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Price when sold £4.95

Issue 41 - Creative Light Magazine :


Be free to create Profoto Connect & A10 Profoto Connect and the A10 are a powerful and easy to use combination. Profoto Connect is a button-free trigger with just three settings; auto, manual and off. So it’s never been easier to be creative and make the most of the natural and beautiful light of the A10. Discover more at profoto.com 2

: January | February 2021 - Issue 41

Contents 09

Creative Light 2 Online Event


Photographer of the Year 2020 Online Event

24 30

Claire Elliott Top Tips Photographing Toddlers Problem Solving for Photographers Gary Hill


Guild Spotlight Sarah Bryce


How to Market your Business in Lockdown Ronan Ryle

50 54 62 70 54 90

For the Love of Dogs Jason Allison GuruShots Mostly Black Challenge

© Daisy May

© Ian Stanley

© Miriam Manners

Successful Qualified Panels November/December 2020 Equine Portraits Philip Yale Is a Photography Style Essential Rob Hill Photoshop Glynn Dewis

© Fiona Duff Issue 41 - Creative Light Magazine :


Editor Julie Oswin

“ Welcome to the first edition of 2021 of Creative Light Magazine. Like everyone, I hope that 2021 will see the global pandemic abating due to the scientists’ brilliant work and our wonderful NHS. Hopefully, society can get back to something approaching normality, whatever ‘normal’ will be in the post-Covid-19 times. I am sure that the aftershocks of the pandemic will be felt for some considerable time, especially the personal loss of so many thousands of people, family, and friends worldwide. I look forward to showcasing the Guild of Photographers’ fabulous photographers during 2021, their stories and highlighting their imagery.” If you have a story you would like to share please get in touch > julie@photoguild.co.uk

Grizzly Bears in Canada are found in the Arctic tundra, in dense forests, sub-alpine meadows, and closer to the Pacific Ocean, around inlets and salmon spawning grounds. They prefer rugged mountains and remote areas that are undisturbed by humans. There are around 25,000 Grizzly Bears in Canada; 15,000 can be found in British Columbia, and the remaining 10,000 live in the Rocky Mountains of Western Alberta, the Yukon and the Northwest Territories, Southwestern Nunavut, and Northern Manitoba. I photographed the Grizzly mother and her cub as they were fishing for salmon in Glendale River, British Columbia, Canada.


: January | February 2021 - Issue 41

Editors Choice Dale Powell Awarded Silver - October 2020

Issue 41 - Creative Light Magazine :



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: January | February 2021 - Issue 41


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FEBRUARY 5TH 2021 09:15 - 15:30 8

: January | February 2021 - Issue 41

The Event With snippets of brilliance from amazing photographers; you can watch, listen and get involved in a jam-packed day full of inspiration and information! Be prepared for a fast-paced and fantastic day, visiting a multitude of genres and skillsets. Finishing off the awesome talks, we have an image competition sponsored by Hahnemühle that you, yes YOU can enter into! In short, sharing their wisdom, expertise, and nuggets of inspiration are: 09:45. 10:15 10:45 11:15 11:45 13:00. 13:30. 14:00. 14:30 -

Peter Rooney Laura Galbraith Lynne Williams Neil Pitchford Dave Wall Neal Martinez Nick Brown Lynne Harper Image Competition*


*Competition sponsored by Hahnemühle

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: January | February 2021 - Issue 41

Steve & Lesley Thirsk The Guild of Photographers

Welcome to the first edition of Creative Light for 2021! This time last year, we were at the Guild’s fabulous Awards weekend in the stunning Crewe Hall set in the beautiful Cheshire countryside. This weekend (on 6th February), we are holding a virtual Awards night instead, due to the current circumstances. Whilst we can’t meet in person, we are confident it will still be a great celebration, recognising success of all types within our amazing community … and it’s great to hear that some people are creating virtual tables when joining us on the night. There’s usually a daytime PhotoHubs training event at Crewe preceding the Awards night, culminating in an image competition which is judged live. Rather than miss out, this is now virtual too – 8 great speakers have been arranged along with an image competition which will be judged live at the end of the day (and Hahnemuhle are sponsoring it so there are some great prizes too). You can find out more about the Awards night and the PhotoHubs event in this edition – or you can see more about the latter online HERE. The current lockdown is likely to continue a little longer yet, so now is a great time to catch up with some of the 180 or so great webinars, available to watch ‘on demand’ on the Guild website – all totally free! They cover a huge range of photography genres and skills, as well as a focus on business and marketing related skills, to help people prepare for a positive and productive future. They are a great investment of time (and enjoyable too)! If you are in business, do make sure you are getting the Guild Newsletters as they include regular updates on the financial support available in England, Ireland, Scotland, and Wales – including the latest grants. Now is also a great time for those in business to review the products they offer. Many of our Trade Friends have invested time into introducing new product ranges. Do take a look at what’s on offer and consider obtaining new sample ranges from printing labs as many have some great offers available at present, in order to help those in business prepare for when we emerge from this lockdown. Also, don’t forget to check-out the Trade Discount page on the Guild website, as there are codes there which can save you money on purchases with many of your favourite suppliers. There are some discounts available in the Trade features in this edition of Creative Light as well! Go to page 96. As well as more information about the Guild’s Awards Night and PhotoHubs, included in this edition are all the Image of the Year, Out of Camera and Founders Cup images embedded as a slideshow. The latest Qualification passes are also embedded as slideshows, and the latest Gurushots competition winners are in here too – in short, this edition is packed with inspirational images. Needless to say, there are some great articles too, so enjoy the read as well as the images .. - Steve & Lesley

Issue 41 - Creative Light Magazine :


PHOTOGRAPHER OF THE YEAR - 2020 The Awards - Trade Sponsors The Photographer of the Year - A SureColor SC-P900 Pro printer worth just over £1000 The SureColor SC-P900 printer is THE high-quality photo printer (up to A2+) for design-conscious professional photographers and artists. It has increased black density for better gradation, deeper blacks, less graininess and finer detail and texture in black areas....plus more.

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: January | February 2021 - Issue 41

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www.datacolor.com Issue 41 - Creative Light Magazine :


Exclusive offer for Guild Members 20% off any CEWE PHOTOBOOK and any CEWE WALL ART* Offer available on any size or format using the CEWE Creator Software. For information on how to redeem this offer, log in to The Guild website photoguild.co.uk and view the Partners and Discount section.

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: January | February 2021 - Issue 41

CEWE are proud to be a trade partner of The Guild of Photographers We’re Europe’s leading photo printing company, known for our passion for photography and commitment to delivering outstanding print quality. Combining your creativity with our craftsmanship is the best way to share the photographs you’re most proud of.

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Issue 41 - Creative Light Magazine :


Front Cover The Sunflower and the Ladybird

ruth morris

“ I live and work in Singapore so my yearly visit to see my mum in Oxfordshire is a breath of fresh air and a completely different landscape from South East Asia. I was on my way to take photos of Wild Carrots in a field near Peppard Common when I found a patch of beautiful Sunflower plants. I love Sunflowers, the seed whorls’ geometry, the beautiful buttery coloured petals, and the furry stems. This photograph was taken just after sunrise when there were quite a few ladybirds and butterflies settling on the flower heads. I managed to capture the ladybird in the photograph crawling around the flower head, searching for plant-eating insects.” - Ruth Morris


: January | February 2021 - Issue 41

© Jenny Aronson

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: January | February 2021 - Issue 41

Issue 41 - Creative Light Magazine :


* up to a value of £500 - offer exclusive to members of The Guild of Photographers 20 : January | February 2021 - Issue 41

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Issue 41 - Creative Light Magazine :



: January | February 2021 - Issue 41

Claire Elliott CLAIRE’S TOP TIPS PHOTOGRAPHING TODDLERS “…Photographing children isn’t just about camera settings, props and lighting, it’s about gaining their trust to let you see their true personality” – Claire Elliott

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“ Claire has been a professional photographer for over 20 years and has exceptional skills as a communicator and photographer of newborns, toddlers, and children. She has the natural capability to get people to engage with her and has a rare gift of communicating, sharing, and teaching others to fulfill their dreams in photography. Clare is a Master Craftsman, Panel Member, and Judge with The Guild of Photographers and the UK Ambassador for Stand-In-Baby. She is a highly sort-after Baby and Newborn trainer in the UK and offers personal 1-2-1 training at her studio in North Yorkshire and online. Claire is a well-respected photographer amongst her peers. “


: January | February 2021 - Issue 41

GET TO KNOW YOUR SUBJECT While planning your session with the child’s parents, find out the child’s likes and dislikes. From a photographer’s perspective, you are wasting your time setting up the studio with balloons or drums, especially if the child doesn’t like them.

ATTITUDE Be fun and light hearted as babies and toddlers react to a fun voice tone and big facial expressions. Try to think like a children’s entertainer and go to town, as I can guarantee this will make for amazing expressions from the child on the day.

ELECTRICAL DEVICES May I STRONGLY suggest having NO electric devices at your session’s policy? This may seem a good idea at the time, but have you tried prising one from a nine-month-old hand to start shooting? I can assure you that once you have, you will think differently next time.

LENGTH OF SESSIONS Plan the session to be short and entertaining. I have found that 20 minutes to half an hour is a long time for a sitting baby or toddler in the studio. You will find that their attention will start to wander around this time, and they will be less engaged on the whole. The direct in the lens shots won’t be possible in most sessions.

PERSONALITY Some toddlers are very suspicious of strangers. Let’s try to avoid them going to the Doctors or Dentist feeling. In extreme circumstances, you could suggest arranging a short meeting with the family and introducing yourself to the toddler, ask them about the session and maybe explain what will happen, and I found this can help. Toddlers like to be in the know and not have a studio visit sprung on them. continued...

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: January | February 2021 - Issue 41

FOOD Unless the session is a cake smash where there will be cake anyway, may I suggest asking the parent not to bring treats to bribe the child to perform as a baby or toddler can sniff out a treat from a mile away? What works for me is that I keep up the fun and play to the child’s character; if they like to be loud, be loud. If they are a more quiet personality, entertain them in a much softer, more relaxed way.

SCHEDULE Find out the toddler’s happiest time of the day. Try to avoid nap times, especially mealtimes, as shooting a hungry top toddler is like trying to tame a lion.

ENGAGEMENT Sessions of this age range need to be entertaining and fun. I would suggest against trying for three outfit changes. I find that it will not happen, and you end up putting a lot of pressure on yourself. My solution is to discuss with the parents what styling they are interested in. Ask them to bring the child in a session-ready outfit to start the photoshoot. Suggest a bib or an outer jumper or cardigan keep them clean while on the way to the studio. This way, when they arrive, you can start the session with their favourite outfit (and Mum will always choose her personal favourite). You’re guaranteed to get some shots in the bag before you even attempt to suggest changing into the next outfit.

TODDLER + SIBLING Try to include the young sibling to watch. You work before adding them to the set. This can create trust between you and then a little bond, and eventually, they might be fighting to be in the photograph with their sibling.

STAY IN CHARGE Ensure you try and keep on top of the emotions during the session and keep the parents’ frustrations of their child not doing what they want them to at bay. Instead, try to explain to the parents that it will almost certainly pass to the child if they are stressed. So ask them to try and stay calm, let you do your thing. This will not guarantee eye contact with you, but it will give you a higher chance of the child looking at you through the lens and not looking towards Mum, slightly off-camera. - Claire Elliiott MCr www.trainingbyclaire.co.uk

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FOR LESS THAN YOU MIGHT THIN At SIMLAB, we pride ourselves on excellent professional quality printing at competitive prices. With impressive turnaround times and our easy to use online ordering system, it’s no wonder we have 1000’s of 5 star reviews from professional photographers. Our unique online service allows you to offer your clients professionally printed photographs to arrive in as little as 24 hours from placing your order via our dedicated courier service. Dispatched the very same day if ordered before 1pm Monday to Friday, our prompt photo print service is trusted and recommended by photographers from all over the UK. In addition to our incredible range of photographic prints, we offer a selection of premium fine art papers including 3 Hahnemühle options for a variety of textures to choose from. Upgrade your print with a mounting & laminating option, perfect for presenting images professionally and ideal for submission into print competitions.



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+44 (0) 1707 27 37 47 Issue 41 - Creative Light Magazine :



: January | February 2021 - Issue 41

Problem Solving with Gary Hill Gary has been a photographer for the last 11 years, following a career change. He is based in the North West where he specialises in bespoke portraiture for individuals and families. He is a Master Craftsman with the Guild as well as a Fellow of the Societies, and he has numerous awards to his name. Gary is a brand ambassador for Digitalab, Click Props and Backgrounds, a Friend of Graphistudio and a Sony Alpha Creator. He is however probably best known as an educator, being an exceptional trainer, especially in the areas of Lighting and Posing.

The first question is from Iain Poole. “ How can I make family shots look less forced? “ Iain, this is an excellent question and one that often gets asked. The first point I would look at is knowing your setups inside out and having the confidence in the poses. This way, you start your photo-shoot on a high, and your confidence is already there. The next thing is to work out how long you need people in front of the camera. The reality is, for a typical 25-30 shot gallery, I know I will require people in front of the camera for, say, 15-20 minutes. If you allow enough time in the session to let people build up a comfort level and rapport with you before you stick a camera in their face, you will get a far better reaction from them in front of the camera. I personally have a minimum two-hour window for an average family session to allow plenty of downtime. The next point I would look at is practicing your posing skills; again, it means you are dropping people into a pose with the minimum of fuss, so they feel more comfortable. It might sound daft but practicing with yourself in front of a mirror is an excellent way of seeing what works. It is also a fantastic way of showing people as “mirroring” your pose and more comfortable to understand and do.

So, add this to your time allocated into building a relationship with your clients, and you are halfway there. Ok, so you have your set up nailed. You know your posing to get the person or persons in positions you want and look good. This is now where people skills come into the equation. Talk to them, ask them about what they do as a family, what they like, what they have been up to. What interests them and then talk about that. Have a little fun with them. People, especially children, will love talking about things that interest them, so I ask in the pre-shoot consultations what they like and take a little effort to find out a tiny bit about it. The key is to make people have the expressions you want rather than asking for a smile or similar. If you can talk about things that make them smile, it’s far better than asking for a smile. We use these skills in everyday life, so don’t forget them when you are behind a camera. They will mirror your reactions with children again, so if I want fun, highenergy images, I have to be fun and have high energy; if I want serene, I am much quieter. Remember that about 90% of people who are having their photo taken don’t want to be there; they want the results, not the process. It’s our job to make it an experience for them that is positive. Issue 41 - Creative Light Magazine :


The second question from Rob Hill “ How to build a rapport with your clients? “ Another great question Rob. The rapport starts with the first point of contact. My workflow is to telephone a client when I get an enquiry. During that 5-10 minute call, I can gain so much more insight into what they are looking for from a photoshoot. The biggest tip I can give you is to be interested and make sure they know you are listening to them rather than telling them how great you and the photos will be. I ask where they are looking to put the images etc and why they are having them taken. You can then use this to open up the conversation with them when they arrive for the shoot, your starter for ten as such. I never go straight into shooting; I , pre Covid-19 and the Pandemic would have made us a drink, then we talk about outfits, type of images, and what they like and don’t like about themselves.


: January | February 2021 - Issue 41

There is no rush to pick up the camera until they ready to do so. I think modern society and the reliance on social media has led to people getting a little rusty on their people skills and losing the confidence in chatting to strangers. I am happy to spend 20 minutes doing this, all the time in the studio to make people more comfortable. Not only does this help with the rapport building, but it also leads to a whole better client experience, which will result in better sales and referrals. If you don’t realise how hard it is to be on the other side of the camera, have a photoshoot as a client to learn from the experience. It’s terrifying at first! So, moving on from your experience from the other side, working with your clients - take your time, have fun, and they will too. - Gary Hill www.theartoftheportrait.co.uk


Issue 41 - Creative Light Magazine :


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: January | February 2021 - Issue 41

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Loupedeck CT is a powerful, adaptable and custom console that puts the best of all your design, music, and editing tools and software at your fingertips.


: January | February 2021 - Issue 41

MEET THE EDITING CONSOLE DESIGNED TO ENHANCE EVERY PART OF THE EDITING PROCESS. Loupedeck CT is designed to save you time without sacrificing creative integrity, and can be used to edit your photos, videos, music, and designs. Loupedeck CT is an addition to the Loupedeck product-lineup. When compared to its predecessor Loupedeck+, Loupedeck CT takes customization and adaptability to a whole new level.



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Issue 41 - Creative Light Magazine :


GUILD SPOTLIGHT Sarah Brice Just a girl from Bristol with a dream. I am a mum of three children, a wife above all else; however, creating my photography business has been the most transformational time of my life. It’s been just over ten years, and my dream definitely came true. Studio Square Photography has grown from the early days of family photoshoots to what it is today. Prior to the pandemic I was photographing thirty professional weddings per year; a multi award winner with the Guild of Professional Photographers and preferred supplier at some of my local area’s top venues. All because a close friend trusted me to capture her special day all those years ago. I remember being totally out of my comfort zone, I researched and planned so much so that nothing would go wrong, and it didn’t. The buzz I felt from that day was incredible, and from that moment, I knew I wanted to be a Wedding Photographer. Plus, the feedback I received gave me the confidence to say yes to the next wedding enquiry. Now ten years later, people who meet me know me more for my business name and the wedding venues I’m associated with than my name. Seeing the business thriving more and more with each wedding season actually makes me (lump in the throat) emotional, and I have to pinch myself that I could be so lucky. Recently winning the Bristol Somerset and Wiltshire Wedding Photographer of the year award has been my biggest achievement in business so far; it shows that you can create your own path, your own goals and with hard work, dedication and passion, walk towards them.

www. studiosquare.co.uk


: January | February 2021 - Issue 41

Issue 41 - Creative Light Magazine :



: January | February 2021 - Issue 41

Q: How did you first get into photography? As a young mum, before my children started school, I knew I had a couple of years and an old Art A-Level to build a photography business that worked around our lives, something that I could be passionate about, while one day, possibly make a living. So, my little children started taking the brunt of my photography cravings. They became my little models, and the city of Bristol became my backdrop.

Q: What do you look for first when creating your images? When creating an image, the first thing I consider is the lighting and where shadows might fall across the subject. Where would be most flattering for the sun to light them?

Q: What have you found most challenging in your wedding photography? Getting consistency in my images is always a challenge. Different natural lighting over the whole wedding day and changing camera settings make for many different looking images. Not to mention going from one shoot or wedding to the next and trying to keep the same style flowing throughout my work can be quite a challenge.

Q: What motivates you to get up in the morning? If it’s not my three children, it has to be that first cup of tea!

Q: How has your style of photography developed? I still don’t even know how to describe my style; I’m still not even sure if I love it, and I know it will continue to evolve with my career. I love dark shadows and bright whites, muted greens, and natural poses. Capturing the emotion and bond between people is far more important to me than just photographing people.

Q: What have you found most challenging in being a wedding photographer? The Covid-19 Pandemic has been most challenging. I’m sure it is for everybody. No one saw it coming and no one planned for this. Losing a whole season of weddings, and with no end in sight for the wedding industry, yet still supporting my clients whilst they postpone dates and staying positive has been very difficult. Seeing friends in the wedding industry’s businesses collapse under the strain and worrying when weddings will return as we know them. I miss the days when all we had to worry about was the weather and how to take wedding photographs during a storm.

Q: One piece of camera equipment that you couldn’t do without? I try to work with natural light, but I don’t go anywhere without my flash.

Q: Your favourite go-to lens for your weddings? My fave lens is my 35mm f1.4 Sigma Art, closely followed by the 24-70mm f2.8 Canon.

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Q: Do you offer a pre-wedding photoshoot to your clients? If so, at their venue or your studio? I always offer pre-wedding shoots to clients as a way of meeting and getting them more comfortable in front of the camera, like a practice run for the big day. I organise the photoshoot at Bristol landmarks, such as the Suspension Bridge or Bristol Harbour. We always have a laugh, and they get some lovely memories to go away with too.

Q: How do you proof weddings? Watermarked images are upload to a private gallery on my website following a wedding and can be accessed using a personal password given to guests by the bride and groom.

Q: What is your turnaround from photographing weddings to providing the couple with the finished product? On average, around three weeks, not including album design.

Q: Do you provide wedding albums? I always like to offer my clients a bespoke wedding album. I think it’s essential to finish off something as special as a wedding, with something luxurious and unique to them that will last a lifetime, and showcase their images in the best quality.

Q: Do you use a tripod? If so, how important is it to your work? Yes. I do, especially for off-camera flash, long exposures, and when I am photographing couples at night.

Q: What advice can you share with members of The Guild interested in starting up as a wedding photographer? My advice would be to reach out and make friends with other wedding photographers in your area, we are a friendly bunch, and we all like to talk and help each other out. It can be a lonely job, so having them around you is great.

Q: What is the one piece of kit you wouldn’t do without and why? My dual camera harness, which makes it easy to switch between both cameras during a busy wedding day, is by far something I couldn’t do without.

Q: How important is post-processing and Photoshop to your workflow? Very! I like to edit small details out to make images as perfect as they can be. Maybe a glass has gone unnoticed in group shots or those green exit signs in the ceremony photos.

Q: What is your best buy for under £50? When I first started as a photographer, I bought a second-hand Canon 50mm F1.8 lens and instantly fell in love. Issue 41 - Creative Light Magazine :


Q: What’s the favourite part of the wedding day and why? I love arriving early enough to photograph the preparations; during this relaxed time in the morning, artistic details can be captured before we have to go with the flow of the busy schedule of the day. I also love Golden Hour; who doesn’t? If I can get a couple out at sunset, then I am one happy girl. Lastly, I love a good night shot of the couple, preferably backlit, and rain is always a bonus.

Q: What are your thoughts on the request of clients asking to have a digital enhancement to their faces and reduce the size of their arms, etc.? I would always discuss my clients’ concerns before the big day and try to get the best camera angles for my couples. However, as I am working for them, and it is totally within my capabilities to make them feel the best they can, I wouldn’t question their reasons for wanting something digitally enhanced (within reason). I would make sure I worked closely with them to ensure they are happy. I aim to look back at their images and love how they look and how beautiful their day was.

Q: Developing your marketplace, how important was it to create your brand in the area you are based? I have lived in Bristol all my life, and I say “lush” far too much to even consider venturing up North for work purposes. Creating the brand and developing the marketplace in my area has been mostly down to my social media followers and a whole lot of recommendations. I feel lucky that my work is exclusive to the South West, as it works around my home and family.

Q: Who inspires you? Sue Bryce, Nina Mace, Natasha Ince, and of course, my photographer friends who run photography businesses too.

Q: If you were to be on a desert island and only able to take one item, what would it be? My family.

Q: How do you like to relax after a busy wedding day? After a wedding, I cannot relax until I have checked through the images, pulled a few to edit, and sent them to the happy couple. Then maybe a very large wine to end the day!

Q: Favourite place in the world and why? On a beach, in the Caribbean, with my family. The best team I could wish for because that’s what life is all about.

Q: Three words that describe you? I asked my husband what I should put for this question, and after thinking for some time, he said, “ Diet starts Monday “ which sums me up quite well, actually!

Q: Favourite food? Sunday Roast

Q: Where next? I have recently moved to a new office, and once it’s all up and running, I will then be designing and building a new studio so that I can adapt my work and focus on other areas of photography too! - Thank you Sarah for sharing with Creative Light Magazine an insight into your Wedding Photography. When this Pandemic is all over and we can travel again have an amazing family holiday in the Carribean! - Julie Oswin, Editor 44

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: January | February 2021 - Issue 41


Issue 41 - Creative Light Magazine :


How to market your Photography business in Lockdown 3.0 By Ronan Ryle

How to market your Photography business in Lockdown 3.0 Lockdown is very difficult for every business. Lockdown 3.0 has ramped the pressure up even more. However, while being closed for business is outside our control. We are in control of how quickly we re-build and thrive in our companies post lockdown. In normal times, we often complained that we are too busy ‘working in our business’ to ‘work on our business'. 'Working on your business’ is preparing your marketing

Let’s start with when you might be open again. Yes, you are right that we don’t know yet when Lockdown 3.0 will end but what we do know is that if you wait until you are open to generate leads and bookings for your business until you are open, then it will be another 6-8 weeks until you have clients. Most photographers don’t have this luxury. Therefore you must do what Brad Bulmer (a BSA Mentor and 3rd generation photography business in Barnsley - Stan plus Stan2) does. Brad has what he calls a floating-diary.

campaigns, analysing your client experience, and improving your skills as a photographer and a business person. However, many of us find it challenging to get our heads out from underneath the duvet. That is understandable, but if you are serious about bouncing back into business quickly, you must wisely use this time. I encourage you to get up every day, get dressed and ensure you have a routine as if you were open for business. While you can’t use this time to work 'in your business', you can use it to work 'on your business'.

His floating-diary contains a full month’s bookings for March. If they can’t open the studio in March, then the bookings get moved until the next month and so on. Yes, this takes time and energy to keep contact with their clients but guess what? Time is not the issue for most of us right now. Use this time to communicate with your clients on the phone, text, email, and show them you care. Use this as an opportunity to keep their excitement high, so when they are back in your studio, they are excited about it. We all know BSA 2-Page Business Success Plan templates available to all Guild Members for FREE

If you haven’t yet done your Business Success Plan (Check out the Bounce Back to the Business course we have done with the Guild), there has never been a better time for getting this done. It is FREE for all Guild members, and we even have a particular group of just Guild members. How do I market Ronan if I don’t have any money and don’t know when I can open the business again? These are great questions. Let’s deal with them one by one.


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excited clients spend more! The Stan Plus Stan2 team understand that this works, How? It worked after Lockdown 1.0 and 2.0. What do I do if I don’t have any bookings to bring forward. Well, now is the time to start generating warm ClientGold leads and ClientGold bookings. Here are three simple ideas that won’t cost much money but time and effort. Step 1 - If you have a list of past clients, then pull this together in a CSV file organised by Name, Email, Phone Number and any other contact information you have for them. Decide on an offer to celebrate their unique relationships in photography once it is safe to do so. Start marketing to them now and fill your floating-diary.

Brad fills his floating diary with higher-paying ClientGold bookings even in lockdown. Step 2 - Decide how you connect with your Ideal ClientGold in your community. How might I do that I hear you say? Right, let’s take an example, Jeanine (another BSA Mentor) runs Cloud9Studios out of Tampa, Florida. Her ideal ClientGold is parents with young families. If these are your ClientGold, then many of these families struggle to balance housework, work and homeschooling. Imagine, if you could keep their children occupied for an hour or two a day. All from a safe distance, they in their homes and you in yours. Here is how Jeanine did this during lockdown 1. She ran various activities through her Facebook presence to run things like week-long scavenger hunts (for items within the clients home of course). She blended this into a phototype of competition that the children then completed each day. These typically occupied the children for an hour or two a day and gave Mum and Dad a break. No surprise then that 2020 ended up as Jeanine’s best year in business yet despite being shut down during the lockdown.

Step 3 - Use this time to master your online marketing. You can Join BSA for FREE for a 1-month trial and complete our first 14-Day 1st funnel challenge. You can join an elite team of over 200+ photographers worldwide who use our Pan-For-ClientGold systems to fill their studios all year round with higher-paying clients. The photographers doing this in lockdown will have a full month or more bookings in their floating diary when they open for business. These are the Photographers who will not only survive but will re-build their businesses quickly to ensure they thrive again. The current circumstances are out of your control. How you use this time during lockdown is yours to decide! You can join us for FREE for a 30-Day FREE trial, Take our 14-Day 1st Funnel Challenge and be ready to fill your photography business with higher-paying clients all year round.

Join Brad, Jeanine, Jonathan any myself in BSA Today and get filling your Floating-Diary with bookings for when it safe to open again. Scan the barcode or click here!

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: January | February 2021 - Issue 41

For the Love of Dogs Jason Allison The Dog Photographer

“ Jason is a lifetime photographer, dog lover, and

now a full-time pet photographer. He’s a Guild of Photographers Craftsman and achieved many an award since joining the guild in 2016, including Pet Photographer of the year 2019, Image of the year 2019 and ‘Classic Portraiture’ Image of the year 2019. How on this earth did I end up mopping dog pee up with an industrial-sized roll of ‘life-saving’ blue paper? Why was I sat looking at a ginormous pile of steaming German Shepherd faeces at 9:15 on a Saturday morning and trying not to vomit in every direction massively! Did that black Labrador just cock its leg on my antique sideboard, and how will I ever get rid of the smell? My arm is aching so much; I need a lighter lens! Why am I laid on my cold studio floor trying to capture the most awesomely perfect shot of six cute as hell puppies? Ah, a hyper Springer and a Sprocker in today; I may be here for a while! Oh, and the humping muscular Frenchie/ Collie/ Dachshund. [facepalm] Some days I worry I’ve bitten off more than I can chew with this dog photography lark, and, other days, when I nail that perfect portrait or meet the most loveable puppy litter, I think I have the best job in the world. Hi, I’m Jason Allison, a dog photographer; I’m not a dog behaviourist, I’m not a crazy dog man, nor am I a strobe lighting wizard, but I do love dog photography, and I love it when I get it right! I also love dogs, not madly, you understand, but I do love them. In my 4th year doing this job now, three years if you remove 2020 from the calculation, short years may I add. I’m realising it’s a lot easier now than I made it in the first two years. When I say easier, I mean the business of, the process of and dog photography as a product. Focus Jason! How did I get here? I’ll set the scene for you. Ok, I was born very creative, my mum is to blame, and she’s making decoupage Christmas cards for Christmas 2021. I loved photography, drawing, and music in my youth. I started with photography early, single figure age, but not in a sophisticated way, in a memory recording, storytelling way. I played with a dark room for a while in my teens. I now look back in envy at the way I used to fill photo albums with great pictures and stories; that’s not so easy for me now; there’s never enough time. Issue 41 - Creative Light Magazine :



: January | February 2021 - Issue 41

I used an SLR in my teens and developed many a roll of film at Boots. I always had SLR’s until the early 2000s and started with digital, then eventually got a DSLR in the early days of digital. Photography was still a hobby until four years ago. Editing? Yes, my second job was working for my Uncle, and there were lots of ID cards and paper-based management systems that needed to be designed, created, and personalised. This process was originally cut and past (manual scissors and Pritt Stick), but eventually, we scanned and created it on PC. I started editing scanned photos during this time, like the time I edited a girlfriend into my Florida holiday snap. Pets? Imagine being 12 years old and bagging up dog food from 25Kg sacks into 1Lb (454g) bags to sell in your parents’ pet store and getting so good at it the scales were almost redundant. I’m still as adept at tying knots in plastic bags to this day too. Spending many a Saturday serving in my Mum and Dad’s shop, seeing all of the dogs come in and, of course, our pets, they have been in my life for a long time. Oh, and I wanted to be a vet! Now you know my makeup, let’s look at some of the stuff you can expect from me. • The stuff I use gear and set-up options. • Competitions and Development: Image of the month. • Keeping them happy: The dogs and the parents. • Time and patience: The shoot. • Editing and printing: The best bit! • [Some thanks to Creative Light and Guild]

tinkering work in Lightroom and Photoshop. I’m in photoshop anyway as the majority of my fine-art work contains overlays, so whats a few extra minutes finetuning. I tend to find some gear I like that works well and stick to it. The gear I’ve got in the studio works for me; I’ve had it a while, which means it must be good, and it still gets me Gold and Silver awards, so I’m happy. I’m currently using a Canon 5D MkIV; I upgraded this from a MKIII last year but ONLY because the MKIV has similar controls to use as the MkIII, and prior to the 5D’s, I had a 7D, currently no plans to leave the Canon family. I find the file sizes of the 5DIV more than I need for all my photography needs. In addition to the studio, I do outdoor dog sessions, so it fits well there with its sporting heritage and no complaints about the commercial work either; in particular, I capture school marketing imagery in the form of the prospectus and billboard banners for Academies. Lens-wise, I have an original 70-200mm F2.8L; this is my main lens for everything I do in the studio, outdoor and commercial work. I also use a 24-70mm F4L for times when I don’t have space, taking photos of my own family, or when I’m lazy, as the 24-70 is very forgiving. If you’re considering the 70-200mm, consider the distance from your subject, which can be a good thing with nervous dogs as you’re a good distance away but maybe not so good as you will need a lot of space, a bigger studio. I love the image you get from the lens. Usually, I shoot around 90-100mm. I know people love the Bokeh from this lens, but I don’t usually shoot wide open to ensure I capture all the dog’s details nice and sharp in the studio.


My lighting choice is designed to keep the session simple for the dog, so I use large softboxes and feather the light on the subject from a distance.

As an introduction, I want to explain that my whole thinking when working with dogs is to make the entire process of capturing the picture as effortless and stressless as possible. I want the dog and the parent to have zero stress, no hassles, and leave the studio happy. This is usually at the expense of not getting it exactly perfect “in camera.”

I have previously used Bowen’s rectangular softboxes and Bowens strobes, but they have now been replaced with the amazing Pixapro CITI600 Pro/Godox AD600BM battery operated strobes, and I use the X1t Trigger. I use two in the studio portraits, and when shooting off-site, mini-sessions for example, I generally use just the one with a Pixapro Octa box.

In an ideal world, every dog would sit, stay, pose, move, pose, and so on. We would all have a very easy job; unfortunately, this is not the case, and I would estimate less than a quarter of my clients are good sitters and trained.

I’ve recently purchased some new Pixapro softboxes for a different look, which I’ve just started to experiment with.

My gear choice and lighting set-ups are designed to make the session easier for the client, and capturing the initial raw shot, as previously mentioned, often requiring

Next time I’ll go into some very forgiving lighting setups. - Jason Allison - Website: www.jasonallison.co.uk

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Mostly Black Challenge

Brand ~C

Vasilis Doxaras ~ Greece ~

Tien Ho ~ France ~

Anette Sandberg ~ Sweden ~

Find out more about GuruShots by visiting their website. Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com

Fabriz ~

Berna Güneş ~ Turkey ~

Ole Ms Sir ~ Great Britain (UK) ~

Tony Spencer ~ Australia ~

LaDo ~ Unit

Burak Demir ~ Germany ~

Serena Vachon ~ United States ~

Ian McCoan ~ Canada ~

Rob ~ Uni

Patrice Bonnin ~ Canada ~

Tinku Iyer ~ Canada ~

Dan Sommer ~ United States ~

Jaime ~G


: January | February 2021 - Issue 41

die H Photos Canada ~

Suzanne Snuggs ~ United States ~

Mats Lundin ~ Sweden ~

Liza Carlson ~ United States ~

zia Chiappa ~ Italy ~

Zura Kiria ~ Georgia ~

Sylvia Hermine Guenther ~ Australia ~

Mihaela Vâlceanu ~ Romania ~

onna Baxter ted States ~

Julien Guillemé ~ Switzerland ~

Giorgos Gartzonikas ~ Greece ~

Magic Maggie ~ Portugal ~

Williamson ited States ~

Jonathan Usha ~ United States ~

Margie Troyer ~ United States ~

Yana Raaga ~ Latvia ~

e Portaleoni Germany ~

Netty Cracknell ~ United Kingdom ~

Michal Lepore ~ United States ~

Stephoto ~ France ~ Issue 41 - Creative Light Magazine :



Mark Brueg ~ United

Marie France del Rabal ~ France ~

Angie Dawson ~ United States ~

Giedre Žemaitienė ~ Republic of Lithuania ~

Nathalie Guilleminot-Pernet ~ France ~

Robert Abreu ~ United States ~

Nicolene Dreyer ~ Australia ~

Yair ~ Isr

Grozdan Banev ~ Bulgaria ~

Rich Levy ~ United States ~

Garrett Stiefken ~ United States ~

American ~ United

Bryony Herrod-Taylor ~ United Kingdom ~

Miguel Barroqueiro ~ Portugal ~

Ivan Le Roux ~ France ~

L’Individu P ~ Fran

Karen Wittwer ~ United States ~

Tyler Wells ~ United States ~

Jean-Francois Faure ~ France ~

Beverly Tam ~ Can

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Dmtru Diana ~ Romania ~

Ronan Colin ~ United States ~

Marcos Silva ~ Brazil ~

Zeev Roytman ~ Israel ~

James Swartz ~ Canada ~

Py Py ~ United States ~

n Pharoah d States ~

Brendan Adams ~ South Africa ~

Angelo Casto ~ Italy ~

Nils Spiegler ~ Belgium ~

Photography nce ~

Laurent Mounif ~ France ~

Ryan Carter Media ~ United States ~

Tanya Tania ~Taiwan ~

mara Pierre nada ~

Shavit_vos ~ Israel ~

Ramon VandenOever ~ United States ~

Mike Boettcher ~ United States ~

ggenjohann d States ~

Tzur rael ~

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Dave Kust ~ Spa

Ezra Marrouki ~ France ~

Shadows Rising ~ United States ~

Andrea Rushbrook ~ United Kingdom ~

Vitek Líbal ~ Czechia ~

Gilau Rodica ~ Romania ~

Patrick Nealis ~ United States ~

Andre M ~ Bra

Recep Canbek ~ Turkey ~

Eva Laturová ~ Czechia ~

Barbara Vorster (Outsiders) ~ South Africa ~

Dewan ~ Can

ZY Sjahrial ~ Malaysia ~

Dem Kerrigan ~ Thailand ~

Gabriel Riveros Vilches ~ Sweden ~

Jalapno ~ United States ~

Sérgio Moraes ~ Portugal ~

Katybemine ~ Sweden ~

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Arvo ~ Esto

Nathalie ~ United K

Michael Burlak ~ United States ~

Amit Erez ~ Israel ~

Akanjee Photography ~ United Kingdom ~

Miranda azil ~

Ágnes Brunner ~ Hungary ~

Aleksandr Drugov ~ Russia ~

Peo Möller ~ Sweden ~

n Karim nada ~

Myrna Gordon-Covelli ~ South Africa ~

Anne-Marie Fuller ~ South Africa ~

Ruan Wannenburg ~ South Africa ~

o Silm onia ~

Paweł Kostusiak ~ Poland ~

Elisabeth Murs ~ United Kingdom ~

Fwthsmagkos Magkos

tom Shots ain ~

Rouquet Kingdom ~

Maciej Czuchra ~ Poland ~

~ Greece ~

Find out more about GuruShots by visiting their website. Join the daily photo challenges, improve your photography and get rewarded. www.gurushots.com Issue 41 - Creative Light Magazine :



: January | February 2021 - Issue 41

Our Photography Insurance policies have been designed for Professonal & Semi Professional Photographers, Video Makers and Photo Journalists. If you are an amateur photographer then we can still help you! For expert advice of all kinds of photography insurance, speak to one of our friendly staff on - 0161 925 5051

@Photo_Insurance @InfocusPhotographyInsurance www.infocusinsurance.co.uk Professional Indemnity Public Liability Photographic & Technical Equipment Commercial Legal Expenses Personal Accident Insurance Employers' Liability



Issue 41 - Creative Light Magazine :


Guild of Photographers Successful Qualified Panels November | December 2020 “An excellent reason for joining the Guild is to submit your work for assessment and progress through our membership levels. It is a way to measure and evidence your skill level, as well as show your customers that you are committed to providing them with the very best service. Whilst photography-related qualifications have always been a controversial issue, how do you judge an art form? Our ‘Qualified’ status aligned to the standards of competence that reflect a level where the customer should be ‘pleased with the results’ when employing the services of a skilled tradesman (the photographer). In other words, ‘Qualified’ indicates professional ‘competence’ to a level where the Guild is willing to recognise the photographer as an ambassador of the association, so those who achieve that level should be proud of doing so”. - Steve & Lesley Thirsk

(Please note that when joining the Guild, Qualifications from other respectable organisations are transferable at ‘Q’ or ‘L’ level. They may also be at higher levels, but this is not guaranteed as it is subject to a review of the relevant submission or members work) Ref: The Guild of Photographers - Qualifications 62

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It’s here.

click to learn more



: January | February 2021 - Issue 41


Issue 41 - Creative Light Magazine :


James Rushforth

Wilkinson Cameras Ambassador Photographer For more information about our Ambassadors visit wilkinson.co.uk/blog

jamesrushforth.com @james.rushforth


: January | February 2021 - Issue 41

Issue 41 - Creative Light Magazine :


Photo Credit: Lynne Harper


Visually dynamic, contemporary yet traditionally framed. A stunning show piece with a high quality look and feel.


: January | February 2021 - Issue 41

Our brand new ‘Halo Range’ is a family of three circular based products. Whilst two of the products are pure circles, the third is a square framed circle offering unlimited options for every environment, taste and budget. Choose from Dibond, Aluminium Chromaluxe or traditional framing with a circular mount.

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Issue 41 - Creative Light Magazine :


Equine Portraits Philip Yale

The Client wants a black background! My love for photography is equine portraiture. It dominates the genres that I choose to photograph. I find horses to be beautiful, majestic, and very powerful animals. Their willingness to let people harness that power so effectively is probably unique in the animal world. My equine portraiture’s two main styles are outdoors on location or a formal indoor portrait, with or without a rider. Indoor shoots are becoming ever more popular with owners, which inevitably leads to requests for “black backgrounds.” I can see why. They usually look stunning and isolate the horse from any background distractions. My request is to find a suitable stable or indoor arena to stand the horse in just at the edge of the doorway. The ideal solution is to use the natural light falling onto the horse and with a gradual fallout of light darkening the background. This leaves only minimal editing required to darken the background completely? Easy, right? Well, in theory, it would be... however, if you’ve never tried to photograph at your typical livery yard you might be surprised at how few suitable locations there are for a good backdrop or an attractive background at all.

Only minimal editing required to completely darken the background 70

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Yes, you can usually find a decent wall or two, a stable door to lean over, or perhaps a nice quality fivebar gate. But, there is no escaping the fact, livery yards are working environments and cluttered with random bales of hay, dung heaps, wheelbarrows, buckets, sundry vehicles, plastic bags, usually purple (why is everything in a livery yard purple), and lots of people as well, not forgetting your client. Achieving a clutter-free background and an area to work is well nigh impossible.

Not possible to get a natural black background. Image on the right is 100% Photoshop. So, almost inevitably, you know from the outset that you’re likely to be faced with a considerable amount of editing on return to your office! I find that opting for a black background in these circumstances is by far the simplest choice. Selective editing to remove large numbers of unwanted background debris convincingly is far more complex and time-consuming. Some people ask me, “Why don’t you put up a big black sheet as a backdrop?” I have tried, but firstly, you have to remember that horses are generally very big animals and require a very large custom made backdrop. Secondly, the sheets act like a sail in the gentlest of breezes, spooking the horse and with the possibility of the whole lot, stands and all, falling over. It all comes back to post-processing, which might not appeal to purists who pride themselves on getting it right “in camera” for client shoots. It is all about satisfying and meeting the brief from your client. Post-production is my approach. I add either a very dark solid colour layer or a texture layer in Photoshop. To this, I add a layer mask and paint out the mask by hand. I have tried “Select and Mask,” but the results were always poor, especially around hair such as the mane and tail. The latest version of Photoshop is an improvement, but I’m still not convinced. Personally, I find that painting by hand gives me more control and is ultimately more satisfying. But, the price or cost to me is the amount of time it takes. To produce a good mask in post-production takes me an hour, and that’s before I start on any other edit. Fine hair detail is carefully drawn in strand by strand. There are several brushes I’m starting to use now that can be very successful in recovering hair detail; again, these are fiddly to use and equally time-consuming. 72

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The whole process of post-production caught me out a little while ago when I offered “mini shoots” at my local regular livery yard. Twenty minutes per horse, with a choice of three digital black backgrounds from ten images viewed in an online gallery, was the offer. The problem was that the yard had nowhere to take natural black backdrops; everywhere was well-lit, even the indoor arena! To achieve the incamera effect just wasn’t possible. Adding to this, fourteen people turned up! It wasn’t until I got home that it dawned on me the enormity of the editing task I was faced with. I’d promised everyone a choice of three from ten images - all black backgrounds. There was no way I could produce 140 black background images, even if I could do them in 30 minutes each (and I couldn’t). I apologised and displayed each horse’s portraits with minimal editing, with the offer to convert the three chosen images with full edit and create the background they required. Even that was a huge undertaking! Lesson learnt! I am now cautious about promising photoshopped backgrounds, and I no longer offer them for mini-shoots. Another question I often get asked is, “Why not use flash indoors to get a darker background?” Technically this could work in theory, but it isn’t ideal. The biggest worry being the horse’s reaction. Even the best-trained, most placid of horses can freak out at the most benign unexpected little event. A blinding flash with an unknown horse should be attempted very cautiously indeed, and only after considerable discussion with the owner. I did try off-camera flash once, but you need powerful lights and an enormous softbox. Quite often, horses tend to need walking between shots, so whenever they are brought back, you can guarantee that the horse will never be in quite the same position as before, resulting in the wrong exposure if you don’t reposition your lights. I’ve found artificial lighting in any form to be a lot of trouble. So, while it can be said that a black or textured backdrop to an image can be an easy sell, there is often a lot more to the post-production than many people realise and the additional cost to the overheads in business or your personal time. Now, where’s that black paint tin …? - Philip Yale | www.pypimages.co.uk

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Peter Li is an award-winning photographer based in London. His architectural artwork received 1st place in the Architecture Category at the Epson International Pano Awards 2018 and was Commended at the Sony World Photography Awards 2018. His work has been featured in The Times, Time Out London and in various photography and art publications.

How did you get your start in photography? I started shooting with a DSLR camera back in 2013 when my first child was born. Like many dads out there, I wanted to document my growing family. Having a wife who studied art, she has a very artistic eye and I am very lucky to have someone who would give me an honest critique. In the early days, I was independently studying/self-teaching photography every day and practising on a daily basis.

What type of photography are you shooting and what motivated you to focus on that genre? In 2015, I met two aspiring photographers who shared their passion for architecture photography with me. Through their inspiration, I have learnt to be attentive in achieving symmetry and am mindful in my composition and line work. Living in London, we have all sorts of architecture; we often find a classic gem nestled amongst modern skyscrapers. I owe London for fuelling my passion for this genre.

What has been your biggest achievement or obstacle along the way? One of the biggest challenges is to photograph a space completely empty, and often it’s the hardest thing to do, so to prep for the best conditions I try to plan my visits on the days that are least busy, and getting up early to be the first person there. In London, interiors can be tricky because often they would not allow the use of tripods. But on the positive side, photographing around London I had trained myself to have a steady hand for a slow shutter exposure.


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‘Megamind’ Royal Albert Hall, London. The auditorium of London’s Royal Albert Hall during lighting preparation for an upcoming show. It is fascinating to see the hall from floor to ceiling in such flying colours. The stage spotlight cast such dramatic shadows across the seating area and transforms the space into something quite otherworldly. It is a difficult scene to photograph, but challenging conditions often make great photos.

Who and/or what inspires you most? I often look for inspiration from paintings, movies and games. I started gaming from a very young age, and I think it has impacted my photography more so than any other art form.

What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use? My work sits between realism and fantasy. Historical buildings such as Cathedrals or music theatres are often reminiscent of our history - they are intrinsically timeless and, in many ways, otherworldly.

‘Chessboard’ St Paul’s Cathedral, London. St Paul’s Cathedral is one of London’s finest Classic architecture gem, a masterpiece from Christopher Wren’s creations. My St Paul’s series has 3 parts, each section of the Cathedral has its very own style but marries seamlessly together. The chandeliers brighten the space evenly across the Nave, while the lack of deep shadows creates a minimalistic elegant scene.

With vertical panoramic photography (Vertorama), we are able to observe a three-dimensional space in its entirety, giving us a view/perspective beyond what the eye can see. It breaks us from reality, plays with our perception of shape and form and creates a sense of another world. Through my photography, I hope to impart fragments of fantasy to the viewer and encourage them to take a momentary step out of their reality

Why is accurate color important within your workflow? I print my work regularly, colour accuracy is very important, having a screen that could accurately render the colours will make the process much easier to manage. The subtle tonal difference of an image can convey a very different mood and message.


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John Miskelly

LANDSCAPE John Miskelly is a leading landscape and travel photographer in the UK and Ireland. A multi-award-winning fine art photographer specialising in both landscape and seascapes from Ireland, Scotland, and worldwide. His photography is recognisable through the visual drama and artistry of his imagery. He has a keen eye for the natural landscape’s many moods together with a life-long passion for the wilderness. He has a talent for capturing images with fantastic light and atmosphere. He will think nothing of spending many days braving the elements (and often getting very wet!) to get the right combination of light, mood, and ‘feel’ that captures the magical landscape.



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Q: What have you found most challenging about your photographic business? The most challenging aspect is marketing and being able to keep generating new business. While it’s challenging, I still enjoy this aspect as it’s the lifeblood of my business. I spend less time taking photographs than people would believe.

Q: What advice would you give to Guild members looking to sell and make a living from Landscape/ Architectural or Commercial Photography? I always say it’s essential to follow your dreams. However, moving from taking landscape images, possibly as a hobby, to making a living is a big challenge. If you’re content to have the pressure of delivering to often challenging client briefs and of marketing yourself as a fine art photographer, then go for it. Also, offer something that others aren’t providing, although this can be difficult to find. There are relatively few professional landscape photographers out there making a living at this for a reason, and I certainly don’t know any wealthy ones!

Q: What lenses do you use for your Landscape and Architectural images?


I currently use two tilt-shift lenses, the PC-E 24mm f3.5 D and the PC-E 45mm f2.8 ED. I also have recently purchased the Zeiss Distagon T* 21mm f2.8 ZF.2 lens. My LEE filters are also essential for all of my work in landscape. Over the years, I’ve used different camera systems, depending on what was best to complete the job at hand.

Q: What advice would you give to photographers about landscape photography? Get your technique nailed, particularly how to use your camera with it’s ‘manual’ settings, including manual focus. After this, find what inspires you and what your emotions want to express through your images. Then go out and take photographs. Being critical of what does and doesn’t work. There’s nothing like practice to get better at whatever you choose to do!

Q: How essential is a tripod for your photography? I use a tripod for all my landscape work. I work slowly and methodically, using manual settings on my camera. A tripod isn’t a hindrance. I also do a lot of long exposure work, so not using a tripod isn’t an option. On the other hand, if I’m shooting travel or environmental portraits, then I only ever shoot hand-held.


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Q: How necessary is post-processing in your finished images? It is critical to my style of landscape photography. However, it is essential to remember that any post-processing must be sympathetic to the image and carried out with a clear vision of what you want the final image to look like. I so often see photos that have been poorly processed or have had techniques applied that doesn’t make the image any better. I see so much on social media that is of poor quality, yet many people leave positive comments without knowing what makes a great image. This doesn’t help photographers learn to improve their work and how to produce better images.

Q: Favourite place in Ireland and why? I love the County Antrim and Donegal coasts, but if I had to be more specific, I would pick Boyeeghter Bay, an isolated beach that isn’t easy to find and one that’s a favourite with my workshop participants.

Q: Who inspires you? I’m inspired by other photographers, music, books, and other forms of art. I think it’s essential to be open to the wider creative world. In terms of photographers, I love the work of Michael Kenna, a true master of composition. I was initially inspired to try landscape photography many years ago, after hearing Joe Cornish talking about his images.

Q: Apart from sheer hard work, what would you say is the main ingredient to your successful imagery? It’s probably having a clear vision of what I’m trying to achieve. I am very patient, waiting for the right light. If necessary, I visit a location to get the image that I had in my mind when I started with the original idea. I then see this through to the final print, which is incredibly important.

Q: Any books that you would recommend to Creative Light Magazine readers? I have already mentioned Joe Cornish, and I would suggest that his book, ‘First Light’ is a true classic. ‘Mountain Light’ by Galen Rowell, a mountaineer and photographer, killed in an air crash in 2002. ‘Zebrato’ by Michael Levin.

Q: How would you describe your style and approach to landscape photography? I start off by carefully planning the images I’m trying to capture. For example, one of my clients commissioned me to produce a range of images from the Game of Thrones locations. I worked out the best time to photograph each location based on the light, weather, and tides for the seascapes. It was then a case of waiting for the right time and being ready when all the elements came together. BOYEEGHTER BAY, COUNTY DONEGAL

Q: Have you received any formal training from colleges or universities during your career? I completed a City & Guilds Course in photography in the late ‘90s. The Tutor on this course was inspirational, and the course helped me start thinking differently about my photography and how to take it to a new level. I also believe in qualifications.

Q: How did you begin to develop your brand? I suppose this just happened and developed naturally over time. I am known for producing strong and often moody images, which I believe suits much of our landscape around the British Isles. I have also specialised in panoramic images, and I want to capture the mood and emotion of the places I visit. Clients now come to me for this type of imagery. I also believe that as a photographer, our style and creativity never stops evolving. I expect my photographic style will be different in a couple of years from now.


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Q: Interesting facts about you? I’m a workaholic and very driven, as my wife and family can well attest! As well as photography, my other great passion is alpine skiing. Career-wise, after spending many years working for the BBC, I trained as a Chartered Accountant before eventually returning to photography, but that’s another story!

Q: Where next? An excellent question! I enjoy passing on my knowledge to those wishing to take their landscape photography to the next level.

Q: Three words that describe you?

Passionate; Loyal; Animal lover; (I know that is strictly four words, but I’ll pretend I can’t count!)

Q: Favourite food? Italian. Then, of course, after an early morning dawn shoot, a bacon buttie and mug of tea is absolutely wonderful. - www.johnmiskelly.co.uk

“ The Old Man of Storr is located on the Isle of Skye in Scotland. This shot was another of my stitched panoramas, taken on a cold and wintery morning in February. Up at 4am to allow time for the two hour drive from a friend’s cottage, I then had an hour’s walk from the car park up to the ‘Old Man’. As I walked up, the area was shrouded in low cloud and it looked unlikely that I would get an image. However, just as I arrived, the cloud suddenly cleared giving the most wonderful sky and light. I had no time to do anything but quickly get my tripod and panorama gear set up to capture this sequence. Within a few minutes, the colour in the sky was going and I had one sequence of images that made this shot. I’ve been back since, even camping on the hill to be ready for the dawn light, but I haven’t got anything better than this! It just proves that sometimes the light works, but often doesn’t, hence you have to be prepared to take the opportunity when it arises! “

“ Glenariff, known as the Queen of the Glens, is in County Antrim in Northern Ireland. Consisting of a 2,928 acre forest, the river running through it has three waterfalls and lots of wonderful photographic opportunities. I wanted to capture something a little different and made my way along the riverbank away from the main paths to discover this secluded part of the river. Even though it was autumn, the bright sunlight coming directly through the trees when compared to the dark shadows was a real challenge for the camera’s dynamic range. The only way to deal with this was by using both a three stop and a one stop ND soft graduated filter, set diagonally along the top left hand corner of the frame. With some careful cropping of the image and a little shadow recovery in post production, I was able to control the highlights and shadows. In addition, I used a 3 stop pro glass filter to slow the shutter speed enough to blur the water and give a sense of movement. “

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Prints as good as it looks The Epson SureColor SC-P700 and SC-P900 photo printers are as pleasing to the eye as the prints they produce. These professional-level, compact A3+ and A2+ printers produce sharper detail and smoother gradations using the deepest blacks and superb blue tones. For more information on how Epson has redefined the design and output of professional photo printers, visit www.epson.co.uk/professional-photography


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Issue 41 - Creative Light Magazine :


DEMYSTIFYING COPYRIGHT The value of registering with the US Copyright Office - regardless of where you live When a photographer clicks the shutter button on their camera, they instantly become the copyright owner of the image created. Plainly put, owning the copyright means that the photographer has the exclusive right to reproduce, publish, or sell his or her original work (the image). An image used on or offline is, therefore, a copy of the original and requires the explicit approval of the photographer prior to use, typically through a licensing agreement or contract. To non-photographers, this concept is typically quite foreign. 82

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Many, including businesses, wrongly assume they are able to simply reuse an image they find on Google or Instagram, or the internet. As a result, image theft today is rampant across the internet, threatening the sustainability of the professional photography industry. Pixsy believes that every photographer should decide when and how their images are used, empowering photographers to protect their intellectual property rights through an AIpowered image monitoring and copyright infringement resolution service.

Pixsy currently monitors over 100 million images and has partnered with a network of over 25 law firms worldwide to handle over 100,000 copyright infringement cases for their photographer clients. As part of the protection and resolution process, Pixsy assists its photographers to register copyright ownership with the US Copyright Office (USCO) including bulk registrations of up to 750 images per registration. It is often believed that USCO registrations are limited to US-based photographers, however, registration is open to anyone and serves to protect photographers internationally against US-based infringements. With over 70% of the matches and infringements handled by Pixsy taking place in the United States, USCO Registrations are an integral part of any photographer’s toolkit. Not only does registration protect your work, it also increases the legal recourse available and increases the eventual settlement value in the event of an infringement. In order to file a lawsuit in the US for example, a USCO Registration is a requirement.

In order to file a lawsuit in the US for example, a USCO Registration is a requirement. If the registration was completed in a timely fashion, that is within the first three months of an image’s publication or before the date of infringement, then a photographer may be entitled to statutory damages of up to $150,000.

During the month of March, Pixsy will be offering a free consultation to Guild members with a Copyright Specialist. All GOP members have access to a special free partner plan, and access to all the protection tools and services Pixsy has to offer.

WIN A FREE COPYRIGHT REGISTRATION For your chance to win a FREE bulk copyright registration (up to 750 images), share an image that you would like registered on your Instagram profile with @pixsy_hq at tagged, and the hashtags #protectedbyPIXSY and #RegisteredbyPIXSY by March 31, 2021. Five lucky winners will be selected and announced April 15, 2021. For more information, please reach out to Pixsy by contacting info@pixsy.com. Issue 41 - Creative Light Magazine : 83

c i h p a r

g o t ho

P a Is ? l a i t n e ss e ’ e l y t ‘S

Rob Hill 84

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There are many different approaches to photography. For a lot of people, it is ‘just a hobby’ and remains that. Others migrate from hobby to part-time or full time profession and then there are those that study the subject formally with the intent of creating a photography-based career. As we start out, it’s very common to have a more experienced photographer (maybe a mentor, or a friend or just a casual acquaintance) say to you - “one day you’ll develop your own style”. If not, you will inevitably run across the subject in a magazine or a blog. But what is a personal photography style and why is it important, or is it not really that important at all? In my mind, a style means that you could have a pretty accurate guess as to the author of the image simply based upon the way the image looks. As with many subjects, there are more definitions of style than could be summarised here. Styles incorporate a number of elements; the subject itself can form part of a style, the way the subject is lit or styled, the way the final image is cropped, use of colour (or not!), incorporation of textures, particular emotions or even something as simple as the angle the image is shot from. It’s not even just one of these; several may combine to create your ‘style’. Having a strong style is said by many to be important in your photographic journey. One of the most common reasons to create a style is that the author will ‘stand out from the crowd’ and will ultimately attract more commissions in whatever genre they are focused on. I struggle with the notion that developing a style is a pre-requisite for success. In fact, if the style is too ‘niche’, then could it actually restrict your market? Does shooting in a single style day-in, day-out actually stifle creativity? A cynical person (perhaps a potential client) might look at a portfolio of substantially similar images and think that this is the only way the photographer can shoot and, if its not the ‘look’ they are seeking, move past a perfectly competent photographer? Does the need for a style align with the need to make money from photography? Meaning that a hobbyist has no need to impress anyone, for them photography is a pleasurable pastime and they can shoot whatever they want, in whatever style they want, whenever they want. Is it purely professionals that seek to ‘rise above the crowd’ that need a developed style to do so? Perhaps the answer lies partly within the market a photographer operates in. There are plenty of photographers that operate in small rural markets that shoot multiple genres (portraits, weddings, portraits, commercial, industrial) in a bid to ‘cast the net’ as widely as possible. On the other hand, the highly focused, style-oriented, photographers are able to immediately access a wider market that ever before through the Internet. It has to be true that, in some cases, the ‘style’ reflects the limit of a photographer’s ability - they have a limited number of ways that they can shoot to a commercially acceptable standard. Yet, if the work is good enough, and the market large enough, a perfectly good living can be made this way - without having to ever leave their comfort zone. As well as the opinions on what style is that can be found on the Internet, there are many ‘simple step’ plans to enable photographers develop a style within weeks or months. Can it really be that simple? Somewhat deliberately, this article has more questions than answers and that is probably appropriate for a subject that has almost as many opinions as there are people offering an opinion. My own view is that a style can be an important part of branding yourself as a photographer. However, unless the style meets the needs of the photographer’s potential customer base, it can be counterproductive. Many commercial clients have in-house branding guidelines and seek photographers that can demonstrably meet them; possibly leading to a conclusion that ‘casting a wide net’ could be a better approach. However, on the other hand, some clients (especially those just starting out or rebranding) incorporate the style of selected photographers into their branding. While developing and honing a style to the needs of the market, photographers should always bear in mind that tastes and fashions change over time. Today’s style may be very successful but, inevitably, clients will be seeking something fresh and new to help them stand out against their competition and the photographer will need to be able to deliver that. As a product photographer, I try to show a range of techniques and styles in my portfolio allowing potential clients to see that I have the toolset to deliver their vision. When I’m not shooting products for clients, I can be a pure hobbyist and shoot many different genres and subjects including travel, motorsport and many other things. I deliberately look for new and different things to try as a challenge and once I have mastered something to a reasonable standard, I want to move on and try / learn something else. Issue 41 - Creative Light Magazine :



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Having read this far, many readers would be expecting a definitive answer to the ‘style’ question. I am not sure there is a definitive answer as to whether a style is a necessity for success or not. It will all depend upon your genre, market and customer base. However, professional photographers do need to remain aware of market trends and hone their offering to the needs of the customer base. As well as the opinions on what style is that can be found on the Internet, there are many ‘simple step’ plans to enable photographers develop a style within weeks or months. Can it really be that simple? Somewhat deliberately, this article has more questions than answers and that is probably appropriate for a subject that has almost as many opinions as there are people offering an opinion. My own view is that a style can be an important part of branding yourself as a photographer. However, unless the style meets the needs of the photographer’s potential customer base, it can be counterproductive. Many commercial clients have in-house branding guidelines and seek photographers that can demonstrably meet them; possibly leading to a conclusion that ‘casting a wide net’ could be a better approach. However, on the other hand, some clients (especially those just starting out or rebranding) incorporate the style of selected photographers into their branding. While developing and honing a style to the needs of the market, photographers should always bear in mind that tastes and fashions change over time. Today’s style may be very successful but, inevitably, clients will be seeking something fresh and new to help them stand out against their competition and the photographer will need to be able to deliver that. As a product photographer, I try to show a range of techniques and styles in my portfolio allowing potential clients to see that I have the toolset to deliver their vision. When I’m not shooting products for clients, I can be a pure hobbyist and shoot many different genres and subjects including travel, motorsport and many other things. I deliberately look for new and different things to try as a challenge and once I have mastered something to a reasonable standard, I want to move on and try / learn something else. Having read this far, many readers would be expecting a definitive answer to the ‘style’ question. I am not sure there is a definitive answer as to whether a style is a necessity for success or not. It will all depend upon your genre, market and customer base. However, professional photographers do need to remain aware of market trends and hone their offering to the needs of the customer base. - Rob Hill MCr www.marketingshotz.com/

About the Author Rob Hill spent 25 years in global technology marketing and now runs a small but successful marketing consultancy. Alongside this, he is a Master Craftsman, Panel Member and Judge with the Guild of Photographers and ‘All-Round Photographer of the Year for 2016. He also won the ‘Commercial Image of the Year’ category with the Guild. Issue 41 - Creative Light Magazine :



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Issue 41 - Creative Light Magazine :


TIP SHEET #6 Using a 50% Grey Layer for Flexible and Non-Destructive Dodging and Burning

Dodging and Burning has been around since, well…Photography but I never ventured into the world of film so never experienced mixing chemicals in my own dark room, developing pictures and using them to Dodge and Burn. Now although we’re now well into the age of Digital Photography the art and process of Dodging and Burning is still as important as ever BUT nowadays with Photoshop, Lightroom and so on, there are many ways to do so.

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In this tutorial I’ll take you through a technique that makes use of Photoshop’s Dodge and Burn Tools but in a Non-Destructive way so as to give much more flexibility, so here goes…

Step 1: 50% Grey Layer Add a New Layer to the top of the layer stack by clicking on the New Layer icon at the bottom of the Layers Panel. Rename this layer ‘dodge and burn’. The go EDIT > FILL and choose 50% Grey from the Contents Menu and click OK.

Note: Another way to add a 50% Grey Layer is by holding down the Alt / Option key and clicking on the New Layer icon at the bottom of the Layers Panel. This brings up a dialog box. In here name the layer ‘dodge and burn’, in the Mode choose Soft Light and then place a tick in the Fill with SoftLight Neutral Color (50% Grey) checkbox and click OK

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Step 2: Dodge & Burn Tools From the Tool Bar choose the Dodge Tool and then in the options bar at the top of the screen leave the Range set to Midtones (makes no difference as we’re going to be working on a 50% grey layer anyway) but lower the Exposure (strength) to around 5% and keep a tick in the Protect Tones checkbox.

Tip: It’s best to keep the Exposure setting fairly low so that you gently build up the effect because when dodging and burning, before you realize it, you can very easily do too

Step 3: Dodge and Burn Now you’re all set to start Dodging and Burning. Now there’s so much can be said about how but let’s keep it simple and say that the main objective here pretty much is to brighten the bright parts and dark the dark parts. Check out the screen grab to see the areas I worked on.

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Tip: To only see the grey layer you’re working on simply hold down the ALT / Option key and click on the eye icon of the Grey (Dodge and Burn) layer. This will turn every other layer off. To go back to normal view just hold down the ALT / option key and again click where the eye icon for the Grey (Dodge and Burn) layer would be. Step 4: Flexibility of Grey Some people choose to dodge and burn on the grey layer using a combination of black and white brushes and this works just fine. However the reason I choose not to is so that I can set up my foreground to 50% Grey by clicking on the foreground colour and setting the HSB to 0, 0, 50. Then when I’m dodging and burning, if I need to remove or reduce an area I can quickly dive over to a brush and paint with this 50% grey colour at whatever Opacity I choose.



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Step 5: Blending Another great reason to dodge and burn on a 50% Grey Layer is how we can blend areas together. The real skill with dodging and burning is making it look natural how the highlight and shadows areas you’ve enhanced blend into each other. On this Grey Layer we can do that after the fact by selecting the area we want and using Gaussian Blur.

Dodging and Burning can make such a difference to your pictures by highlighting specific areas to guide the viewer and adding much more depth and dimensions. But if I was to offer one final tip here it would be to take your time; do a little then step away from your picture and return a few minutes later. When you do this you’ll see your picture with fresh eyes and will instantly know if you need to do more or you went too far and need to reduce the effect; and that’s easy now when working on the 50% Grey Layer. 94 : January | February 2021 - Issue 41 www.glyndewis.com



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The Guild’s Partners & Membership Benefits ALAMY

The leading online photographic library for stock images. Guild members arn the first £500 commission free. www.alamy.com


Save up to 10% in store or online, as well as on refurbs and offers. www.apple.com/uk


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Digitalab deliver high quality printing, frames and presentation products. They offer Guild members 50% OFF any sample products. www.digitalab.co.uk

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The online accounting option for photographers with 20% discount for The Guild. www.shuttertax.co.uk


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Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk

Websites that Work for You. Guild Members discount - SAVE £95 on all websites www.visionmediadesign.co.uk

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Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk



10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com 96

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Guild Members receive double points on every product order. www.3XMsolutions.com

THE GUILD OF PHOTOGRAPHERS “No other photographic body offers what the Guild does... get an incredible package of business support, training and mentoring by some of the most respected names in the industry, insurance, legal protection and the rights to use our respected membership logos”

Professional Membership costs £129 and Regular Membership costs £99

© Maxine Huselbee


Let the Guild help you with your photographic journey like it has done for many others! The Guild is suitable for those in business, contemplating a career in photography, undertaking photography related courses, or even those who simply love using their camera. EMAIL info@photoguild.co.uk CALL 01782 970323 / 07982 613985 Issue 41 - Creative Light Magazine :


k l a T x a T



: January | February 2021 - Issue 41


Cloud Software We use cloud software ensuring your accounts are up to date each month. If you select a monthly option which all include QuickBooks Online, you'll be able to keep track of your business in real time and automatically download bank transactions. All you'll have to do each month is run a report we share with you, click on any transaction we don't recognise, and edit a description. Simple!


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Year End Accounts Are my Year End Accounts included? Yes. The fixed monthly fee includes your year-end accounts and tax return as well as your monthly bookkeeping.

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BACK PAGE BRONZE - Lorraine Lucas -


: January | February 2021 - Issue 41

Profile for Guild of Photographers

Creative Light - Issue 41  

Creative Light Magazine is for people interested in the craft of photography. A large proportion of the magazine quite rightly is about the...

Creative Light - Issue 41  

Creative Light Magazine is for people interested in the craft of photography. A large proportion of the magazine quite rightly is about the...