automatically cleans the sensor; High-speed sequence shooting at 10 fps, 1/8,000s shutter and ISO 80 all help with using fast lenses in bright conditions for shallow depth of field. The camera has WiFi, a touch screen, and a very fast focus and fire response using this. The M.ZUIKO DIGITAL ED 300mm 1:4.0 IS PRO is the first lens to use the Sync IS mechanism that coordinates with the 5-axis system fitted to the PEN-F, OM-D E-M1 and E-M5 Mark II models. The result is claimed to be enhanced compensation by 6 EV steps. This stabilises handheld still EVF composition and video alike. The £2,199 lens is equivalent to a 600mm on full frame, but focuses down to an unprecedented 1.4m. An optional 1.4X tele converter retains the fast silent linear motor autofocus, which can also be manually controlled with optional preset focus distances allowing video takes to be programmed. The optional tripod collar fits directly to Arca Swiss tripod heads. * www.olympus.co.uk * The Photography Show Stand E31
Fuji’s 2016 is X-tra ambitious – X-Pro2 and on HAVING developed a successful product range around a steady evolution of 16Mp sensors, Fuji’s plans for 2016 start with the X-Pro2 follow up to the groundbreaking X-Pro1. From a new 24Mp X-Trans sensor, to a refined and more robust body and enhancements across the board, feedback from users has shaped the new flagship. AF performance promises significant improvements with 77 phase detection points and 273 points overall. HD video is offered, and dual card slots plus 8fps continuous mode place the X-Pro once again at the top of the pack. Shutter performance is improved too, with 1/250th flash synch and 1/8000th maximum speed, plus silent electronic shutter. Operation with manual lenses has been a defining goal for the hybrid viewfinder model, and to this end digital rangefinder and brightline guides have been added. The X-E2s has also been introduced - as the name suggests, an evolution of the X-E2 with a restyled body. Keeping Fuji’s outstanding commitment to existing customers, many features of the X-E2s have been brought to the X-E2 via February’s firmware update; this also adds support for their longest lens yet, the XF 100-400mm ƒ4.5-5.6. Finally the X100’s wider sibling, the X70, is now available with an 18.5mm (28mm equivalent) ƒ2.8 for a high-quality wide-angle pocket compact with tilting touchscreen and hybrid AF. * 0344 553 2321 * www.fujifilm.co.uk * Stand E21 at The Photography Show 2016
8 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
MORE THAN JUST A PHOTOGRAPHIC SHOP…
EOS-1D X Mark II
EOS 5DS R
Canon EOS-1D X Mark II Body
Canon EOS 5DS R Body
Canon EOS 5DS Body
Nikon D5 Body
Nikon D810 Body
Nikon D500 Body
EOS 5D EOS 7D MARK III BODY £2,178.00 MARK III BODY £1,179.00
£1,396.00 D610 BODY £1,716.00 D610 + 24-85MM
D750 BODY D750 BODY + 24-85MM
X-PRO 2 BODY £1,349.00 X-T1 GRAPHITE £919.00 X-T1 BLACK £805.00
ALPHA A7R II BODY
X-100T X-T10 BLACK/ BLACK/SILVER £796.00 SILVER BODY
ALPHA A7 II BODY £1,179.00 CYBER-SHOT ALPHA A7 II BODY £1,728.00 RX100 IV + 24-240MM
£2,599.00 ALPHA A7S II BODY
EOS 6D BODY £1,119.00 EOS 80D BODY £999.00 EOS 6D BODY + £1,499.00 EOS 80D BODY £1089.00 24-105MM + 18-55MM
D7200 BODY D7200 + 18-105MM
Nikon Lenses £229.00 £97.00 £305.00 £1,499.00 £619.00 £899.00 £1,060.00 £498.00 £675.00 £1,400.00 £727.00 £375.00 £1,499.00 £795.00 £356.00 £894.00 £1,799.00
EF 50mm F1.4 USM EF 50mm F1.8 STM EF-S 60mm F2.8 USM Macro EF 85mm F1.2L II USM EF 100mm F2.8L IS USM Macro EF 8-15mm F4.0L USM Fisheye EF 16-35mm F2.8L USM II EF 17-40mm F4.0L USM EF 24-70mm F4L IS EF 24-70mm F2.8L II USM EF 24-105mm F4.0L IS USM EF 24-105mm F3.5-5.6 IS STM EF 70-200mm F2.8L IS USM II EF 70-200mm F4.0L IS USM EF 70-300mm F4.0-5.6 IS USM EF 70-300mm F4.0-5.6L IS USM EF 100-400mm F4.5-5.6L IS USM II
£749.00 D5300 BODY BODY + £919.00 D5300 18-55MM
Befree Aluminum Travel Tripod
Befree Carbon Fibre Travel Tripod
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Fujifilm XF 16-55mm F2.8WR
Nikon 300mm F4E PF ED VR
14-24mm F2.8G AF-S ED 16-35mm F4G AF-S ED VR 18-35mm F3.5-4.5G AF-S ED 18-200mm F3.5-5.6G AF-S VR II 18-300mm F3.5-5.6G AF-S ED VR 24-70mm F2.8G AF-S ED 28-300mm F3.5-5.6G AF-S VR 70-200mm F2.8G AF-S VR II 70-200mm F4G AF-S ED VR 80-400mm F4.5-5.6G ED VR
£1,459.00 £829.00 £549.00 £534.00 £699.00 £1,199.00 £699.00 £1,799.00 £1,079.00 £1,799.00
14mm F2.8 XF 18mm F2R XF 23mm F1.4 XF 27mm F2.8 Black or Silver XF 35mm F1.4R XF 56mm F1.2 XF 56mm F1.2R XF APD 60mm F2.4R Macro XF 10-24mm F4 R XF 18-135mm F3.5-5.6 WR 50-140mm F2.8 WR OIS 50-230mm F4.5-6.7 OIS Black or Silver XC 55-200mm F3.5-4.8 R LM OIS XF
Manfrotto Tripods & Heads *Befree Aluminum Travel Tripod
£607.00 £349.00 £607.00 £281.00 £367.00 £687.00 £899.00 £405.00 £687.00 £557.00 £1,037.00 £289.00 £467.00
Sony FE 24-240mm F3.5-6.3 OSS
24-70mm F4 ZA OSS Vario-Tessar T* FE 35mm F2.8 ZA Sonnar T* FE 55mm F1.8 ZA Sonnar T* FE 70-200mm F4 G OSS FE 90mm F2.8 Macro G OSS FE 16-35mm F4 ZA OSS Vario-Tessar T* FE
£799.00 £521.00 £618.00 £999.00 £899.00 £1,079.00
Studio Lighting MT190XPRO3 Tripod MT055XPRO3 Tripod 190GO Tripod XPRO Ball Head XPRO3W 3 Way Geared Head MT190XPRO4 Tripod MT190CXPRO3 Carbon Fibre Tripod MT190CXPRO4 Carbon Fibre Tripod MT055CXPRO3 Carbon Fibre Tripod XPRO 3 Way Head
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Profoto D1 Studio Kit 250/250 Air
Bowens Gemini 500/500R Twin Head Kit
Profoto B2 250 AirTTL To-Go Kit
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TRENDS: BOXING CLEVER
ake a look at what is being done by the leading labs and album companies – whether it’s the latest professional discount offer from 3XM Photovalue or news from Loxley – and you can not get away from the rise of the photo box. Back in 2004 or so, your editor had a rare event in life, a wedding to shoot referred by an MPA member who didn’t want to touch it. It was for a couple who were IBM executives and wanted digital files along with a simple box of 7 x 5 inch prints, and a reportage coverage, which they got from the last serious use I made of my Minolta CLE/ CL kit with its Leitz-Minolta rangefinder 28mm, 40mm and 90mm lenses. Now of course these are premium purchases to use on mirrorless bodies – and everyone wants digital files (now on USB memory) and prints in boxes. I made my own box covering it by hand, but had a discussion about it with Chris Kay from Loxley. The result was that at the next Focus show, he showed me the first print boxes. Apart from archival boxes like those from Conservation Resources (basically what I had used, customised to be less functional) there were no boxes and no deals for sets of prints in boxes then. Now every serious lab or album printer also offers print boxes. Loxley, as the first into this market, constantly update their offerings. Samples we have been sent to look at include a very small box (top) which contains a box which looks like a book, and inside that there’s a neat stack of prints which are business card sized with a simple white border. They look almost like the mini prints from vintage cameras, contact printed, or some kind of small Polaroid. And these are, of course, digital printed. For conventional photographic prints, the box makes use of the revolution in wooden
construction. I hesitate to say carpentry, joinery or even cabinetmaking because the precision with which something can be produced today is not dependent on hand and eye! These are not mere fancy versions of cigar boxes though. The lids slide smoothly and a photograph can form the top instead of the grain of the wood. Wood is a great protector for photographs, absorbing humidity – like paper and board, it can be archivally safe. From One Vision Imaging came an invitation to try out their Ten Squared print box. Although we’ve run advertisement for the Ten Squared product, it is not all that clear how small and neat these 10 x 10cm digitally printed collections are. They have companion frames, and even a magnetic variation which allows the client to change pictures as desired. The heart of the Ten Squared offering is more a wallet or card envelope than a box. It folds neatly round a stack of 27 prints to create a 1cm thick home for them. This means that it can be posted, even with added protection, with large letter not small packet tariff and will pop through any letterbox or into any pocket easily. The creator software offers a wide range of backgrounds, borders and frame or image edge treatments plus easy addition of wording to any print. I sent in a wedding set and the results looked great, with stiff heavy gauge paper for the prints. At £15 or less for each pack, Ten Squared makes a great mini portfolio or an alternative to a parents’ or thank-you album. It’s too easy to shuffle the contents, so do not think too hard about the order of the images as I did (this is NOT an album). There’s room in the world for both books and boxes! – DK
10 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
Loxley boxes – the mini digital print box, which looks like a book, and comes inside another box… above. There’s a massive ROEScustomisable range of coverings, decorative touches and options. Below – wooden, larger print box from Loxley, can hold a book, prints and a wooden USB stick too. See: www.loxleycolour.com
Below, a Ten Squared 27-print pack from One Vision Imaging with some of the prints laid out to show the range of backgrounds, borders and effects. I have accidentally omitted to show a bleed image. The style is rather like mini album pages. See: www.onevisionimaging.com
TRENDS: TOUCHY FEELY STUFF
t’s not easy to miss. Turn up at a Graphistudio roadshow and everyone wants to handle the product. We have all seen plenty of excellent product photographs, not just from the company but from so many photographers on Facebook. It’s not the same though – this is also about touch and feel. In fact, Martin Baynes explained that they call the velvety, silk matt paper used to produce some of the covers and boxes ‘touch’ paper. And, inside, whether the printed page is photographic or produced by the remarkable new Canon HD process with its extended gamut, finishes are designed to give the same feel. Many of the printed substrates can be ‘ennobled’. That’s some word for an album page or a print. ‘Ennoblement’ is the word for the lacquer and raised effects we have seen since the introduction of Digital Matted Albums. It’s the non-ink layers, which would be called a high build heat-set spot varnish in the magazine world, which raise the product to the status of knighthood. In the world of inkjet papers, you’ll now find most labs offering richly textured very heavy rag handmade papers from Hahnemühle and others. Fotospeed with their Signature series rolled out surfaces to rival any of the best craft paper mills (probably because that’s where they come from) and soon afterwards Permajet revised half a dozen of their Fine Art papers. The new surfaces and textures are simply very tactile. These prints, and similar ones around the 300gsm mark from Epson and Fujifilm, almost demand to stand alone unmounted and unframed. They are that good to pick up as a loose print. This comes back to the boxes (left!) because really good art papers can be marketed as loose sets in a box and appreciated by the client.
Introduced last year, Fotospeed’s Signature Platinum Etching paper was one of several which demanded to be handled to be appreciated. Right, top, Martin Baynes and Chris Woods show Graphistudio customers the feel of new products at the Edinburgh roadshow. Right, Martin explains the raised pattern on an ‘ennobled’ print.
But there are issues with any prints or covers which look so good the customer has to run a finger over them, like checking the quality of a handbag or shoes. They can finger-mark, and unless the paper is either lacquered or laminated the samples you show off at wedding fairs or in your reception may need replacing frequently. Fujifilm is addressing this two new Crystal Archive papers – Professional Velvet and Textured – which are photographic and therefore not likely to smear as some inkjet prints can, but have a
finish which looks more like a smooth matt inkjet in its intense black density. I spoke to David Bryce, whose Wee Album Company was started a year ago. He has been testing the Fujifilm Professional Velvet and reports that it looks unlike a photographic paper but resists handling so well he doesn’t need to replace samples yet. In fact resistance to finger-marks appears to be one of the key marketing points for this material. That’s also why we matt laminate our magazine covers
now. We found that gloss was just not suiting the subtle colours of today’s photography, but no lamination at all meant damaged magazine just from transport. We have to use a special profile because of the lamination and so, we gather, do labs using the new Fujifilm Velvet. Below, Permajet Fine Art with a close-up of their Artist’s Watercolour 310gsm. This you just have to leave ‘bare’ – and risk touching. – DK
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 11
AoP’s SUN27 first showing for Fujifilm’s new Professional Velvet
Lab views Genesis’s Ken Sethi (right) says: “Professional Velvet adds to the already successful range of silver halide papers that we have been using for C-type printing for many years. We constantly strive to innovate and this paper offers unparalleled diffusion of light and low reflections even under harsh or direct illumination – which is one of the reasons we decided to introduce it to our Lambda C-type printing service.” He adds: “There has always been a desire to reduce reflections
12 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
photographers. Steve states: “I am delighted to see Fujifilm get behind the introduction of a new archival C-type paper. There is still both a demand for, and an appreciation of, archival photographic print media, and to have this stock added to the range is very encouraging. “Orchestrated by our client base, we have been searching for a paper that displays a dead matte, no-reflective surface. A paper that absorbs light rather than reflecting it – creating a rich, textural finish. This paper does all these things and more – and we think that for some photographers this could be the paper that has been the missing link in their workflow.” Fujifilm’s Ton Reynders, technical market support manager (with the Project Team in the Netherlands, above) says: “Our new paper for fine art prints features clearer, more distinctive print images and sharper text quality; a unique deep-matte surface; highest levels of image stability; expanded colour reproduction range ideally suited to commercial, wedding and portrait shooters – and of course the very important advantage of fingerprint protection. “This is an added value product and part of a new creative line-up we have in the pipeline.” Fujifilm will be showing the new Professional Velvet paper and also new Crystal Archive Textured at The Photography Show. https://www.fujifilm.eu/uk
BY GLYN DAVIES
on exhibited work and this new product has a remarkable matte finish without the requirement to laminate prints. It’s already a big success with our clients. “Photographers favouring the C-type process now have the ability to produce true matte prints that have a resemblance to some of the matte giclée papers on offer. “The new paper shares the same characteristics as alternative papers in the Fujicolor Crystal Archive range –including true continuous tone; long-term image stability; accurate colour reproduction and, through our Lambda machine, we can produce ultra-sharp photographic digital C-type images with crisp edge to edge printing and absolutely no distortion. Prints are available in colour or black and white up to 1219mm (48") in width and up to the length of an entire roll – 1968". Velvet offers a new option – and that’s always a good thing.” And Metro Imaging’s creative director, Professor Steve Macleod believes Fujicolor Professional Velvet could provide ‘the missing link’ for some fine art
BY IAIN JACK
Fujifilm’s team celebrates the launch of Professional Velvet
BY DOUG CURRIE
JOHN WELDON, director at CC Imaging Ltd comments: “We printed the SUN Awards exhibitions images (winners below) using Professional Velvet and were suitably impressed. It’s easy to work with; shows no fingerprints; it’s easy to clean and it’s virtually reflection free. Additionally, it has a good depth of colour and an excellent black rendition. It was universally well received by the participating photographers and visitors to the awards event in Leeds in November. For fine art prints it’s an excellent alternative to our usual ‘watercolour’ fine art paper and I think our ‘artistic’ clients are going to really love it.”
BY TRACEY GIBBS – all from SUN27, printed by CC Imaging Ltd
umbria-based interiors photographer John Baxter won ‘Best Image’ at the SUN27 (Shot Up North) Awards recently with his compelling ‘room with a view’ picture – and he did it with an innovative touch of ‘velvet’. John (right, with his winning entry) who has made his living from photography for the past quarter of a century says: “I believe that print quality today is more important than ever before. The presentation of work in any form of business is critical to success. My SUN27 winning image was output on the brand new Fujicolor Crystal Archive Professional Velvet paper and I have to confess that the quality was just superb. The picture incorporates a fairly limited colour palette with subtle tones, which reproduced really well on this very convincing new product.” He adds: “Fujicolor Professional Velvet has a really creamy texture which is perfect for both black and white and colour prints - and the non-reflective quality is ideal for both portfolio and exhibition work. The thing is, I can never be quite sure what sort of lighting conditions my work will be viewed under – and with the Velvet paper finish also helping to diffuse the light it’s a great combination of qualities.” It’s a paper you can really put your finger on – Fujifilm has created a paper surface with strong resistance to fingerprints before and after processing. Notes John: “Every photographer knows that fingerprints can be really tricky to remove from prints without scratching, so the added protection layer on the new Velvet paper is a real bonus for us.” Alongside photographers, Fujicolor Professional Velvet has been catching the eye of some of the imaging industry’s most experienced lab professionals too.
Fujifilm Crystal Archive Professional
Fujifilm Crystal Archive Professional
supporting creative excellence
supporting creative excellence
Photograph © John Baxter printed on Fujifilm Crystal Archive Velvet
Fujifilm Crystal Archive Professional Velvet is an archival C-Type paper with a smooth ‘The quality was just matt velour finish, giving the look of a fine art reproduction with the longevity and robust handling of a real silver photographic material. superb. The subtle for use with mini labs andpermanence, medium to large-scale printer systems, Crystal Fujicolor Crystal Archive Digital Pearl, a paper soDeveloped sharp Withall superb archival images printed on Crystal tones reproduced Archive Digital Velvet is a silver halide with a naturally warmas base and a surface which and vibrant it has been praised by photographers for Archive Digital Pearl paper will look as fresh in the future the day resistsshadow fingermarks. they Although resembling Velvet has a rich d-Max whiter than white on highlights, vibrant colour and superb were taken. Portraitmatt and laminate, wedding photographers will fiphotographic nd really well this and matches the dynamic range of conventional finishes when used detail. Developed for use with all mini labs and medium to the paper ideally suited for albums and display printswith and the will recommended Its base weight qualities make itachieved. ideal forThis layflat large-scale printer systems, Crystal Pearlprofiles. is marvel at theand highcreasing level of detail and colour is book production very convincing newArchive Digitalprinter and and album covers asa well for boxed, mounted framed work. It is will a silver halide paper containing pearl mica pigments paperaswhich defies the ageingand process. Your customers for exhibition prints in all conditions. metal oxides which combine to give purer whitesideal and sharper, love you for lighting it. product.’ better-defined highlights. Optimised for digital systems, the
superb archival permanence, images printed on Crystal Archive Digital Velvet will look paper has a thickerwinner, base and higher stiffness forWith a high-quality lm Professional Paper Range: – John Baxter, as fresh in the future as the day they were taken. Portrait and wedding photographers will ﬁnd look and feel. • Fujifilm Crystaland Archive Typeprints II the paper ideally suited for albums display and will love its controlled dynamic range AoP Shot Up North 27 • achieved. Fujifilm Crystal SUPREME and the subtle palette ThisArchive is a paper which merges the feel of the best velvet matt • Fujifilm papers of the past, the uniqueCrystal colourArchive gamutDPII of C-Type, and the depth of fine art giclée in a exhibition modern material capable of high volume rapid output. • Fujifilm Crystal Archive FUJITRANS • Fujifilm Crystal Archive FUJIFLEX
Other papers in the Fujifilm Professional Paper Range
• Fujifilm Crystal Archive ALBUM PAPER ‘‘This new Fujifilm • Fujifilm Crystal Archive DPII Fujifilm Crystal Archive PEARL paper be thea sample print•• please For morecould information or to request 01234Archive 572107 TEXTURED Fujifilmcall Crystal email firstname.lastname@example.org or visit www.fujifilm.co.uk/photoimaging • Fujifilm Crystal Archive ALBUM missing link for some • Fujifilm Crystal Archive WRITEABLE • Fujifilm Crystal Archive DP TRANS photographers.’ • Fujifilm Crystal Archive FUJIFLEX Photograph by Tamara Peel - www.tamarapeel.co.uk
– Professor Steve Macleod, creative director, Metro Imaging Limited
• Fujifilm Crystal Archive CLEAR
For more information on the full range or to request a sample print please call Peter Wigington on 01234 572138, or email: email@example.com or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/ MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 13
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14 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
FREE ICC PROFILES
he Photography Show returns to the NEC Birmingham from 19 – 22 March 2016 and whether you are just starting out or you’re a seasoned pro, offers something for everybody interested in the world of image-making. Learn the latest techniques, spark your imagination, hear from the experts, find fantastic deals and get handson with the latest kit from over 200 exhibitors. The Photography Show is the ultimate event to inspire creativity through imagery. Visitors will be able to try and buy the latest kit and accessories from the likes of Canon, Adobe, Nikon, Panasonic, Sony, Olympus, Fujifilm, Leica, Manfrotto, Blackmagic and Ricoh Imaging – but this is a tiny selection from the hundreds of exhibitors you can find by checking out the show’s webpage we’ve printed below the title.
THE SUPER STAGE Iconic photographer David Bailey is amongst the top names confirmed to speak on the Super Stage at The Photography Show 2016. Chris Packham, Dan Rubin, Nick Danziger, Peter Dench, Lara Jade, Scott Kelby, Alec Soth and Bruce Gilden have also been unveiled to take centre stage during the fourday event. The diverse 2016 lineup is set to offer intriguing insights into each of the photographer’s careers and specialist areas, for pros and enthusiasts alike. Expect to find plenty of hands-on workshops and live demonstrations at The Photography Show on the Live Stage, Photo Editing Theatre, Mobile Photography and Filmmaker Stages focusing on everything from capturing challenging shots in different lighting and environments, right through to dark room coaching, photo-editing and learning what your mobile device can really capture.
NEW FOR 2016 The all-new Wedding & Portrait Stage will be set in the thematic surroundings of a mock-up chapel, where visitors will take to the pews to hear from speakers renowned for their expertise in the wedding and portrait genres. Confirmed speakers taking to the stage include Kevin Mullins, Kate Hopewell-Smith, Brett Florens, Drew Gardener, John Denton, Neil Freeman, Stephen Perry, Marcia Michel, Marian Sterea, Robert Pugh, Adam Bronkhorst, Lisa Devlin, Steve Howdle and Stephanie Thornton.
Steve Howdle demonstrates tethered shooting on the 2015 show Live Stage. The list of confirmed speakers for the Live Stage and Behind the Lens can be viewed at www.photographyshow.com/speakersPR Covering a range of topics, from Achieving High End Wedding Portraits (Marian Sterea) to Overcoming Church Wedding Challenges (Kate Hopewell-Smith), wedding photographers and enthusiasts will pick up an array of tips and advice from professional photographers, each with their own unique styles. Dedicated portrait seminars will include an interactive demonstration from Stephen Perry who will work with volunteers from the audience, live on stage, rounded up with the chance to take away their portrait, photographed by Perry himself. Also new for 2016 is the Turning Pro Conference, aimed at photographers looking to make the jump from enthusiast to pro. Speakers including Wedding Photographer, Kevin Mullins, will take to the stage, sharing the skills needed to make the leap in creating a successful wedding business, and Peter Searle, Portrait Photographer, whose seminar will focus on Getting Your Business off the Ground.
ADDITIONAL FEATURES The Pro Conference programme will return for 2016, offering crucial business know-how to professional photographers, from copyright and commissions to agents and insurance. Also hosting a session at the Pro Conference on 22 March
will be Charlie Waite, renowned landscape photographer, offering his tips to a pro audience on Developing Your Potential. His unique style and conveyance of a spiritual quality of serenity and calm throughout his images has driven Waite’s international reputation; his work is held in private and corporate collections across the world. As one of the most published photographers in history, Michael Freeman, photojournalist and street photographer will talk at the Beginner’s Masterclass, a programme dedicated to photographers at the start of their journey. Freeman will provide insights into the Ten Guiding Rules, including the secrets of good composition, making a subject stand out and creating pictures with visual impact. Expect to find plenty of hands-on workshops and live demonstrations at The Photography Show on the Live Stage, Adobe Theatre, Mobile Photography and Filmmaker Stages focusing on everything from capturing challenging shots in different lighting and environments, right through to dark room coaching, photo-editing and learning what your mobile device can really capture. The Live Stage will host a range of experts, demonstrating the techniques behind taking
unique images in a variety of environments, from posing newborns to capturing the illusion of magic and fun at the circus. Renowned Food Photographer, William Reavell, is among the names to appear on the Live Stage, presenting styling tips for creating beautiful food photography and guiding visitors on how lighting can be used to enhance mouthwatering images and perfecting composition. Other speakers include Street Photographer, Matt Hart, on photography as therapy, Fashion and Beauty photographer, Steve Howdle, on syncing flash at high speed and Vicki Churchill, on turning the everyday into the spectacular. Melanie East will also take to the stage to share her tips on the skills behind photographing babies. Behind the Lens will see a range of professionals lead sessions covering everything from wildlife to travel, landscape and more, appealing to all levels of photographer.Ram Shergill, known for photographing public figures such as Amy Winehouse and Dame Judi Dench will give insight into working with designers in the world of fashion. Paul Colley will reveal the art of successful underwater photography, and Ian Cook, will look at sports photography in the modern era. Tom Stoddart, a photojournalist whose work includes poignant images of situation of crisis is set to tell the audience about his own photography journey and Emma Drabble will explore what makes a photograph more than just an image. The Adobe Theatre will return for the second year at The Photography Show 2016, to inform, engage and inspire the thousands of visitors set to descend on the NEC. Thirty-minute sessions are planned for the hugely popular theatre across the fourday event, exploring the various ways in which photographers can process and edit photos, to show off their photography skills and produce stunning images.
GET YOUR TICKET Tickets to the show are on sale now on the show website and visitors will have the option to add additional sessions to their package, priced at £10 per session. For the best seats in the house for Super Stage shows, book early to avoid disappointment as this is the most popular programme of the event Student entry will be free of charge on Tuesday March 22nd.
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 15
THE MPA at The Photography Show – a full programme to follow.
March 19th ONE TO ONE Image Improvement Consultations: meet top photographers sharing their knowledge to help develop and refine your photographic skills, technique and creativity. Adam Angelidis – Wedding & Commercial adamangelides.com Clare Louise FMPA – Fine Art, Portrait & Wedding: Qualifications Examiner, Mentor & International Judge. clare-louise.com Marian Sterea – Wedding & Portrait. www.mariansterea.ro Steve Walton FMPA – National President – Landscape & Weddings; Qualifications Examiner, Mentor & Judge. stevewaltonphotography.com
DEVELOPING Your Portrait Business – all day.
EXPAND Your Creative Resources: Meet top make-up artist Iain Burton-Legge and see how you can be involved on creative projects whilst expanding your portfolio, creativity and experience. DEVELOPING Your Portrait Business: Come along to our stand, meet one of our Cherubs Team for a one to one consultation to see how we can help develop your portrait business (DAILY all day).
March 20th Shooting Stage Steve Howdle FMPA & Stephanie Thornton LMPA: Take Your Portrait From Ordinary To Extraordinary. Creative styled portraits. Simple techniques requiring minimal editing. Shoot less, sell more! Richard Bradbury FMPA, MPA Commercial & Creative Photographer of the Year 2016: Bullet-time and bursting balloons – live demo… see pages 22 to 28 of this issue! ONE TO ONE Image Improvement Consultations: Meet top photographers sharing their knowledge to help develop and refine your photographic skills, technique and creativity. Richard Bradbury FMPA – Commercial & Portraiture richardbradbury.com Clare Louise FMPA – Fine Art, Portrait & Wedding, Qualifications Examiner, Mentor & International Judge. clare-louise.com Marian Sterea – Wedding & Portrait www.mariansterea.ro
Examiner, Mentor & International Judge. clare-louise.com Desi Fontaine Hon FMPA – Fine Art, Landscape & Portraiture, Qualifications Examiner, Head of Mentoring, International Judge. desifontaine.co.uk Ray Lowe Hon FMPA – Newborn, Cherubs, Portraits, Wedding & Commercial, Qualification Examiner, Cherubs Director, Mentor & International Judge. raylowe.co.uk Hossain Mahdavi FMPA – Commercial, Event, Portrait & Wedding, Qualifications Examiner, Mentor & International Judge. hossphotography.com Marian Sterea – Wedding & Portrait. www.mariansterea.ro Lisa Visser FMPA – Fine Art & Portrait, Mentor lisavisserfineart.co.uk
March 23rd Wedding & Portrait Stage
Steve Walton FMPA – National President – Landscape & Weddings; Qualifications Examiner, Mentor & Judge stevewaltonphotography.com Steve Howdle FMPA & Stephanie Thornton LMPA: Commercial, Fashion & Creative Portraiture. stevehowdle.com DEVELOPING Your Portrait Business – all day.
March 21st Qualifications Day at The Photography Show Thinking about applying for your qualifications? Limited Places available – book now to avoid disappointment! Reservations also being taken for the following dates: Licentiate June 22nd – MPA Head Office Darlington October 16th – Hinckley Island Leicester (Awards venue) Associate & Fellowship Print Judging September 9th – MPA Head Office Darlington Online Associate March 25th May 27th July 29th September 30th November 25th
16 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
*All dates are subject to change, the website will be kept updated. Contact membership@thempa. com to book your place or call us on 01325 356555.
March 22nd Wedding & Portrait Stage Marian Sterea – Achieving High End Wedding Portraiture Demonstration of Off camera flash and continuos lighting How to produce high end bridal portraiture.
Behind the Lens Stage Clare Louise FMPA – Creating Creativity. Go in search of what blocks your inspiration. How to overcome creative block. The power of ‘what If’ and our limiting beliefs. The value of personal projects and self growth. ONE TO ONE Image Improvement Consultations : Meet top photographers sharing their knowledge to help develop and refine your photographic skills, technique and creativity. Paul Cooper Hon FMPA – Commercial & Portrait, Chair of Qualifications & Judge baileycooper.co.uk Clare Louise FMPA – Fine Art, Portrait & Wedding, Qualifications
Melanie East AMPA – Capturing & Posing Newborns. Newborn shoot demo using StandinBaby™. Transitional posing and lighting. Making use of props. ONE TO ONE Image Improvement Consultations : Meet top photographers sharing their knowledge to help develop and refine your photographic skills, technique and creativity. Melanie East AMPA – Newborn Photography, Mentor & Judge babyMEphotography.co.uk Clare Louise FMPA – Fine Art, Portrait & Wedding: Qualifications Examiner, Mentor & International Judge. clare-louise.com Desi Fontaine Hon FMPA – Fine Art, Landscape & Portraiture, Qualifications Examiner, Head of Mentoring, International Judge. desifontaine.co.uk Ray Lowe Hon FMPA – Newborn, Cherubs, Portraits, Wedding & Commercial, Qualification Examiner, Cherubs Director, Mentor & International Judge. raylowe.co.uk Marian Sterea – Wedding & Portrait. www.mariansterea.ro Steve Walton FMPA – National President – Landscape & Weddings; Qualifications Examiner, Mentor & Judge. stevewaltonphotography.com DEVELOPING Your Portrait Business – all day.
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us on twitter MASTERFollow PHOTOGRAPHY •Blog 17 Join us on MARCH/APRIL Facebook The2016 Flash Centre @TheFlashCentre
LOXLEY IMAGING is sponsoring one of the main attractions at The Photography Show in March. The Wedding and Portrait Stage is new for this year (see show preview, page 15). Set in the thematic surroundings of a mock-up chapel, visitors will take to the pews to hear from speakers renowned for their expertise in the wedding and portrait genres, including Kevin Mullins, Kate Hopewell-Smith, Brett Florens, Drew Gardener, John Denton, Neil Freeman, Stephen Perry, Marcia Michel, Marian Sterea, Robert Pugh, Adam Bronkhorst, Lisa Devlin, Steve Howdle and Stephanie Thornton. All sessions at the Wedding & Portrait Stage are included in the entry ticket price. They have announced a new 16 x 12" landscape orientation version of the best-selling Bellissimo album. This opens to a maximum of 40 impressive 32 inches wide panoramic spreads, giclée printed. * www.loxleycolour.com * Stands F132, G131 at The Photography Show
UP TO APRIL 30TH 2016 every purchaser of a Voigtländer lens can claim 10% Cash-Back from Flaghead Photographic Ltd. The offer applies to the following lenses which you’ll find on sale at the show: Voigtländer M mount, Micro Four Thirds & DSLR (Nikon/Canon) fit. Only products purchased from an authorized UK retailer and imported by Flaghead Photographic are eligible. This is a consumer promotion and the cashback amount includes VAT (if applicable). For more information visit www.flaghead.co.uk
Look out for the Phase One XF100M at the show – and for the massive output from its largest-ever medium format digital files.
PERMAJET will be hosting inspiring seminars on the their stand at The Photography Show 2016. The PermaJet Print Bar will play host to leading names in the photographic world to provide inspirational talks and insightful advice for photographers at any level. One of the most popular sessions available is a one-to-one consultation with The Freelancer Club's Director, Matt Dowling. He will be offering specific advice to individuals wanting to set up as a freelancer or that want to try and progress freelance business. Sessions are on every day of the show so there will be something for everyone. Throughout the day after these sessions, PermaJet Print Experts will also be delivering live demo's on every single day to show how to achieve the very best prints possible and how to set-up and run the ink saving Eco-Flo systems on Epson printers. • www.permajet.com * Stand F91
Nikon’s 1” Compacts
New products to look at at the show include Nikon’s D500 and D5, Sony’s A6300, Canon’s 80D – and some very expensive Sony G glasss for E-mount. (85mm ƒ1.4, left)
HOT ON the heels of the D5/D500 announcement, Nikon’s compact range has received a refresh and a new line. Bridging the gap between the P-series Coolpix models and the 1-series mirrorless CX mount, the DL range. Using the same sensor dimensions as the J/V models, the 20.8Mp DL offers 20fps continuous capture with AF, or 60fps with focus locked. 4K/30/25 video is also offered. The flagship DL24-500 offers both articulated touchscreen and 2.36Mp EVF alongside the 21x zoom lens, which offers equivalent aperture of ƒ2.8 to 5.6. At £749.99, this is competing in the higher end of bridge cameras, though the video abilities and sensor size are tempting as a professional travel camera. For a more pocket-friendly design, the DL18-50 ƒ1.8-2.8 packs Nikon’s fastest wide-angle yet, and an optional EVF is available. Sans EVF, a £679 retail price indicates Nikon’s placement of this model as a focused, high-end camera. The entry level DL24-85 offers the best compromise of price, size and flexibility, with an ƒ1.8-2.8 lens for good DoF control on the small sensor and an EVFless price of £549. EVF bundles add £120. All DL models work with Nikon’s always-on smartphone companion app, Snapbridge, for transfer, control and GPS functions. * www.nikon.co.uk * Stand C11 at The Photography Show
photovalue.com 18 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
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Photograph from The Meteorite Hunter project © Alexandra Lethbridge
supporting creative excellence Printed on Fujifilm Crystal Archive by Metro Imaging
supporting creative excellence
Fujicolor Crystal Archive Digital Pearl, a paper so sharp With superb archival permanence, images printed on Crystal and vibrant it has been praised by photographers for Archive Digital Pearl will look as fresh in the future as the day Fujicolor Crystal Archive Digital PearlPortrait is a paper with finephotographers visual acutance whiter than white highlights, vibrant colour and superb shadow they were taken. and wedding will fiand nd full saturation, praised to by photographers for whiter highlights, vibrantprints colour and detail. Developed for use with all mini labs and medium the paper ideally than suitedwhite for albums and display and willsuperb shadow detail. Developed formarvel use with all high mini level labs of and medium to large-scale large-scale printer systems, Crystal Archive Digital Pearl is at the detail and colour achieved. printer This is systems, Crystal Archive a silver halide paper containing pearlYour mica pigments a silver halide paper containing pearl mica pigments andDigital Pearl aispaper which defies the ageing process. customers willand metal oxides combine to give purer whites metal oxides which combine to give purer whiteswhich and sharper, love you for it. and sharper, better-defined highlights. Optimised for digital systems, better-defined highlights. Optimised for digital systems, thethe paper has a thicker base and higher stiffness for a high-quality look and feel. paper has a thicker base and higher stiffness for a high-quality lm Professional Paper Range: With superb archival permanence, images printed on Crystal Archive Digital Pearl will look as look and feel. Fujifilm Crystal Archive Type II fresh in the future as•the day they were taken. Portrait and wedding photographers will ﬁnd the • Fujifilm Archiveprints SUPREME paper ideally suited for albumsCrystal and display and will marvel at the high level of detail and Crystal Archive colour achieved. This• isFujifilm a paper which deﬁesDPII the ageing process. Your clients will love you for
‘To know that you can sell prints with the peace of mind that they will maintain all the qualities that they had when they it. • Fujifilm Crystal Archive FUJITRANS • Fujifilm Crystal Archive FUJIFLEX were first produced is Other papers in the Fujifilm Professional Paper Range • Fujifilm Crystal Archive ALBUM PAPER priceless. The fact that • Fujifilm Crystal Archive DPII • Fujifilm Crystal Archive PROFESSIONAL VELVET Fujifilm Crystal Archive For more information or to request a sample print please call 01234 572107 • Fujifilm Crystal Archive TEXTURED email firstname.lastname@example.org or visit www.fujifilm.co.uk/photoimaging • Fujifilm Crystal Archive ALBUM remains stable for well • Fujifilm Crystal Archive WRITEABLE • Fujifilm Crystal Archive DP TRANS over a hundred years • Fujifilm Crystal Archive FUJIFLEX • Fujifilm Crystal Archive CLEAR is incredible. This is For more information on the full range or to request a the stuff of legacy.’ sample print please call Peter Wigington on Photograph by Tamara Peel - www.tamarapeel.co.uk
– Alexandra Lethbridge
01234 572138, or email: email@example.com or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/ MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 19
A trio of true talent and prints to last a hundred years Woodshedding it in the Fenlands – Alastair Bartlett
Putting something back – Metro Mentorship The Metro Image Mentorship programme launched in 2005. The lab set the platform up because it felt the bridge between graduates completing their education and the industry had broken down. “There was no clear communication between industry and that of emerging photographers,” says Professor Steve Macleod, above, Metro’s creative director. “We introduced a scheme that supported graduates as they made the transition from education to industry. We enlisted many industry leaders to advise and support the progress of each mentee. The platform is fully funded and resourced by Metro Imaging and is now established in both academic and nonacademic routes into the industry.” www.metro.co.uk
Alastair bangs the drum for Fujifilm Crystal Archive IT WAS while touring as a drummer in a band that Alastair Bartlett first realised he had a genuine passion for photography. “Eventually it overtook my obsession with music,” he says, “and I decided to head to university to study it full time.” While there Alastair won the mentorship prize offered by Metro Imaging with ‘Here We Are’ – a series of images captured around the Cambridgeshire Fenlands (above). The award provided a huge boost to his career and not only validated the work he was producing but also enabled him to benefit from a wide selection of expert feedback and tangible material support. “Winning the Metro Mentorship Prize was an incredible feeling,” he says. “Photography can be a lonely place and self-doubt can easily creep in: awards and prizes are a great way to let you know what you’re doing is both relevant and appreciated.”
Fujifilm Crystal Archive Type II freshly processed 20 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
One of the big benefits of the mentorship for Alastair was the fact that it introduced him to pro lab standards and quality, and in particular it opened his eyes to Fujifilm Fujifilm Crystal Archive Paper, which perfectly complemented his imagery. “The quality of Fujifilm Crystal Archive is second to none,” asserts Alastair. “My work can be very subtle and the vivid colours of this paper really help to bring out the different tones and hues. I’m still blown away every time my work is output on this paper. There’s just no way to describe that exhilarating feeling when you see a print for the first time. The fact that the paper is so archivally stable is another big plus point for me. People really do look out for that reassurance, and silver halide technology is one way of guaranteeing this incredibly important factor.” More information: www.alastairbartlett.com
Fujifilm Crystal Archive Fujitrans
SHE’S JUST 27 and a year on from graduating from her MA in Photography at the University of Brighton, but Southampton-based Alexandra Lethbridge has already achieved a great deal in her nascent career. She was recognised last year as ‘a rising star of British photography’ by The Guardian newspaper and has been featured in several high profile magazines and online publications. She’s also picked up numerous awards to date, including being shortlisted in 2014 for the Paris Photo Aperture Foundation First Photo Book Award for her first publication, The Meteorite Hunter, a fictional archive based on meteorites. The project also won her the Danny Wilson Memorial Professional Choice Award at the Brighton Photo Fringe in 2014, and with it the opportunity of a year’s mentorship from Metro Imaging. “The mentorship with Metro was amazing and really benefited my photography,” says Alexandra. “My two mentors guided me during a turning point of leaving education and trying to figure out how to maintain my practice.” For any fine art photographer, quality and consistency of output is key to the whole process, and working so closely with the London lab has helped Alexandra to carefully hone the look of the pictures she’s outputting. “My work – particularly my last series – is bright and colourful,” she says. “The vibrancy of the images is designed to allude
Fujifilm Crystal Archive and its 100 year legacy
Above, from the Meteorite Hunter series by Alexandra Lethbridge
to this kind of fantastical place that is space. Fujifilm Crystal Archive media is particularly good at vivid colour reproduction and so showcases this brilliantly.
“It’s also a massive benefit to me that Fujifilm Crystal Archive utilises silver halide technology and is so archivally stable. To know that you can sell prints with the peace of mind that they will maintain all the qualities that they had when they were first produced is priceless. The fact that Fujifilm Crystal Archive remains stable for well over a hundred years is incredible. This is the stuff of legacy.” More information: www.alexandralethbridge.com
Why printing on ‘true’ photographic paper is special for Carl PHOTOGRAPHY ‘runs big’ in London-based Carl Bigmore’s family. He can recall his grandfather permanently ‘wearing’ a camera around his neck. “He shot on transparency film,” he recalls, “so there were always these little pictures lying around that you could hold up to the light. And when you studied them you gained entry into what seemed like another world. That was when I first became interested in photography.” Tradition means a lot to Carl, which is why he works with silver halide film and shoots with an antique 1958 Rolleiflex that he was given around ten years ago. “There’s a quality to the images it produces,” he says. “It feels almost painterly, slightly otherworldly in my mind.” During his Masters at the London College of Communication Carl used the Rolleiflex to create the images for his Between Two Mysteries portfolio – an exploration of the Pacific Northwest of America through the prism of popular culture (images, right). The series was so successful it went on to win Carl the Metro Mentorship Prize, and it cemented a highly successful relationship between the photographer and the lab. Working with traditional silver film, Carl appreciates the synergy between this product and a genuine silver halide paper such as Fujifilm’s Fujifilm Crystal Archive, but he’s also keen to tap into all the advantages that modern digital technology can provide. He scans his negatives and then carries out colour correction and sets tonal balance in Photoshop before sending the files off for printing. “While I do enjoy the diversity of papers you get with giclée printing there’s something very special about printing on a true photographic paper,” he says. “In some ways it feels like setting your image in stone. And in a digital age where fewer and fewer images are physically printed out it’s good to be able to work with a paper that’s so reliable.” More information: Carl Bigmore – exploring the Pacific www.carlbigmore.co.uk Northwest with a vintage Rolleiflex
For more information on Fujifilm Crystal Archive papers or to request a sample print please call Peter Wigington on 01234 572138, email firstname.lastname@example.org or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/ MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 21
hat were you doing 30 years ago? Getting married? Having your first child? Being born? I was just starting my first job in photography. Little did I know back then just how my life would come to be enriched and defined by the interplay of light and camera. The story is a fun one. A certain David Kilpatrick gave me my first job as a general assistant. He offered the job based on pure enthusiasm as I had no degree, no experience and didn’t even own a camera. David gave me my first camera, a Minolta SRT 100X with 50mm ƒ1.7 lens, to learn photography in my own time. He didn’t pay much but gave me free board and lodgings, use of the studio out of hours – and if anything I wanted to try shooting was ‘worth it’ he would pay for film and processing. I have been forever grateful for this offer and in later years passed on the same deal to my own assistants. Gazing at my new camera I was struck by the maximum shutter speed of 1/1000s. I couldn’t believe that anything could be that fast! I had to try it out so in the very first weekend of ownership I decided to hang three water filled balloons from a washing line and fire an air rifle pellet through them trying to capture the action on film. With the help of a friend I quickly set up the scene. At the count of 1,2,3, he shot the rifle and I shot the camera. I shot 6 frames being always economical and naïvely believing that to be more than enough to get the shot. When I returned to the studio on Monday morning I explained to David what I had done and whilst he commended me on my creativity he felt the need to moderate my expectations. He explained that it was doubtful that I would get much at all due to the intricate timing necessary for high speed images such as this. Well, luck was on my side and I had two beautiful images. David graciously
In his regular column Richard Bradbury FMPA revisits 1986 to go back to future with the Matrix-style Bullet Time technique – re-creating his first technical challenge
award at the fabulous Master Photography Awards night. Claire Louise quickly cornered me to ask if I could do a demonstration at The Photography Show at the NEC in March. Whilst I was very flattered to be asked, I explained to her that I would only be happy do it if I was allowed to do something a little bit different. I for one do not want to be responsible for another endless demo on how to light a pretty model in 50 different ways. In short I decided that this was the perfect opportunity to bring the exploding balloons shot right up to date and re-enact my very first published image with the help of 30 years experience and the very best equipment available.
Doing it big
Canon’s 5DS and 5DSR – kings of the pixel pile
The two shots which Richard took with a manual Minolta SRT100X back in 1986, timed by just pressing the shutter at the right moment. They were published in SLR Camera. New scans from the thin negatives look great!
wrote an article for SLR Camera magazine (the major title of the day) all about my exploits and the images were published. Most of us can remember a moment in time when we first decided to be a photographer and this was mine. To this day I have never
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lost the thrill of seeing my work published in print, poster or even hanging on a client’s wall and it is that which drives my passion for photography. In October I was privileged to receive the MPA Commercial & Creative Photographer of the Year
Working in studio is so much more controllable now than it was back then and certainly more controllable than my back garden. I knew that modern lighting could give me a truly exceptional result, I just had to work out how. But I wanted to go further so I started to research the technical requirements of shooting what is commonly known as ‘Bullet Time’ for a result that would simply have not been possible 30 years ago. This would enable me to bring the exploding balloons image bang up to date. The Bullet Time technique was first popularized by the Matrix movie. The star character, Neo, leapt into the air and appeared to be frozen in time whilst the camera continued to move around him. The effect was of an object held statue-like in space allowing the viewer the chance to see every facet of the object from all angles. As far as I know this has not been done using flash as it was pioneered by film makers used to operating with continuous light sources. Flash would enable us to capture the detail of the exploding balloons
in high resolution from three dimensional angles. I needed to bring together several different disciplines to make this happen so set about doing my research. First of all I needed to be able to create the shot as a regular still image in studio. This requires overcoming three major issues. The flash needed to be quick enough to capture the detail of a pellet exploding three balloons in perfect detail. Secondly I had to synchronize the flash with the shutter at the exact moment when the pellet hits the balloons…not easy! Finally, if I was going to be re-enacting the shot live on stage at the NEC then it had to be do-able in a situation where I could not control the ambient light as the hall is quite brightly lit. Essentially I had to be able to shoot using the camera’s normal X sync of around 1/250s at ISO 100 with a decent aperture (ƒ11+) so that the camera would only register the flash and not the room lights. This was to be a rule that I would break during my testing to enable me to get the ultimate version of the image, but I still had to devise a technique to do the shot on stage. My first thoughts were to think about hypersync. This technique, explained in one of my earlier articles, enables you to break the bondage of X synch and synchronize your camera with flash up to shutter speeds of 1/8000s. I use hypersync extensively in my commercial work but it does have restrictions. You lose a huge amount of power from the lights by effectively using a very long duration flash as a continuous light source. Since my report last year using Pocket Wizards to sync the flash with fast shutter speeds there have been some significant advances in this technique. Several lighting manufacturers have designed their own programmable transmitter units, my favourite being Elinchrom’s Skyport Plus
First timing tests in my own studio used a single balloon, and checked out triggering methods – but 12fps on the Canon 1DX and stroboscopic flash from my own Elinchrom system proved the best way ahead.
At Direct Photographic’s Waterloo studios, the Bullet Time 48-camera Canon rig from New World Designs of Sunderland was set up and adjusted (below), with Broncolor Scoro flash lighting for 1/10,000s duration.
HS. This neat little unit sits on top of your camera and allows you to simply dial in the shutter speed you require up to 1/8000s and then fire. There’s no resetting with your laptop required and the whole thing is just so easy to work with. This works perfectly well in mixed light environments to get a usable exposure mixed with daylight but we would be actively excluding the ambient so the effective flash out put would be far too weak. The irony of hypersync is that you need a flash unit with a slow stable flash duration – what I needed was a fast duration flash with very high output. There are several ways to measure flash duration so it is very difficult to compare one manufacturer accurately with another as they all seem to claim different reasons for their kit being the best. Interestingly your oncamera Speedlites have some of the fastest flash durations available but sadly don’t have the kind of out put power that I would require for a studio set up like this. The total duration (t) of the flash is the amount of time it takes for a unit to deliver its output from powering up to the peak and then down to off. It is generally measured in one of two ways. t0.1 is pretty much the entire flash output, from the moment the light reaches 10% of its maximum brightness to the point where it falls below 10%. t0.5 is the ‘top of the peak’ only where the flash is outputting at 50% of maximum or more – giving you the majority of the flash power and excluding the climb and the drop off. There are various methods used these days to cut into the graph and produce astonishing flash duration figures. My research lead me to the amazing Broncolor Scoro units used for many of the most prestigious sports advertising campaigns in the world, stopping athletes in mid-flight in the blink of
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 23
These are just one viewpoint… In the Bullet Time sequence – which we can’t animate on a magazine page – the viewpoint can move round the balloons showing the frozen water explosion in three dimensions as a 2-second 24fps high resolution video clip – or a longer duration with interpolation giving a smooth panning effect. See the next page for the actual studio view just before one of the balloon ‘shots’. A single air rifle pellet was used, just as Richard Bradbury did in the 1980s, to pass through three suspended water-filled primary colour balloons. The shot will be re-created on stage for The Photography Show and the Bullet Time animation shown. 24 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
MASTER PHOTOGRAPHY MARCH/APRIL 2016 â€¢ 25
Memories are special. Look after them. A well crafted photograph deserves a well crafted home.
Visit us at The Photographic Show 19–22 March, the NEC Birmingham Watch the film www.gfsmithphotographic.com/video Phone 01482 588 037 Email email@example.com gfsmithphotographic.com @GFSphotographic 26 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
an eye. Like so many of the modern packs now including Elinchrom and Profoto they actually have a fast flash duration mode which enables you to set and record the required flash speed. To be honest they are all pretty good and a lot more effective than anything that existed 30 years ago. Scoros are used on most, in-studio sports advertising campaigns because they are very reliable, very consistent, and very, very quick. With a claimed fastest flash duration of 1/10,000s at t0.1 they are 10 times faster than my old Minolta could shoot at with its focal plane shutter. There are very few manufacturers that can compete with Scoros, and they are incredibly consistent making them a perfect unit to use time and time again. Steve Knight at equipment hire giants Direct Photographic in Waterloo was very intrigued by the project and immediately agreed to help me out. They
The studio at Direct Photographic with Broncolor flash from their Direct Lighting division. The floor has been waterproofed, a bath positioned to catch the water, the 48 cameras all adjusted and aimed, and it’s ready for the burst of 12fps captures needed to get the perfect moment.
have more Scoros in their hire department than any other company in UK and are constantly shipping kit out to shoots all over the world. They were the perfect partner for the project providing me with lights camera and even access to their beautiful hire studio in SE1.
The practice lap The trick to good, effective testing is to ensure that you reduce as many variables as possible so I sourced a particular brand of balloons and bought a few hundred so that we knew they would explode at the same rate. I purchased a domestic bath and an art director friend of mine Damian Fanshawe built a casing around it with a cross bar set up to hang the balloons from. Setting up to do the shots was relatively simple. I lit
it like I would a bottle shot using two strong rear accent lights and a larger soft front to fill in. Everything in the studio was protected with polythene as electronics and water are not good bed fellows and you can never be too careful. During the shoot I had two assistants who were pretty much doing nothing but mopping up. The bath was effective but there was still a fair amount of water splash so safety was at the top of our priority list. I proposed two methods for synchronization and in the event both worked wonderfully. The first method was using yet another facility that was not available in my youth. Most modern units are now able to do a burst of fast recharging flashes with stroboscopic speed and the Scoro is no slouch. In fact it could more than keep up with the
Canon 1DX at 12 fps. We set the lights to 1/10,000s which gave us about 120Ws output and simply pressed the shutter button followed by the trigger of the gun. The high action flashes are very exciting to experience and we managed an aperture setting of around ƒ13 at 100 ISO. The results were spot on first time with at least two images from each burst that showed different stages of the explosion. The speed of the flash and its amazing cut-off technology meant there was virtually no reverse light trail effect (causing the droplets to look as if they are travelling backwards in the splash) and the detail was extraordinary. We shot with all the room lights and modelling bulbs switched on to mimic the conditions at the NEC and none of them registered as part of the exposure. We now knew for certain that the NEC display would be possible in normal ambient light. I next decided that it would be good to be able
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 27
to track the rupture of the balloons from start to finish to see if we could find new ways to look at the event.
stages. The still tests were complete and it was now time to introduce the Bullet Time effect.
For this we needed to get very clever and use a triggering device. To my surprise the only really effective unit I could find was the ancient Mazof Trigger which I had tested in the 1980s some time after my first manually timed good luck. Yes, a companion of mine from 30 years ago proved that not everything has improved over my life span! I tried a couple of other units but frankly nothing was as good. The unit was set up to react to the sound of the gun being fired and the initial tests were disappointing as we kept missing the action. It occurred to me that the pellet was travelling incredibly fast, faster in fact than the camera could react. The restricting factor was the camera’s own shutter mechanism. It may be capable of firing the shutter and speeds of up to 1/8000s but the mechanism required to do that takes a lot longer to start reacting. It was simply too slow for the shutter to compete with a flying pellet. The solution was clear. To fire the lights alone was far more straightforward as it was simply an electronic pulse with no mechanical moving parts. We simply connected the Mazof to the flash sync, opened the shutter in a dark studio and let the gun’s sound fire the flash. It worked amazingly well and in the first shot we could actually see the pellet in mid flight approaching the balloon. Using the Mazof’s finely tuned delay system we were able to get shots of the pellet just as it hit the balloons and then as it passed through the second and the third. This degree of fine tuning meant that we were able to capture a whole new set of images showing the intricacy of the different
The Bullet Time rig is amazingly impressive to look at. New World Designs are based in Sunderland and work throughout the world on Bullet Time projects requiring their unique skills. After several meetings they shipped the rig down to London for a two day shoot in the Direct Photographic studio at Waterloo. We spent the entire first day just setting up. The 48 cameras were placed on a semi circular rig ranged around the balloon set. With the help of a sighting stick (basically a green golf ball on a stand) every single camera with lens set to 55mm was aligned and focused on this one central point. All the cameras are daisy-chained together and feed into a central laptop so that they can all be operated from on point. The software is actually relatively simple and essentially takes all of the 48 images and the stitches them together to produce a short, stop action video which appears to flow around the scene horizontally (simple when you know how!). We had to make some subtle changes to the lighting as we were now looking at the scene from 48 different view points so keeping the back lights out of frame was quite a challenge. We extended the black velvet backdrop and rigged the back lights higher in the scene so they would not be visible. Having done the stills testing we were already well set for the shoot. It was just a matter of translating all we had learned into a 48 camera view point. At the end of the first day we shot our first Bullet Time image with one balloon and we had immediate success. On day two we were able to fine tune the timing and get images at different stages
28 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
within the time-line. It was fascinating seeing how the water would dissipate as we dialled in a 2 to 9 millisecond time delay. We could do shots from the first tear in the balloons to the fully opened water bubble effect… quite beautiful! One factor that was constantly an issue was ensuring that all the balloons were exploding. We found that if we shot through the sweet spot in the centre of the balloons, the drag factor of the water was so great that the pellet would simply not penetrate the third balloon. The shooter’s job was more difficult than we realised and they needed to be shot accurately through the shoulder area of all three balloons. I was so impressed with how easy New World Designs made it all look. There were no technical dramas and we were able to simply concentrate on the fine tuning of adjustments to give us many different versions of the concept. The final retouched images are clean and smooth and I’ve been able to adjust the speed of the camera movement to suit the mood of the video. Towards the end of the day we filled some balloons with coloured water and created some very interesting results looking rather like giant exploding ice lollies with icy fingers stretching out in all directions. We had a lot of fun. The beauty of this technique is that it allows you to view the final image with such intensity from every angle. I have always been fascinated by the moment when the final capture is unveiled on camera. That moment is always particu-
larly special in an action environment and Bullet Time takes it to another level. Suffice to say that I was very happy with my 30 year experiment and if you want to see the way it’s done live then come along to The Photography Show at the NEC on Sunday March 20th at 2.30pm on the main stage. It should be exciting and I’m hoping to make a big splash! I have to say a massive thank you to all the people that have given their time and facilities for this project to become a reality. Steve Knight and Lloyd Barker at Direct Photographic and Ian Wright, Steven Reeves and Jamie Collins at New World Designs gave their time and equipment with such enthusiasm and I could not have done it without them. My friend Damian for building the bath rig… and my friend Simon for the loan of his air rifle! My usual band of trusty assistants including Sarah, Abbie and India plus James Worthington at www.jamesworthington.net who shot the video. Teamwork is everything with a project like this, it would not be possible to do it alone. To view Bullet Time video clips go to: https://vimeo.com/156683502
– Richard Bradbury FMPA
If you would like to comment on this issue please email Richard – firstname.lastname@example.org – or go to www.reciprocity.photo… for even more stuff that photographers like to talk about
Richard Bradbury FMPA is an award-winning advertising and editorial photographer best known for his Guinness World Records set-pieces. Richard is now offering a helping hand to photographers around the world with a programme of seminars, mentoring and business coaching event. To find out more please go to:
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MEET THE A-LIST Every year at the Master Photography Awards hundreds of photographs win through to the Merit level required for exhibition, or achieve an Award of Excellence shortlisting them for a title. Most of these images are from qualified Licentiates – it’s not always the acclaimed Associates and Fellows who come out on top. Here’s our A-List… a selection of Licentiates who surely must be in line to go for Associateship and change LMPA to AMPA judging by their consistent success in the latest and previous annual awards.
This portrait by Andy Griffin LMPA earned an Award of Excellence in the Classical Portrait category of the Master Photography Awards 2015/16. Andy won three Merits as well is this category, and in the Lifestyle & Location category he received two Merits and a further Award of Excellence – all surely signs of higher things to come. MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 31
Above, an awards entry typical of the style we have come to associate with Adam Hirons LMPA . Below: Jason Banbury LMPA may have a reputation for fantasy make-up and elaborate studio sets, but in the 2015/16 awards his more conventional portraiture also shone through.
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One successful Licentiate who is definitely putting in for Associateship is Derby’s Jules Hunter LMPA . Above, one of her merits in the Licentiate Photographer of the Year category. Below, a recent article in Derbyshire Life which capitalised on her awards results and her title as MPA East Midlands Region photographer of the year. This is a great example of how participation in MPA activities can be used to boost the profile of your business. As well as aiming for her AMPA, Jules is intent on a higher degree in photographer and may yet be a ‘Master’ beyond the qualifications of the association.
‘Derbyshire Life’ publicity from the Awards and more
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026-0-lpoty Lilly Brown LMPA (1).jpg 34 â€¢ MASTER PHOTOGRAPHY MARCH/APRIL 2016
A further selection from leading Licentiates in the 2015/16 Master Photography Awards. Top left, by Panikos Hajistilly LMPA . Bottom left, from Lilly Brown LMPA . Above, always at the front with her love of the sea and beach scenes, Scotland’s Margaret Soraya LMPA . Below left, by Tim Henniker-Parker LMPA and below right by Sandra Parris LMPA . The only way is up!
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 35
Two more for our A-List… above, by Andy Hook LMPA and below, by John McHale LMPA . Both are regular award winners with a distinctive personal styles. All these images just go to show the exceptional standard now achieved by Licentiates of the MPA – and hopefully, future Associates.
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FROM 3D to PhD Achievements cap a great year for Poland’s Marek Czarnecki AMPA
ou will need to find some red-cyan anaglyph 3D spectacle to view the panoramas on these spreads properly – and a different type of vision to understand the second project which has driven many of Marek’s award winning images since 2012. In this year’s Master Photography awards Marek bravely entered 3D panoramas. There’s a bit a trend to experiment with anaglyph 3D and last year we published Patrick Low’s 3D fashion portrait fellowship, for which Patrick kindly organised red-cyan specs to go into every copy of the magazine. These, if you have kept them, are good for viewing Marek’s image here as well but do remember you absolutely must turn the page sideways. His project sponsored by the Marshall of the Cuyavian-Pomeranian region, formed an exhibition that toured to more than ten galleries there and formed part of the exhibits for the Skyway Festival in Torun last summer. It then went on show for
38 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
several weeks in Milan during EXPO 2015 and this year the exhibition will tour Poland and Europe (visiting regions in other countries twinned with CuyaviaPomerania). But before this, Marek has been testing out his original 3D panoramas in international salons and competitions. In 2015 he achieved two honourable mentions in the IPA competition, merits in the MPA awards, and an award for the book produced to go with the show from MIFA in Moscow. The process presents technical challenges, and Marek had to achieve optimum RGB values for exhibition prints on an Agfa large format system, then create different CMYK conversions for the left and right images to ensure the 3D effect worked correctly in the digital photo book. We have used these CMYK files as our litho process is close to the digitally printed book. That is really a photo album with a massive run of 2,000 copies as the printing method is similar to most labs and album printers. The Agfa large format exhibition prints are all 147cm wide landscape panoramas. The height of the prints varies because of the nature of panoramic pictures taken with different lenses and different rotation angles. All the pictures were created using a multi-shot stitched and bracketed HDR process. A 360 degree HDR anaglyph requires 144 individual digital shots using plus and minus 2EV bracketing – you can imagine the processing time to stitch and optimise the dynamic range for every image. “With my wife Jadwiga I spent about thirty days touring the region by car”, Marek explains. “We drove about 16,000 kilometres and exposed more than 35,000 frames. Two hundred and fifty 3D panoramas were created and just 52 were selected for the photobook and exhibition”. The headline for this article depends on our British usage. Shortly after completing the book and exhibition project, Marek finished a project he had been producing in parallel with this and his commercial client work. In Poland he is classed as an Artist Photographer and is a member of the Polish Artist Photographers MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 39
Association (ZPAF). This is a category we don’t really have in the UK, though Germany for example makes the distinction between photographic technicians and photographic artists very clear. Now Marek – who graduated from the Moscow Power Engineering Institute Microelectronics Department with MSc Eng – has a Doctorate of Film Art in Photography awarded by the Filmschool of the city of Lodz in Poland. This PhD (in UK terms) was given for the dissertation based on his Our Safe World photographic series. This project has been sponsored by the Torunska Agenda Kulturalna (TAK) culture agency of city Torun.
Our Safe World You may already have seen some of this work – the three examples shown on the facing page were the first airing of some of the concepts, successful in the Master Photography Awards four years ago. Since then he’s continued the series, with invited models in groups wearing straight-jackets, goggles, surgical gloves and other symbols of restraint and protection. Combined with his use of HDR toning, the series has the look of maquettes for a film or an advertising campaign though we might not want to buy the product involved. Marek’s message seems to be that we are buying it whether we like it or not… His dissertation for Our Safe World was subtitled as an ‘allegory of voluntary self-restriction of liberties by Western societies as a result of threats posed by the outside world’. “The aim of the dissertation is to create an allegory of the modern world of a Westerner who, confronted with different cultures and civilisations, imposes increasingly severe constraints on the freedoms and liberties of himself and people living in that culture and civilisation, in order to preserve the said freedoms and liberties”, 40 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
Marek tells us. “It is a sort of paradox, based on imposing significant constraints on what one intends to preserve. In the face of such confrontation of attitudes do we not, as societies, fall into a trap in which the peak of liberty is a severe limitation of liberty, imposed with the use of tools that have been invented, applied, and accepted by societies? “Those tools enable our personal development and fulfilment, at the same time placing us under scrutiny and supervision of invisible and hardly identifiable forces. “Adopting a historical perspective, I have discussed civic, cultural, artistic, and photographic phenomena which have determined the situation where, over the last centuries, as a result of external events, a social system placing our behaviour under control and surveillance was constructed, its purpose being the protection of ourselves and our world from external attacks and threats. “As the constructed system gradually transforms into one that restrains our freedom, we are faced with a paradox, with the guarantors of our social freedoms and liberties becoming also a new factor restraining our liberties and aggravating our enslavement. It has turned out that while fighting for our existing freedom and its preservation, we are falling into enslavement meant to preserve our freedom. “I have decided to present invisible constraints and restrictions, on which we, as societies, have agreed, in the form of photographic images, as an allegorical vision of a made-up and arranged world in which invisible constraints and methods of control have taken the form of various objects and tools used to physically restrain our liberty, freedom of movement and action. To play the role of models, I invited people representing various age groups and social strata, introduced them to the idea of the project in the form of an artistic manifesto, and faced them
Photographs which were received with acclaim in the Master Photography Awards have gone on to form the basis of a Doctorate of Arts dissertation by Marek Czarnecki, examining the nature of self-imposed constraints on society faced by threats.
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with the questions: ‘How do we perceive our constraints at the moment when we start being subjected to them?’ and ‘Is lack of freedom accepted in the name of preserving it what we pursue and can it be the sense of our world and the civilisation we live in?’. “The locations I chose were public spaces (surgery, school), cultural venues (theatre, library), places of entertainment (musical club), means of mass public transport (bus, tram, train), suburban areas, industrial and farm buildings, military objects, and places of confinement (prison). Persons placed in those locations were dressed in clothing that restrained their liberty and freedom of movement. They were accompanied by characters in the roles of guards and attendants. A world of constraints, to which all participants have voluntarily surrendered themselves in the real, material world, started to become a vision and allegory for all the restraints that we have self-imposed on ourselves as guarantees for the preservation of our present liberty and freedom of action. “I direct my allegorical statement to all that have decided to use the self-imposed restraints to narrow the freedoms and liberties of our lives excessively. “The vision of the world presented thus is meant to force the recipients to reflect on and discuss the directions taken and the costs incurred in liberty and life quality. But it should also be asked whether even such severe restraints and surveillance, agreed by consensus, are adequate to counter the existing threats.” Dr Mark Czarnecki AMPA IAPP ABIPP QEP FEP is listed in the top 50 of the best panoramic photographers in the world. In 2014 he was awarded with medals for achievements in the field of art and culture by the Marshall of Cuyavia-Pomerania and the President of the city Torun. His degree was conferred in February 2016.
Reviving a past dimension Brian May doesn’t just play brilliant guitar on an instrument made by his own hands, and save badgers from culling – he’s also a leading collector of early stereoscopes and 3D imagery. His own company now markets intriguing replicas and reprints with an easy-to-use OWL viewer.
n 2008 Brian May realised his dream of recreating The London Stereoscopic Company – a historic firm which first issued stereogram editions around 1854. His aim was to bring the magic of true stereoscopy to the modern world, and he designed his own modern version of the binocular stereoscope, the OWL.designed his own OWL stereoscope (produced in Sunbury-upon-Thames from the best polypropylene). It has become a new standard around the world in stereoscopic viewing. In 2011 Brian met French scholar Denis Pellerin, one of the world’s experts on French and English photographic history. Their two passions connected immediately, and Denis became Brian’s curator, conservator, researcher, and co-author. The London Stereoscopic Company is now restoring and republishing Victorian classic cards, as well as original stereoscopic works relating to astronomy and vintage ‘Queen’ images. Finally the LSC completed the picture by entering into book publishing, each new work accompanied by an OWL Stereoscope included in the package. The first three titles are A Village Lost and Found (based on a celebrated series by TR Williams made around 1853), Diableries (the entire genre
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Top, the Victorian Gems box is a fairly expensive edition, with attention to design. With the slip cover removed, it’s a solid black box fitted with internal dividers to accept the three mini editions of stereo cards and the booklet (above right). The OWL viewer is very comfortable to use once you have adjusted your eyes to look into the distance and not try to focus close. It can also be used with your own stereo photographs using the reprints as a guide to propduction. You do not need a stereo camera, just move the camera roughly 65mm horizontally between the left and right exposures.
of 1860s French Devilments brought together for the first time), and The Poor Man’s Picture Gallery. “The London Stereoscopic Company is the ONLY publisher in the world dedicated exclusively to publishing stereoscopic works”, says May. “Our latest product is
something unprecedented in our London Stereoscopic Company activities. For someone who is unfamiliar with the idea of Stereoscopy, it's the most complete introductory package ever offered – everything your dad or mum or best friend needs to get hooked on the truly
immersive 3D experience. For collectors and those who are already hooked, everything in this high-quality Victorian Gems box is new.” Victorian Gems, launched in December in time for the gift-giving season, costs £95 and contains a pack of twelve Scenes in Our Village cards, numbers 1 to 12 in Thomas Richard Williams’s unique and beautiful stereoscopic portrait of an Oxfordshire village and its inhabitants in the 1850s. It’s now five years since Brian’s company published A Village Lost and Found, co-authored by photohistorian Elena Vidal, with every card in the series, and told the stories behind them. The images were digitally ‘remastered’ to a close-to-perfect state. Twelve Diableries cards show the earliest diabolical creations of master sculptors Hennetier and Habert. There are 72 scenes in all in the book Diableries – Stereoscopic Adventures in Hell co-authored with Pellerin. The cards havce ‘foil eyes’ imitating the original Hellish red gels added to pierced cards. The pack of twelve Poor Man’s Picture Gallery cards are excerpts from the books of the same name, which was published in association with Tate Britain and accompanied a major exhibition. The cards reveal the many previously
unseen connections between Victorian narrative paintings and the popular stereo cards of the day. Each card in this series has a link to the page on the Tate Britain website where the corresponding painting can be viewed. They feature scenes from Shakespeare, historical tableaux and contemporary events such as Derby Day, all posed in photographic studio sets to be captured as stereoscopic views. They were very popular in Queen Victoria’s time. An additional booklet gives information on the sets of cards, plus a short history of stereo photography, complete with hints on how to take your own 3D photos, to be viewed in the patent OWL Brewster format viewer, which completes the kit and is suitable for stereo cards, daguerreotypes and lantern slides from the 1850s on. On April 16th, Crinoline: Fashion’s Most Magnificent Disaster, by Brian May & Denis Pellerin, will be published in hardback (with a slipcase and 3D front cover, accompanied by the OWL viewer, at £50. This edition accompanies a V&A Exhibition Undressed: 350 Years of Underwear Fashion which should have all photographers heading to London for a viewing! – DK See: www.londonstereo.com
You can read ƒ2 Freelance Photographer incorporating Cameracraft on your mobile device or Mac/PC Visit: http://bit.ly/1QSAdVb Master Photography is available as a PDF edition. Visit: http://bit.ly/1NwnLbr MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 43
STYLED PORTRAITS Stephanie Thornton and Steve Howdle work together from two studio bases creating their own style of portraiture. Both shoot different types of work, but combining Stephanie’s fine art fantasy portraits and Steve’s commercial and advertising techniques they are producing styled portraiture images that are proving to be very popular.
eeping things relatively simple is the key for our styled portraits and very individual to each shoot. We always have a professional hair and makeup artist involved which is included in the basic cost of these shoots. An extensive wardrobe of hats, headpieces, clothes, jewelry and other pieces of material etc are always on hand to style our clients. Of course these shoots are not only about the styling of our client but the lighting is also key to the look we want to create. We have a range of modifiers and each bring a different feel to the image, its not simply a case of having a lighting set up and shooting various styling under the same lighting conditions. For this particular portrait we wanted a crisp slightly graphic but colourful image. The chosen outfit, hat, necklace and dress were our own and a gold reflective material, similar to the material found inside softboxes, was used for the background to compliment the dress. We wanted the stippled surface of the background to produce random highlights and colour differences to avoid a plain colour and create some depth to the image. It was lit with two Elinchrom ELC ProHD 1000 heads one with the Elinchrom Zoom Spot fitted with a homemade gobo which was projected onto the background slightly out of focus for a soft edge. The key light was a 70cm Rotalux Deep Octa fitted with a Lighttools 40˚grid. These Lighttool grids are perfect for this type of lighting producing a directional pool of light while maintaining the softness of the Octa. Each grid is highly engineered with each cell individually angled from outer edge towards the centre
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straight cells held together by a rigid but collapsable outer ring which fits snugly onto the softbox, and the rigid construction helps to hold the grid cells perfectly tight without any sagging. The key light was placed in front of and above Annabelle and she tilted her head back slightly to ensure an almost shadowless face and let the rim of the hat create a dark circle to frame her head. The grid ensured that no light would spill onto the background and weaken the colour and contrast. It was shot on the Pentax 645Z with a 120mm lens 1/125 @ ƒ5.6 far a shallow depth and maintain an out of focus background. The image of Melissa came about during a commission for more portfolio images. She is a hoop dancer and during the shoot Stephanie had the idea to create a dark theatrical styled image. Again the styling was kept simple, a tutu and a thorn crown and a simple pose. Stephanie wanted dark muted tones and the key light was provided by the Rotalux 70cm Deep Octa with the Lighttools 40˚ grid to ensure minimum spill onto the background. A pair of strip lights were positioned to either side of Melissa, one with a blue gel the other purple to add a subtle hue. To add a little drama and an air of importance to the image a symmetrical pose and a low shooting angle was adopted. Shot with a Canon 6D 24-70 f2.8L, 1/125 @ ƒ6.3. Steph and Steve will be creating a styled portrait live at The Photography Show.
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See our new products at the
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K E L L Y BROW N GETTING LIGHT ON YOUR SIDE FOR NEWBORNS
oo many newborn shoots seem to concentrate on a warm studio and forget all about warm lighting – light with direction, glow, colour and life. We see so many photographers use soft, formless lighting and bland backgrounds for babies which almost lose outlines and merge into a magnolia marshmallow smudge. Well, baby skin has to look soft and
A HAPPY GLOW FROM DOWN UNDER!
perfect, doesn’t it? And newborns are not immune to skin care problems? So, light flat? But newborns have wonderful cheeks and chins and eyes, little noses and perfect lips. Rounded, dimensional, confident lighting can work!
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Kelly Brown, the undoubted star of Australia’s neonatal photography scene, has no hesitation using sidelighting and also a beautiful diffuse light from ‘down under’. That’s not being theatrical and unnatural, because in
real life babies are held up, lain down, seen from above, seen in cots where the light comes from a window or buggies and prams where it reflects into the shaded canopy. In Australia young skin is kept well out of direct rays but so often lit by the reflected sunshine of an outdoor lifestyle. And in the studio, Kelly Brown creates exactly that beautiful glow
A classic overhead shot, left, not too close and wide but still needing 35mm focal length on her zoom. On this page, two sibling and newborn studies which really caught our attention for their colour quality and the obvious appeal of this – a good way to make older children feel very much part of the new arrival’s life, and just as important in the family.
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which sculpts baby faces in three dimensions. It’s a joyous light, as hopeful as a clear sunrise, optimistic and also flattering. It’s an approach to lighting which owes much to beauty and glamour techniques of the past and the recognition that diffuse light coming from below the chin, or from the side but absolutely not in the traditional Rembrandt overhead manner, has a wow factor. Since this is often a type of light which will reveal texture, Kelly does retouch her babies much as a beauty specialist would. She uses a Wacom Intuous Pro Medium pad, a self-calibrating EIZO ColorEdge CG247 24-inch monitor, and works carefully to ensure a natural result. Her favourite portable light is a Jinbei EFL-200 LED source, not often seen in the UK though available from one importer with a six-week order time. This looks like a large studio flash, but puts out an actual 200W of LED light which runs cool (from the subject side) despite matching a remarkable 2000W of 5600K daylight quality. It goes through a 50cm white perspex globe diffuser from the same Chinese maker.
Kelly Brown We are sure you will see the benefit of this highly controllable continuous light in the photographs we have selected from Kelly’s large and varied portfolio – she can do low key and muted equally well, but to inspire our UK newborn photographers and Cherubs studios it’s this great use of a well-defined directional light we want to show you. Kelly combines this with a free approach to camera angles and position, the reverse of the setup where a new baby is carefully posed and the camera remains on a tripod. She will move in as close to the baby as a mother would, letting mum and studio ‘spotter’ assistant do the handling and support while
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watching constantly to ensure the baby is safe and happy. Most of her poses are natural and do not demand the supporting hand or retouched post production familiar from newborn ‘template’ approaches. This allows the lens close enough to catch the scent and warmth of the baby, and for the parent, the perspective and apparent eye position become their own. Of course the special prop support, wraps and knits can still be a purely photographic confection – a means to swaddle a very little body in a photogenic fashion, cocooned or floated in fabric, nested or cuddled. She uses her own Shoot Baby! posing bag. The settings are however all believable, with a simple laid-down blanket and coverlet for an overhead portrait which looks much better than any attempt to put baby in a vertical pose (see above). This natural repose flatters baby faces, gravity removing sag or squash, but it only works if the photographer is able to work from overhead. In this picture set you will see some poses which might look ‘sitting’, as with the older brother and sister on the previous page. These are lying-down poses not sitting
up and holding baby, it’s the sidelighting and the camera angle which combine to make them look right. “Knowing the best way to pose babies is definitely something which has developed over time,” Kelly says, “along with understanding babies and how they move. I’m still perfecting things with every session, but I think the key is to be patient and never force a baby into any pose just for the sake of a shot.” Study Kelly’s pictures carefully. She says that many entrants to the newborn field seem to have their focus all wrong. “I’ve noticed a lot of newcomers focusing more on the posing instead of the basics of photography, like lighting, composition, focus and learning about which lens is best for what situation.” On the facing page, two monochrome examples with that signature subtle wrap of directional light. One of the most important pieces of advice she offers is “never risk the safety of a baby for the sake of getting a shot”. She always uses a spotter while on a shoot (ensuring that the baby is safe at all times and not likely to roll off onto the ground. “Practice on a fake baby with
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Light and colour – Kelly Brown choose her fabrics and props with great attention to the way that digital sensors (and her Canon in particular) render them. Warm shades, browns and pinks with never a hint of brilliant white, avoid highlight burn-out and harmonise with the skin tones she aims for. Small elements like moss green (lower left) are arranged so they do not cast green reflected light into these tones. On this page, a simple co-ordination of colour and two camera positions and angles from the same ‘sitting’. She does not try to put the baby’s face in an adult portrait orientation.
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Black and white in a beautiful light – study the brilliant long-lashes angle above. If this was to be lit without skill, focused on the wrong point, taken at just one stop down and processed differently the baby’s very new skin with its fine dotting of lanolin not yet absorbed could look unattractive or even rough. This treatment ensures it looks beautiful yet the neonatal texture is still there. Below, the same goes for toes – for a set of pictures, such close-ups may be difficult but work so well together. On the facing page, a final example of that special below-the-lens level lighting which you can create using a diffuse light source or by bouncing a regular flash off a reflector. It’s almost like the glow of a fire or a night-light, even in subtle monochrome.
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different posing techniques,” she suggests, “as well as how to wrap.” When it comes to the technical aspects, Brown stresses the importance of learning to read light – both artificial and natural, and knowing and understanding all the fundamentals of composition, because it’s only then that you can start to break the rules.
The business Kelly launched her business Little Pieces of Photography in 2005. She has since travelled the world speaking at events and teaching newborn posing classes. In 2014 she photographed 139 newborn babies, mentored 23 photographers and held 19 newborn posing classes across 12 countries. She has won many awards, nationally and internationally, including the AIPP Aus-
tralian Family Photographer of the Year (2014). She is also a Master of Photography with the Australian Institute of Professional Photography and Wedding & Portrait Photographers Association (WPPI), where she was awarded eight first place titles. In her state, Queensland, she’s been AIPP Family Photographer of the Year every year since 2012 and their overall Professional Photographer of the Year 2013 and 2014. With the healthy birth rate and economy of Australia (compared to most of the UK) she’s been able to build a business centred just on newborn and baby photography, and considers herself lucky to avoid the problems of changing weather and venues faced by wedding specialists. Kelly has her own family to look after too – three children. At the end of 2013,
her husband decided to join her in the business after 20 years in the construction industry. Designed and conceived (no pun intended) by the couple, The Baby Summit has been launched as a threeday conference, on the gold Coast in early August. It’s the first of its kind: an event for photographers that specialise in the maternity, birth, newborn and baby genres, with presenters from all over the world. Brown also sells Photoshop actions, provides one-on-one mentoring and does video tutorials, having appeared a number of times on CreativeLive, the popular US online platform. And what is the secret, if there is one, behind all all this success? “In the beginning,” she says, “I believed it was all about taking amazing photos. Now I know that a
successful photography business is close to 70% business and only 30% taking photos – and the business aspect requires one to wear so many different hats.” As ever the one secret ingredient is hard work – “You have to work for what you want,” Kelly says. “Every year, we set goals, make plans and then go about making it happen. We do whatever it takes to achieve them, and I don’t allow fear to hold me back.” And for the camera gear of choice, she shoots on a Canon 5D Mark III with a 2470mm ƒ2.8 Mark II lens. “The lens is so incredibly versatile, it’s practically on my camera full-time,” she says. “It’s not only great for close ups, but wide angles as well when shooting large props from above.”
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A PEACE OF THE ACTION You want to be one of the élite making a reputation with mums-to-be for the quality of your newborn photography experience – but where are you going to find the magic touch? Paul Wilkinson went to Melanie East’s seminar to find out.
have heard the many legends about Melanie East and her long-fabled ability to send any baby to sleep, so when the opportunity arose to go watch her sold-out Cherubs seminar in Hinckley, well it was simply an opportunity too good to miss. So let’s just start by saying that Melanie's reputation is clearly well-founded at least based on today’s evidence: she seemingly can send any baby to sleep. That in itself, I would hazard a guess, would be sufficient talent on which to build a pretty solid business. There must be a million mums who’d kill to have someone gently and safely hypnotise their new-found sleep-depriver to sleep! However, that is clearly not the purpose of the seminar! So during one of the most tranquil days I have ever spent outside of a spa hotel, Melanie set about the subject of newborn photography. Even when baby quietly emptied her bladder over Melanie and the props, nothing could shake the sense of peace and calm in the room. Right from the morning coffee, this seminar was packed solid with both people (the room was both busy and very very warm!) and useful insight. This is what seminars should be like – honest, candid, realistic, inclusive – and the list could go on. I loved learning about Melanie’s approach and, guessing by the quiet concentration of the 25 Cherubs partners in the room, I am not the only one. Two newborns under three weeks old in a crowded room and yet still, Melanie quietly and calmly talked us through two complete newborn shoots – one using a beanbag and one using props, with each creating the most beautiful images straight out
the same thing over and over: it can never be a bad thing to go a seminar as you will most certainly learn something (even if it is that you are doing things well already!) One thing that has struck me is how many experienced photographers there are here – many of whom are at the top of their game – and yet still they’re here, soaking it all up and learning from Melanie’s experience. It was also a great opportunity to see Graphistudio’s new products and to Elinchrom’s D-Lite in action as both very kindly supported the event!
of camera. I can only guess how stunning they’ll look with just a little Lightroom! Ray Lowe and the Cherubs team have put together many seminars (I heard much about the pevious day’s Photoshop prequel with Michael Schilling, from the feedback just as inspiring) but this is the first one I have been lucky enough to attend – though it most certainly won’t be the last. I have said
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www.theartofthenewborn.co.uk With a magic touch with babies, Melanie set up a couple of classic poses including (below) one which followed closely this shot from her AMPA panel (above).
The day was full of useful information from top to bottom: backdrops, props, insights, business, sources, safety, bookings, even a trick using Puppy Pee Pads and an app that created an uneasy sense of needing the loo… If you get the chance to go to one, you really should make the most of it and invest a little time in yourself! If you’re looking for something more bespoke (but certainly just as warm) then Melanie also holds full day one-to-ones to cover any aspects you choose. Contact Sam at MPA head office to find out more about future events – just call 01325 952259.
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IAN LAWSON’S HARRIS TWEED: WEAVING A COLOURFUL TALE
t’s some journey from Wigan Pier to An Tairbeart, but through that trip Ian Lawson has reached a superb level of art and photography, as shown in his current exhibition Harris Tweed: From The Land, in association with the Harris Tweed Authority. From 2002, Ian had visited the Outer Hebrides, slowly and gently getting to know the landscape, the people and the culture that links them. A ‘total loner’, he took his campervan to the remotest places, all the while indulging his passion for photography. This was no amateur – he was an architectural photographer, although he started as an idealist, buying his first camera from the proceeds of a Northern Soul night at Wigan Casino. Fine Art Photography at Manchester Poly followed, hoping to ‘wander around taking pictures’. That ideal never left him through decades of photographing the built environment. He ‘studiously followed’ photographers that were doing what he wanted to do (Charlie Waite, Joe Cornish), and increasingly sought out Hebridean photographic books, going back over 100 years to glass plate cameras. One day in 2007, whilst tracking a lobster fisherman, he lost the put-put of the boat’s engine. He heard instead a clickety-clack from a shed, and there met a mother and daughter, weaving Harris tweed on their Hattersley looms. One crucial thing that struck him was how the colour of the cloth matched the colour of the sea through the shed window. He took some pictures. Then came back the next day for more pictures and, over time, was slowly entrapped by the place, the people and the Harris Tweed they produced. For two years he went back and forth,
Above – Patrick Grant launches the latest exhibition from Ian Lawson inspired by the legendary Harris Tweed. Left: the photographer talks to visitors to the opening at Rheged, Cumbria.
visiting sheep gatherings and sheds, and meeting people – a people completely different to those he knew. A different language, a different culture. In 2009 his vision crystallised around the possibility of a book – a book documenting his journey as a person, a book that would be an artwork in itself. The publishing world was not interested, it didn't fit their economic models. So Ian set himself up as a specialist publisher, determined to produce books of the highest quality, that would never be discounted and would be treasured as artworks in their own right. With From The Land Comes The Cloth Ian Lawson achieved his dream. The book and the prints – along with his subsequent (and equally beautiful) Herdwick: A Portrait of Lakeland – allow him the lifestyle he wants, to take beautiful photographs and reproduce them to the quality that they deserve and he demands. “Of course there’s no fast track – it’s finding your story, finding your passion
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and then looking for your audience”. After production in Britain didn’t meet his exacting standards, he moved it to Vicenza, Italy. He was very reluctant to go digital. His first digital camera sat in a box for six months, but his profession forced him into it, and he is now grateful for and obviously extremely skilful at getting the best out of ‘wonderful equipment’. And he makes no apologies for Photoshop. “We’ve always had Photoshop” he says, “it’s just we used to do it in the dark, burning and dodging”. Around the time of his book idea, he met Lorna Macaulay, Chief Executive of the Harris Tweed Authority (HTA), and their convergent thoughts culminated in the HTA’s endorsement of the book, including the use of their precious Orb trademark, and in the authority’s active support for the exhibition. Open now in Rheged, Cumbria, it moves to Stornoway, and then onward to Edinburgh. Norman Macdonald, Chairman of the HTA, says discussions are in hand
with the V&A, and there are also further plans for New York and Tokyo, both major markets for Harris Tweed. The exhibition itself is beautiful, and achieves Ian’s aim of ‘the next best thing to being there’. “I love to see the surprise on people's faces as they find themselves immersed in the pictures” he says. He has nothing but praise for the camera technology that allows him to produce such large-scale works – a Hasselblad H3DII-39, recently replaced by an H5D50. Of particular note, among many superb pictures, his bi-part comparative colour studies draw me back again and again. On the left of each is some aspect of island life – hills, huts, fields, bays, sheep – and on the right a tweed, a box of bobbins, a set of swatches. The palettes of each side are so close – apparently he carried both sets round in his head, seeking out matches and then going back and checking them on the computer. For the exhibition, the prints are digital on a plasticbase medium. He doesn’t sell ‘off the walls’ though. His own prints for sale are available from his website in a range from Fujifilm Crystal Archive paper to dibond aluminium. Harris Tweed: From The Land is at Rheged, Penrith until May 15th 10am-5pm daily; then at An Lanntair, Stornoway, July 1st to August 16th (closed Sundays). A digital edition of From The Land Comes The Cloth is available to view at Ian's website along with extracts of Herdwick. Ian’s next book Shepherdess, a study of Cumbria’s Alison O’Neill, is due out soon. – Peter Michael Rowan
Ian Lawson’s project started when he noticed the close match between the colours of the Hebridean landscapes and the the natural colours used in the handmade tweeds. His images have been paired up for publication and exhibition to emphasise this.
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Even the red corrugated roof of the bothy provided Ian with a colour match, above. Below, the unique island environment where the sheep are herded between sea and land â€“ Derek Campbell, a coastal crofter. His photo essay is the result of eight years visiting the islands in all seasons. Right hand page, Kenny Maclennan working the loom, Gearrannan, Leis. Transporting sheep from island to island; and Morag Morrison, shepherdess, Lickisto, Harris.
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All photographs © Ian Lawson.
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 61
Stanley Burgin, pioneer of studio background projection
am sorry to have to advise all my friends in the MPA of the recent passing of a much respected and influential member, Stanley Burgin AMPA of Mansfield, in January 2016 at the grand age of 87 years. Stanley was one of our longest and truest friends in the photo business. I first met him in the early 1960s when I was working at Nottingham Photo Centre on Pelham Street. I still remember calling at his studio in the centre of Mansfield on my way to Chesterfield or Sheffield one day and being amazed by the giant floodlights and spotlights he still had in those days before studio flash came along later in the sixties. I then moved back to York and, after working for two other firms from 1966 to 1977, I started my own business. In 1981 I met Stanley again when I had become the UK agent for Henry and Marian Oles of Texas with their Scene Machine background front-projection system, then in its very first model. I ran the first ever British seminar on projected backgrounds here in York and photographers travelled to it from all over the country, including Stanley from Mansfield. He was one of the very first British photographers to take up this new technology and he firmly embraced it from day one. He made it sing and dance straight away! You see Stan had a great advantage over many other photographers of that time – he was an artist. His care and control of lighting, of props and choosing an appropriate stock slide or effect whilst keeping it in the background, not overpowering the subject, was his artistry. It showed in his beautiful portraits right from the start. Stanley Burgin was brought up on the portrait photography of Hollywood movie studios, in the days when portraits were
Peter Stanhope, left, with Stanley Burgin in retirement
carefully created and lighting was skilfully controlled. This showed in his beautiful work throughout his life. He quickly won three Kodak Gold Awards with his frontprojected background portraits and became a member of the Kodak Gold Circle. He joined the Master Photographers Association in the 1980s and was immediately upgraded to Associateship on entry. This was very unusual if not unique at that time. His portfolio featured in The Master Photographer magazine and his male portrait (above right) appeared on a cover which was printed with gold ink to mark the Kodak Gold award. Over the years which followed Stan and I (and my wife, Jean) became very firm friends and we spent much time together including the time when he photographed us and our then teenage children in his studio in the late 1980s. Those portraits hang on our lounge wall to this day, three houses later ! We visited him at his home many times and he came up to York in 1990 to meet up with Henry and Marian Oles as they were staying for a few days en-route to photokina in Cologne. I retired from the industry in 2003 but kept in touch and we visited Stan from time to time. We last spoke to him on the phone in October of last year, before he fell in his garden and became finally ill as a result. I know how much Stan loved his studio, and particularly using his Scene Machine, the filmera forerunner of today’s green and blue screen background montage methods. Even in his later years he was very capable of converting to digital imaging – in his late seventies and early eighties. An amazing man indeed who will be remembered and missed by many. – Peter Stanhope
62 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
Photographs from the archives of Stanley Burgin
The Scene Machine, one-shot backgrounds before digital arrived Using a highly directional screen from 3M – similar to the reflective materials now used for safety clothing, road signs and car numberplates – the Scene Machine had a semi-silvered mirror to project a background slide with flash carefully matched in power to the portrait subject lighting. The US company offered a slide library, but Stanley Burgin also produced his own unique background scenes. The colour and density had to be just right, and all the matching was done by metering and using colour gels at the shooting stage. These great examples have aged little in 30 years.
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 63
REGIONS CENTRAL REGION
March 15th 2016 – Jenny Johnston from 3XM will be coming to the usual location, look out for the emails and keep on eye on the Central Region Facebook page. Jenny is going to be talking about using social media tools to promote your business – those of you who have been to one of her seminars will know just how useful the information is, and we’re thrilled that she’s going to take the time to come and talk to us!
April 19th 2016 – Photovision Roadshow, Royal Highland Showground, Edinburgh. MPA will be present at this show. www.forwardevents.co.uk
May 11th 2016 – Steve Walton, the MPA President, will be coming down to for a joint meeting with London and Essex – something we’ve done for the past few years very successfully – and it’s the turn of Brentwood to be the location. Really looking forward to both welcoming Steve and seeing some of his stunning photography!
MIDLANDS REGION April 5th 2016 – Cherubs Roadshow and Kelly Brown Newborn seminar, Sketchley Grange, Burbage, Leics.
NORTHERN REGION April 1st 2016 – the Aspire Open Day is designed to give you a ‘no obligation’ couple of hours where you can focus solely on your photographic ambitions, meet the team here, see the environment and have a taste of the Aspire experience – it is an informal day of fun and exploration… www.aspirephotographytraining.co.uk Aspire Photography Training Dalton Hall Units 1&2 The Stable Yard Burton-In-Kendal Cumbria LA6 1NJ 01524 782200
May 2nd 2016 – deadline for entries to the Scottish Region annual awards. Entries should be supplied on disk or USB and sent to Sandra Parris, 13 Hislop Gardens Hawick, Roxburghshire TD9 8PQ. A full list of categories and rules etc have been sent to Scottish Region Members in an email newsletter, if you haven’t received this please contact Sandra so you can be added to the email list. May 16th 2016 – Social Media for Photographers, with Jenny Johnston of Photovalue/3XM Solutions. Registration 9am, half day seminar. See: www.3xmsolution.com Do you want to understand how to use facebook advertising for your business? During this half day session you’ll learn how to: Set up your business page for success Create content that's relevant to your target audience Get started with Facebook advertising Build custom audience lists for advertising Create and target lookalike audiences Use Facebook advertising to generate enquiries and increase bookings See also how you can use 3XM galleries in your business! June 12th 2016 – Scottish Regional Awards, The Royal Hotel, Dunkeld, Perthshire PH8 0AR. Tel 01350 727322. This year’s judge and speaker is David P MacDonald FMPA.
FINDING YOUR REGION ON FACEBOOK REGIONAL news, discussion and updates can be found on Facebook. To find the main MPA page, type ‘Master Photographers Association’. For regions, type ‘The MPA’; for special groups including China, Malaysia, Cherubs, Qualifications, type ‘MPA’ – in each case you’ll get a list of options. Here are the full URLs of active regional UK Facebook pages: https://www.facebook.com/MPA.Central.Region https://www.facebook.com/The-MPA-London-Essex-Region https://www.facebook.com/MPANorthernRegion https://www.facebook.com/The-MPA-Welsh-Region https://www.facebook.com/The-MPA-West-Midlands-Region https://www.facebook.com/The-MPA-Scottish-Region https://www.facebook.com/The-MPA-South-East-Region https://www.facebook.com/The-MPA-South-West-Region 64 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
From the 2015/16 Master Photography awards, by Ross Grieve
WELSH REGION March 7th 2016 – Ross Grieve, DSLR to Mirrorless & 4K Photography A talk by Ross Grieve about why he moved over to mirrorless cameras and why global brands like Panasonic and the Waldolf Astoria are using his images in their latest campaigns. Grove Golf Club, Porthcawl, 7.15pm. Those wanting food meet at 6.00pm. April 18th 2016 – AGM and Presentation on Competition Judging. Annual General Meeting at 7.00pm at The Grove Golf Club, followed by a presentation on ‘Competition Judging - the Good, the Bad and the Ugly’ by Peter Ellis FMPA . Peter is internationally recognised as a photographic judge, and is the Chairman of the MPA panel of judges. He will be explaining exactly why entries win or fail, explaining all that goes on behind the scenes. May 15th 2016 (Sunday) – Puzzlewood (to be confirmed, weather dependent) Social Day Out. Meet at Puzzlewood near Monmouth: www.puzzlewood.net take some photographs, then off to a nearby pub for sustenance. This is an amazing place which has featured in a lot of TV and feature films, most notably the latest Star Wars film. This is a purely a social day out, not a
seminar or formal meeting. We will only need to have an idea of numbers attending in order to book tables for a meal at the pub, and everyone pays their own way. June 27th 2016 – Annual Welsh Region Competition. Following previous year's formats, the judge this year will be Steve Walton FMPA , the current MPA president, and will be held at our regular venue, The Grove Golf Club. Judging will take place in the afternoon, and the evening session will be a presentation by Steve on his own work and experiences. September 12th 2016 – Model Photo Shoot at Glynhir House (to be confirmed) Glynhir House is at Llandybie, near Ammanford in Carmarthenshire and offers great opportunities for both indoor and outdoor photography. We will organise the location and the model, and we will ensure that there is a wide range of equipment and techniques available to try out which perhaps you would not normally have access to. The rest will be up to you! This is not a formal seminar, but an 'experience and development' day where we teach to and learn from each other. There will be a charge for this, purely to cover the venue and model hire costs, and numbers attending will be limited!
Online Qualifications Judging The Master Photographers Association 01325 356555 Qualifications www.masterphotographersassociation.co.uk/qualification-dates-2016/ March 25th (Online Associate) May 27th July 29th September 30th November 25th
for MPA members CHERUBS ROADSHOW – Learn from Kelly Brown, Australia’s most awarded Newborn Photographer APRIL 5th 2016 – At Sketchley Grange, Burbage, Leicestershire http://sketchleygrangehotel.co.uk/ Join newborn specialist Kelly Brown as she delves into the delicate art of posing babies. Kelly will share all of the key components to a is for thethose UK’sthat leading supplier of photo-book successful Atech business specialize in newborn photography manufacturing systems, andLearn national salescreates and or simply offer it to their existing clients. how Kelly forwhile Chromira photo printers. simple yetservice stunningagent images taking vital safety measures, and how she builds relationships with her clients to gain their trust. This offers customers a 24the hour, 7 day a week session willAtech give you the its confidence to enter hidden, profitable after sales service, together with service contracts world of newborn photography. today cover whole range of photographic, This one classits will provide photographers with the digital right tools equipment and finishing required toprinting run a thriving photography business.machines. All consumables – suchcovering as laminates, During spare the dayparts Kelly and will work with 1 newborn the inks, paper, films and slide mounts – are carried in following… stock for same or next day delivery. Safe work practices Posing – Babies alone and with Parents We keep the photo labs YOU use for your vital Transitioning Settlingorders up and running to meet your deadlines withoutawake compromising quality. Photographing babies Creating easy, effective set ups with props and a posing bag Contact us to find your nearest lab offering Postproduction Chromira prints or bound photo books and Marketing albums, or find out more about our products and Creating a pricing structure to suit you services. Product selection to suite your brand Please note that this event is selling out fast but it’s still worth Call 01707 373738 or email enquiring NOW and having your interest recorded in case of email@example.com • www.atech.co.uk cancellations even if it’s fully booked. See the article in this issue on Kelly Brown ATECH To register your interestLTD please contact firstname.lastname@example.org 15 Little Mundells • Welwyn Garden City • Herts AL7 1EW 31 or call 01325 356555
Focus on Insurance
Insurance Endorsed by the MPA Discounts available to MPA Members Towergate Camerasure looks after the insurance needs of more professional photographers than any other broker in the UK. We pride ourselves on providing a personal service to tailor the right insurance package to meet our clients' needs, from newly qualified professionals to established studios. As a part of the Towergate Group, the largest independent insurance intermediary in Europe, we have the market strength to deliver highly competitive premiums. Specialist covers for photographers include: • All risks including Accidental Damage and Theft • Public Liability • Employers Liability • Professional Indemnity • Shoot / Production insurance PI from £60, and up to a 40% discount on other covers available to MPA Members. For a free no obligation quote, contact us on
Tel: 0870 411 5511
Email: email@example.com Towergate Camerasure products are underwritten by one of the UK's largest insurers Norwich Union
Towergate Camerasure is a trading name of Towergate Underwriting Group Limited. Authorised and regulated by the Financial Conduct Authority Calls may be recorded for training purposes
MASTER PHOTOGRAPHY MARCH/APRIL 2016 • 65
MPA REGIONS CENTRAL Paul Wilkinson FMPA 6 High Street Haddenham Bucks HP17 8ER 01844 291000 enquiries@Paulwilkinsonphotography.co.uk EAST MIDLANDS Steve Walton FMPA 13 Juniper Close Leicester Forest East Leicester LE3 3JX 0116 2994901 stevewaltonphotography.info LONDON & ESSEX Raymond R Lowe Hon FMPA 123 Crossbrook Street Cheshunt Hertfordshire EN8 8LY 01992 636152 firstname.lastname@example.org NORTHERN REGION Steven Ramsden LMPA 10 Gillingwood Road Clifton Moor York, North Yorkshire YO30 4ST 01904 479063 email@example.com NORTH WEST David Thexton LMPA T&J Photographic 111 Ramsden Street Barrow in Furness Cumbria LA14 2BW 01229 835 035 firstname.lastname@example.org
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SCOTLAND John Parris FMPA 13 Hislop Gardens Hawick Scottish Borders TD9 8PQ 01450 370523 email@example.com SOUTH EAST Paul Inskip 63 Queensway Bognor Regis West Sussex PO21 1QL 01243 861634 firstname.lastname@example.org SOUTH WEST Contact MPA HQ for news of new regional contacts for 2016 WALES Collin Davies LMPA High Society Photography Caecarrig House 15 Caecarrig Road Pontarddulais West Glamorgan SA4 8PB 01792 883274 email@example.com WESSEX Anthony Von Roretz LMPA 22/24 Trinity Street Salisbury Wiltshire SP1 2BD Telephone: 01722 422224 firstname.lastname@example.org WEST MIDLANDS Steve Walton FMPA 13 Juniper Close Leicester Forest East Leicester LE3 3JX 0116 2994901
Photovision Trade Shows Seminars & Live Demos
EDINBURGH 19th Apr 2016
Hit the ground running in 2016 and learn new skills from our top name speakers covering the the latest subjects DUBLIN
6th Sept 2016
Studio Area Live
19th Oct 2016 Try the latest studio equipment
Star Attractions • Cameras & Equipment • Used Equipment Fair • Camera Cleaning • Workshops • Leading Trade Suppliers • Equipment Demos • Discount Vouchers
FREETrade Show Entry • FREE Parking • FREE Seminars • Tradeshow 11am To 4pm
Book your place now www.forwardevents.co.uk
66 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
MASTER PHOTOGRAPHY MARCH/APRIL 2016 â€¢ 67
© JARED PLATT
You will find us on Stand G71 Join us at this years Photography Show to experience the full range of Profoto products You will find our complete OCF system which includes the hugely popular B1 & B2 Also on stand will be the D1, the legendary Pro-8 and the amazingly fast Pro-B4 For product information visit www.profoto.com/uk There will be product demonstrations and informative talks on Light Shaping A selection of photgraphers will also be on stage sharing their work and shooting live For a full on-stand schedule please see The Photography Show website www.photographyshow.com
Profoto Ltd | Unit 21 Mcdonald Business Park, Hemel Hempstead, HP2 7EB| PHONE 01442 204919 68 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
With an emphasis on newborn photography, plenty of wide-ranging professional information on portraiture and many other topics!
Published on Mar 7, 2016
With an emphasis on newborn photography, plenty of wide-ranging professional information on portraiture and many other topics!