Creative Light - Issue 49

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Issue 49 - Creative Light Magazine :

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PHOTOGRAPHERS TRUST WILKINSON CAMERAS. Image by Wilkinson Cameras’ Ambassador, Alyn Wallace alynwallacephotography.com Alyn Wallace

part-exchange. perfected. 01772 252 188 sales@wilkinson.co.uk

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CONTENTS 22

Simon Newbury Composites, Techniques & Photoshop

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Claire Elliott The Calming Wrap

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Jen McDonnell Successful Craftsman

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Peter Morgan Tech for Togs

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Iain Jack Successful Master Craftsman

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Jeff Brown Focus on Marketing

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Tim Wilde Successful Master Craftsman

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Mary McClymont My Journey | Finalist Founders Cup

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Guild Training Day Scott Johnson

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© Chris Chambers

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Kick-start and grow your business in 2022 We understand that there’s more to your business than taking stunning photographs. That’s why as well as our award-winning products, we also provide photographers like you with the education, resources and support you need to help reach your goals. From tailored Sample Packs to free Marketing Materials, discover how Loxley Colour can help you and your business flourish this year.

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Free Sales & Marketing Toolkit catching marketing materials wall displays. Our toolkit is packed ble promotional materials to help you

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EDITOR

Julie Oswin WeqcometothethediDonofreaD C ev Light: XMareexcitedtointroduceaneweraofdigitaqdeqivery<Quantum:fqease P check outpageninetofindoutmoredetaiqs:

n O pagedew conDnuewiththehotoshop P diD E ngSerieswithSimonewN bury Psimonsart:co:ukQ:Simonhasbeenauiqd G membersinceandcreatesfantasDc imagery8hehasagreedtoshareandproduceaseriesofarDcqesforreaD C ev Light: Theuiqd G introducetoouy theirnewTradeartnerd P nsD I tuteofhotographersc P J>weare

absolutely thrilled to be linking with the Institute of Photography. The passionate and knowledgeable team there really do care about their students in the same way we care about our members. They are focused on delivering first class content and support so it is no wonder they are the number one provider of online photography courses in the UK! By combining what they offer with what we do, photographers now have a unique opportunity to learn and push their photographic boundaries even more!” reaD C ev Lightagaz M ineeqcomes w eff J row B nwhowiqqbewriDngaseriesofthreearDcqesonmarkeDng: ThesubjectofhisfirstarDcqeis>Growouy rrandd B Youroqqow F ingandYourrofits P withSuccessfuqoint J artnerships4ffb P Checkoutefffs J arDcqeonpagers:nd A finaqqydqastbutnotqeastdeter P organ M fromTechfor TogsconDnueswithhisseriesofarDcqeson>CameratoCqientffbdwhichisanexceqqentinsightintobackingup ouy rork: w njoy E 4 Juqie J swO indditor E hreator C ofreaD C ev Lightagaz M ine

FRONTVEOC RISSUE Photo: Charles Thorne ©2022 “ Taken in late April this year my bluebell scene was in Dorset. The light was gorgeous and silky when I arrived at my destination around 30 minutes after sunrise. Intentional camera movement is the closest you get to being an artist and it really isn’t easy. I took around ten pictures of this scene and only one was closest to what I wanted to portray. It has a feeling that I have created a pastel drawing which is kinda cool as used to use pastels at art college” - Charles

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EDITORS CHOICE cyuL SeqqorsJDauv arded wA SiqverJarch M

“It is the unknown around the corner that turns my wheels” – Heinz Stucke

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Digital Delivery That Promotes Your Brand Get

30% OFF your first Quantum order as a Guild

member with the code QUANTUMGUILD

I WANT IT 3xmsolution.com/clever

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3XM


A New Era of Digital Delivery – Is It Time To Ditch USBs? The digital era of photography has caused a lot of controversy over the years with much debate over whether or not photographers should even offer digital files to their clients. For those of you who have happily embraced the digital age, you will have witnessed the evolution in digital delivery for yourself.

The Perception of Value One of the main considerations when selling any product or service is the perception of value. Having a tangible product to physically hand to your clients increases their value perception, thereby making it more desirable. It’s also worth noting that your digital files are your most valuable asset and should be the most expensive item on your price list. Is it not fair to say then that they deserve more than an email or a Dropbox link when delivering them to your client? If you think about it, this will be one of the final interactions you will have with your client. Does a link to wetransfer or an online gallery really cut the mustard? Or do you want to give them an experience worth talking about? It’s not that long ago that we were selling gorgeous leather bound CD/DVD cases to photographers before USBs took over. Disc drives were disappearing fast and USB ports were everywhere. So USBs became the goto product, and for good reason. They looked great, they could be custom branded, they were easy to use, and clients loved them. And yet, the adoption of USBs didn’t happen overnight.

Innovators and Laggards

PRODUCT ADOPTION CURVE Pragmatists

Visionaries

Conservatives

Tech Enthusiasts

Innovators

Skeptics

Early Adopters

Early Majority

Late Majority

Laggards

With any new product, the “innovators” jump at the chance to try something new followed by the “early adopters”.Then come the “early and late majority” and finally the “laggards” – the ones who resist change until they literally have no other option. This was very evident with the change from discs to USBs, and now the time for change has come again.

The Time for Change

USB ports are fast disappearing from laptops leaving photographers and their clients in a quandary. Those beautiful USBs are becoming completely obsolete, leaving your client’s photos stranded. So what now? Here’s the challenge. We still need a way for clients to access their photos. We also want to give them something that has real meaning and value, a tangible product that has been made specially for them. Another thing that brings great value to your clients is an easy way for them to share their images on social media and with family and friends. Is there a solution that can do all of that? One that doesn’t rely on computer ports, cables, batteries, or apps that need to be downloaded? The short answer is yes and it’s called Quantum. Not only does Quantum re-imagine how you deliver your digital files, it elevates your client experience, brings new opportunities for connecting with potential new clients, and it distinguishes you and your brand from every other photographer because your client’s reaction to it will be nothing short of WOW! So the question remains, will you be an innovator or a laggard in this new era of digital delivery?

3XM

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3XM What is Quantum? Quantum is made of up a physical, tangible product, the Quantum Card that uses NFC technology to trigger a digital experience on your client’s phone called the Quantum Cloud. NFC is the same technology used for contactless payments such as ApplePay and GooglePay. Your Brand - Top of Mind The Quantum Card is designed to live in your client’s wallet and links to the Quantum Cloud that lives on your client’s phone - the two things people carry with them everywhere! What better way to keep your brand top of mind.

Creating Value The Quantum Card can be designed so that your client will WANT to put it in their wallet, unlike a USB which usually ends up thrown in a drawer somewhere. It can be custom branded for your client with their favourite photo from their session on one side of the card and your logo on the other side. Not only will they appreciate this unique product you’ve created just for them, they’ll also want to keep it safe in their wallet, ready to share with friends. Think of it as a modern day wallet print!

How does it work? When you touch the Quantum Card to a phone, it opens the Quantum Cloud. The Quantum Cloud gives your client easy access to view, share and download their photos for safe keeping, or for sharing on Social Media. If they want to download them to a computer, they can simply email the zip file or save them directly to Dropbox. Sharing has never been easier as it uses the phone’s native share functionaity with the user’s favourite apps such as WhatsApp, Email, Messenger, and so on. iPhone users can even use Airplay to view their photos on a TV.

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New Client Opportunities When your client shares their Cloud by tapping their Quantum Card to their phones, your brand starts to travel through their network of family and friends too. Every Cloud includes a link to your Photographer Profile, a mini website all about you, which opens up a huge referral marketing opportunity. It gives them the chance to get to know, like and trust you, understand what you offer, and the style of work you do. Most importantly, it makes it easy for them to start a conversation with you whether that’s by phone, WhatsApp, email or simply to connect with you on social media.

A Great User Experience The best part about the Quantum Card + Cloud is how easy and seamless it is to use - in fact, people’s first impression is usually WOW! You don’t need to download any apps or software to use it and it works with all Apple (2017 onwards) and Android mobile phones that have NFC capability. There are no batteries, charging cables or computer ports to worry about, just a cool way for your clients to easily share and access their fabulous photos. It’s easy to surprise and delight your clients with Quantum. So, it’s time to ditch the USB, online gallery, or worse still, a Dropbox link, and start wowing your clients, creating opportunities for conversations with potential new clients, and making sure your brand stays top of mind and worlds apart from every other photographer in town. If you’re a forward thinking photographer, then you should be thinking QUANTUM.

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Theuiqd G is “absolutely thrilled to be linking with the Institute of Photography. The passionate and knowledgeable team there really do care about their students in the same way we care about our members. They are focused on delivering first class content and support so it is no wonder they are the number one provider of online photography courses in the UK! By combining what they offer with what we do, photographers now have a unique opportunity to learn and push their photographic boundaries even more!” JStevehesqey L Thirskdirectorsd D uiqd G ofhotographers P

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Testimonial “ Before enrolling on the IOP Professional Diploma in Photography, I’d been taking photographs for 40 years. I’d always wanted to improve and promised myself that one day I would take the time to learn properly and see how I could improve my photography but as a working family man and a part time musician, I never found the time. When the pandemic hit in 2020 and the music came to a complete halt, it seemed like the ideal time to find a course and finally study the fundamentals of my lifelong interest. My motivation was to see if I could improve my photography and develop consistency and confidence in what I could achieve with a camera. I hoped to learn how to add something extra to my images. I couldn’t have chosen anything better than IOP. The course units, instruction, ideas, assignments, feedback, plus the support, guidance and advice from the tutors and the interactions with other students have, overall, completely underpinned my photography and how I’ll approach it and enjoy it going forward as I continue to develop and enjoy this fascinating hobby. Tim McCann in particular gives so much time and consideration to the students’ efforts and progress that I always felt like an individual with my very own private tutor and mentor. When I first started on my IOP Diploma journey I regarded myself as someone who liked taking a lot of photographs, some of which were, occasionally, quite good. But, I’d always shied away from taking staged portraits, using flash under any circumstances and, despite owning many over the years, deploying a filter of any kind. I have learned so much on this course that I am now comfortable in calling myself a photographer. I now love taking portraits and using filters on landscapes, I really enjoy making long exposures in my landscapes and I’m even starting to enjoy using flash, even multiple flashes, when the need arises. Another interesting observation from my IOP studies is that I now take far fewer photographs and I spend a lot less time editing my images, all because I have much more confidence in what I’m doing with the camera and the software. I happily recommend IOP to anyone as it has certainly helped me to take better photographs and make far better images. In fact, I’m now studying again with IOP for the Diploma in Street Photography. I live in West Lancashire and South Ayrshire and I’m delighted to say that I still have the Pentax and thanks to Institute of Photography®, I now also have the confidence to use it again and I’ve just had it fully serviced! - Andrew Lewis

© Andrew Lewis

© Andrew Lewis

© Andrew Lewis Issue 49 - Creative Light Magazine :

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Testimonial

Diana Rambali

Institute of Photography®

“ I decided to buy my first DSLR. It was a Canon 80D. As soon as I got my camera, I took hundreds of shots of my daughter, but only a few of them were decent. Finally, I got a good one and that was enough to fall in love with photography. I soon realized that, if I wanted to take good images, I had to roll up my sleeves and learn more about digital photography. I enrolled in the Institute of Photography‘s Diploma in Photography and after a few months, I decided to upgrade to the Professional Diploma in Photography. As a total beginner, the course guided me through all the basics. Then, it took me on a journey through a variety of photography genres and I learned more and more about portraits, landscapes, travel, food, and wedding photography. Working on the assignments gave me the chance to test myself and made me aware of what type of photography I enjoyed the most. Thus, little by little I found myself into fine art photography, in particular landscapes.”

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SIMON NEWBURY Professional Photographer

Photoshop is my chosen editing software. In this issue of Creative Light Magazine I be showing an incredible tool in Photoshop for those who don't already implement them - Actions!

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# Save time in Photoshop Firstly we are going to talk Actions. I used Photoshop for some time before I learned about actions and how much time they can save. If there is something you do all the time as part of your workflow, why not make it an action, and then with one click of a button PS will complete the task for you. For instance, a few actions I have set up are: Resizing an image and adding my watermark ready for posting on Social Media. Setting up the layers ready for dodging and burning (never D&B directly onto the image... NEVER!!!) . Resizing and adding a “DRAFT” watermark to images ready for email. Setting up the layers and adding the filters to those layers ready for Frequency Separation (More on that in the next issue!) . Plus lots more for resizing/edits for different client requirements... So, to create an action, it’s really quite simple. Firstly, before you begin the task you do over and over again, click ‘window’ at the top and make sure you have the Actions panel open and docked if you haven’t already. It’s often in the same block as History, so look there if it says it’s open but you can’t see it.

Click the horizontal bars (see above image) and in the drop down (or should that be pop-up)? menu, click “New Action” which should be near the top, if not the top option. This will bring up a small window (see second part of the image). Here you name your action, I’m going for a simple one to resize the image and add a watermark for Facebook (other social media platforms are available...) Here, if you use the process all the time, you can even assign a shortcut key - F1 or F2 for example – so you don’t even need to have the Actions panel open. Don’t bother with the ‘colour’ menu; I have assigned a colour on a couple of my actions and haven’t the faintest clue what it does. Answers on a postcard please! Anyway, I digress. Once you’ve named your action and possibly assigned a shortcut key, click record. Issue 49 - Creative Light Magazine :

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From there you just run through the process as you normally would. Here I resized the image to 2048px high (you will need a separate action for landscape images – I haven’t found a way to satisfactorily resize ‘the long edge’ like you can in Lightroom Export. If you know, please tell me!). Once resized, I then go to File>Place Embedded and open the logo I want from the folder. Remember not to move the location of this watermark or the Action will get very confused. Place the watermark where you want and then you can flatten the image and even save to a folder. However, I tend to stop before flattening as I sometimes need to move the logo if the aspect ratio of the image is different. Once you’re done, click STOP, which is the little square icon the third part of the image. And there you have it. Something to note is that if you create an action and at some point you want to change something – a new logo for instance, or maybe add a stroke or border to the images you save for web – you can go into the action, click on the part you want to change, delete if necessary, and start recording a new portion from there. It can save a further load of time creating actions from scratch.

# Tool Presets It's another time saving tip and very quick – you need to remember to do it next time you are in Photoshop. Go to 'Window' and click on Tool Presets. Dock it wherever you like; I stick it with the little docking bar on the left of the larger Layers/Navigation panels on the right. Of course, you may have a completely different set-up; simply dock the Tool Presets, where you'll easily be able to find them. Whenever you use a specific tool, for instance, in the below image, I have two 'dodge tools' – one I use just for the eyes and the other for hair and face and docking the 'Tool Presets,' you will always know where to find them.

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This simple tip will save you time, and you can leave the panel open whilst you work on the images, and you can quickly click the preset required to switch between them. Once docked, the tool presets panel will automatically load with whatever tool you're working with. To save the new "preset tool", click on the horizontal lines and click "Save Tool Preset". You can even save a colour to your brush, like the red ink brush I use to scribble over the image below.

And there you have it. Two quick and easy things you can do to save yourself time and make everything that bit easier. - Simon Newbury www.simonsart.co.uk

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© Helen Trust

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©Tim Wilde

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Renaissance Range

Image credit: Barbara MacFerrin

Taking Fine Art (Giclee) to the next level

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Taking Fine Art (Giclee) printing to the next level, our Renaissance service is as unique as your photography. Whilst Fine Art printing has become part of a staple diet for professional photographers, it’s also been a headache in handling and displaying the beautifully printed image such is the delicate nature of these papers. Many opt for glazing for protection but even using the highest quality UV and anti-reflective glass available, it remains a barrier to enjoying the textured appeal of the paper itself. Our Renaissance finishing service alleviates the need to glaze as we expertly hand brush your fine art print with the best varnish. This not only protecting your inks but maintains the texture you selected Fine Art for in the first place. Beyond this service you are free to select any frame you desire across our entire range. The result is simply stunning!

Top of my collections is a Renaissance Frame. It’s simply stunning, timeless, and a piece of art that will be treasured for years to come. My studio sample is breath-taking and I have received so much positive feedback from clients. Lisa Scott

Premium Quality, Competitively Priced

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© Katie Brockman 30

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scan me

hello@handpaintedbackdrops.co.uk https://handpaintedbackdrops.co.uk 07883341365

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Exclusive discounts for The Guild of Photographers members

headed in the right direction. You can give feedback and you’ll receive a DSLR image of your backdrop to approve before it ships.

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The Calming Wrap Cqaireqqiott E hascreatedthiscaqmingwrapsequenceandvideoforouy :or F theDmesouy feeqouy are goingtoneedtopostponeasessionbecausethebabyjustisngtsettqing: As Claire says, " creating this calming wrap is the best thing I have done to relax an unsettled baby. Using this technique, I have always achieved a gallery of images for my clients and I have never had to reschedule a session again. "

https://vimeo.com/531026227

THWRA ECALMING INsP EASYSTEPS STEP 19Startwithmostofthewraptooneside Pqeave about ^ to the side of ouy r qighDngQ: qace P ouy r hand on that side of the cheek of thebabyandhoqditfirmqy: STEP 2: Wrap that short side over the wrist and tuck under the other armpit and under the shouqderbqade to keep the fabric firmqyin pqace: STEP 3: With ouy r other hand on the chestd keeping it down beqow the wrap qined wrap aroundthewristandunderthebabyandback outtheotherside: owN ouy have both arms containedd and the baby wiqq typicaqqy start to caqm and reqaxd feeqingsnugandarm: w STEP 4: qace P hand on babygs chest and puqq theqongwrappiecetomakesurethearmsare firmqyinpqace: 34

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STEP 5: oqd F the babygs qegs up to the chest and tuck the remaining fabric at the bottom up and tuck in to hide the nappyarea: STEP 6:entqy G hoqdingontothefeettokeeptheminpqaced puqq the wrap into an upwards moDon before wrapping it aroundandovertheshouqdertostopitfromsqippingoff: STEP 7: ring B the fabric around the babygs bottom to keep the feet and qegs into posiDon and take it back up the other sidedovertheshouqderdandaroundthebabygsback: STEP 8: ny A remaining fabric can conDnue to swirq around the egg shape ouy have created unDq ouy run out of fabricd or feeq free to change it up with a knot or a swish of fabric behindthebabyonthebeanbagordownthesideoftheprop:

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FINISH: aby B canbepqacedontothebeanbaginabackqying posiDonwith face to camera orposed into a prepared bowq orbasket: ongt D forget to put the babygs bottom qower than the head: ook L tomakesurethattheeyesarebothcorrectqyqit: Thatsit4njoy E 4 Cqaireqqiott E rGMC NBP hotographer P GTrainerGaneq P ember M

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raftsman C

Jen McDonnell

ewN bornhotography P My start in Newborn Portraiture was a surprise one! Back in 2013, I was diagnosed and had emergency surgery for a rare spinal and nerve condition called Cauda Equina Syndrome. Overnight left me with life-changing side effects for my health and nervous system issues. I was an accountant working in a large international steel company, well paid but desperately unhappy, suffering from severe depression. Three years later, in 2016, due to stress, depression but also poor treatment from my employer, I was given the option to leave with redundancy pay. I took some time to reconnect with myself, and I discovered newborn photography. During this time, I met Claire Elliott, who held a newborn portraiture course at a local studio; I attended and discovered my love for newborn photography. It was a “this is it “moment; I became immersed in the peace and feeling of calm while photographing a newborn. It was my light bulb moment and a changing life experience. I told my husband that I wanted to become a newborn photographer and make a career with my own studio. At this time, I also met Kath Evans, who has turned into an amazing friend always has time to share her knowledge but also listen to my worries when I’m having those all too often moments of insecurity. My panel is called “Life in Color” and represents my journey over the past six years with my mental health being at my lowest ebb and discovering the joy of newborn portraiture.

Each baby has been photographed on a dark background, swaddled in bold colours with warmth and protectiveness. There are images in my panel that include wraps that I have knitted myself, hair ties, and props that my dad has made. My panel contains little pieces of my family. In some of the images, I have placed a felted heart between babies’ fingers, and as the portraits have evolved, the heart has become to symbolise that each little one I photographed always captures a little bit of my heart. I always receive wonderful comments from parents noting how calm and reassuring I am with their little ones. When I embarked on my panel ideas two years ago and my first conversation with Joanna Bradley, I wanted to photograph the baby in a contrasting colour to the background using flowers, but I found that after time, my styling and portraiture evolved, and the contrasting colours were too distracting from the baby who had to be the main focus for each photograph in the panel. What next? The move to my new photography studio which is on a small high street in a local village. My vision for the studio is cosy with a vintage feel with comfy sofas and great coffee. A place where I can create and continue to grow my business. My next step and is an exciting one! - Jen McDonell CrGNBP

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aen J cDM onneqqrGC P 38

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Rok Štirn

Share your photography with the world Your photos will be judged by a panel of recognised industry experts, journalists and professional photographers who will look at criteria such as the quality of the photograph and how well it fits the chosen category. All kinds of photographic styles and forms have previously succeeded in the contest – could yours be next?

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Artur Pardo

Alen Tkalčec


János Szekeres

Johan Bosman

Wanja Weise

Jose Pablo Gomez Carpintero

Burhan Yilmaz

Burhan Yilmaz

Could you be one of our winners?

Petra Jung

SCAN HERE

There’s over €250,000 in prizes up for grabs, including a €15,000 once-in-a-lifetime trip of your choice as well as thousands in photography equipment and more! We’ve got ten unique categories for you to get inspired by, so whether mother nature is your muse or you’re a keen sports photographer, there’s something for everyone with a passion for getting behind the lens. What’s more, we’re once again working closely with SOS Children’s Villages, a charity supporting disadvantaged children across the world. CEWE will be donating €0.10 for every photo entered into our competition. Enter now!

to find out more and register now!

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eter P organ M C ameratoCqientSeriesJart P I Peter loves photography and gadgets. It would be safe to say he is obsessed with technology. He has worked in the computer and telecommunications industry from the age of 16. Peter is an Apple and Windows Engineer, Backup and Disaster Recovery Specialist and has been supporting individuals and businesses for over thirty years. ​He started a professional photography business in 2014 after selling his IT company to pursue his love of photography. Peter soon found out that his IT skills meant that great photographers trusted him with their businesses technology. Often he would trade his IT repair skills for photography training to learn as much as he could about every different genre and type of photography to create his own unique and quirky style. ​ Like many other photographers, the global pandemic postponed Peter’s primary job as a professional photographer, so he began looking at the real problems photographers and creatives faced daily. This is when his idea for ‘Tech for Togs’ came into fruition as he was constantly being asked for help on Facebook Group with an average of 20 requests daily. He now runs this with his business partner Ross Grieve. Many photographers don’t have a robust, stress-tested backup solution. As a photographer, Peter finds that having the solution, workflow, and knowledge is invaluable for the creative industry. Peter will be creating a series of articles on “Camera to Client”. Following on from last month’s article, Peter discusses good practice with a “Lightroom Workflow.”

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Lightroom Workflow Good Practice Sofarinthisseriesdefv w eqookedatdrivesandbackupdbutnotthesoftwareew usetoDeit together:IfvebeenusingLightroomsinceersion v threedandtheabiqitytomanageandorganise qotsofdifferentprojectsandgaqqeriesmakesthistheperfecttooqinourorkflow w : Wewiqqshowouy afewayw soforking w thatwiqqheqpouy importouy rimagesmoreefficientqy: eB abqetofindimagesouy thoughtouy fdqostandorganiseimagesintoaproperfiqestructure andgaqqeriesandqookathowusingLightroomdtoouradvantagedheqpsustobebetteratorgan isingandcataqoguingourimages: IMPORTING IMAGES FROM YOUR MEMORY CARDS StartbypuDfingthecardwiththephotosintoouy rcomputerPratherthanpqugthecamerainto thecomputeritseqfastheriskoffiqecorrupDonishigherQ:f I ouy haveafiqestructureinpqaceon ouy rdesignatedstoragedevicePWorkingSSDdNASdexternaqdriveetc:Qdcopythefiqesintothe foqderouy fvecreatedJPthisisquickerthanimporDngthroughLightroomdirectqyQ:Ifveusedboth methodsofimporDngdbutitismorereqiabqeinmyopinion: THE FILE STRUCTURE ON YOUR STORAGE DEVICE Thefoqdersfnamingstructureshouqdshowtheshootfsdatedwhatorwhomthesubjectisdand thetypeofshootPifouy shootmuqDpqegenresQ:ine M areorganisedasfoqqows9J

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The options I use are as follows:FILE HANDLING Build Previews JIchoose9aswhiqstthesearenotthesmaqqestinfiqesizeditaqqowsmetoedit quickerbygeneraDngtheFpreviewspriortoediDngratherthanontheflyasouy editdsavingthe fiqerenderingDme: Build Smart Previews JIdonftchoosethisasthisopDonisonqyreaqqyifouy ant w toeditouy rim ageswithoutthesourcefiqebeingavaiqabqePForinstancedifouy freawayfromouy rorking w driveor NASandthefiqesareonthereQ:Thepreviewsaremuchqargerandtakeupagreatdeaqmorespace onouy rdriveQ Don’t import suspected duplicates JwhiqsttheremaybeDmesouy ant w tohavethisseqecteddouy cankeepthisoffforthefirstDmeouy importnewfiqes: Make a second copyJthiswiqqhighqightwhenusingthe COPYopDonandisheqpfuqifouy have asecondstoragebackupdeviceouy ant w tosavetoPbutwiqqobviousqyaddaddiDonaqDmeQ:tfs I greyedoutwhenchoosing ADD: Add to CollectionJchoosingthisaddsanewcoqqecDonanddoesnftaddanyaddiDonaqsize:Iuse coqqecDonstogatherimagesfrommuqDpqegaqqeriesPi:e:forquaqificaDonoramagazinearDcqeQ:n O importdwiqq I qeavethisbqank: APPLY DURING IMPORT Develop SettingsJIcreatedapresetthatap J pqiesstraightenandqenscorrecDontomyimages andthisisappqiedduringtheimportprocess:tI savesmehavingtodoitoncetheimagesarein andanywheredIcansavepreciousDmeisagood thingwhenediDngqotsofedding w images: MetadataJIhaveadefauqtmetadataseDfing thatappqiesmycopyrightandauthordatatoaqq theimagesthatarebroughtintomycataqogue KeywordsJIappqythesedirectqyontheimport andhaveqotstochoosefromJgeneraqqyIuse themforenu v eqocaDonnamesdandthetypeof imagestheyarePweddingdsportdmusicetcQ etL Lightroomdoitsjobdgoandmakeacupof teaandqetfsmoveon: Finding lost images using Synchronise and ‘Find Missing Folder’ owH manyDmeshaveouy movedfiqesPorfiqes havemysteriousqymovedthemseqves4Qfrom theiroriginaqqocaDon5f I ouy fregeDfingthe quesDonabqequesDonmarkqogoonfiqes:Thisis howouy findandreconnectthem:

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ThefinderwindowPorfiqeexpqoreronwindowsQwiqqpopupdandouy canseqectthenewqocaDond andLightroomwiqqattempttomatchupthefiqes:TheotheropDonistousethe synchronise foqdJ ertooq:Thisisoneofmyfavouritetooqsdandtherefsagoodreasonwhy:Thisisqiteraqqygenius: The synchronise tooqgoesthrougheverycompaDbqepicturefiqeattheqocaDonandcheckstosee ifitfscataqoguedinLightroom:f I itfsnotdthenitfqqaddittothecataqogue:Thisisincredibqyusefuq forfindingqostfiqesororking w outwhereouy havedupqicatesoffiqes:f I ouy ant w toseethepar J entfoqderandcheckthataseqqd w thenouy onqyhavetorightJcqickonthefoqderandchoose show parent folderJnotethe synchronisecommandonft w showifouy freaqreadysynchronisingJso onqydoonefoqderataDme: MOVING FILES WITHIN LIGHTROOM qthou A ghnotthefastestayw ofdoing thingsdthisisusefuqifouy havetheDmeas ouy canmovethemdirectqyondiskfrom withinLightroomandcataqoguethenew qocaDonforthematthesameDme:PThink movingfiqesfromsmaqqerexternaqdrivesto abiggerdconnectedstorageunittohaveaqq ouy rfiqesaccessibqeinoneqocaDonQ: Simpqyhavebothdrivespquggedintothe computerandinLightroomdandmakesure theyarebothsynchronisedsothatthe cataqogueshowsuptodateinformaDon astowhatfsonbothdrives:eftJcqick L on ouy rmouseandhoqdanddragtheoqder F ouy wishtomovetothenewdriveandthe oqder F ouy ant w ittoresidein:eB carefuq nottodropitintoanotheraqreadyexisDng foqderdasitwiqqdisappearintothatonce ouy qetthemousebuttongo:owH everdif ouy dodthenthearrowtotheqeftofthe desDnaDonfoqderwiqqqightupinaqightergreyshowingthattherearesubfoqders:Cqickingonitwiqq showthesubfoqderwiththemovedfoqderinit: opefu H qqydtheseDpswiqqheqpwiththeorganisaDonwithinLightroomandhowouy manageouy r imagery: Jeter P organ M TechforTogs

SUMMARY: ThisarDcqeshouqdhavegivenouy anideaofwhatis neededtocreatearobust Camera to Client Backup System.or F addiDonaqheqpandtechnicaqsupportdpqeaseseeourebpage w orcheck ouratreon P page:patreon:comFtechfortogs w formorecontent: Jeter P organ8 M https9FFw:techfortogs:co:u w kF

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ECNARUSNI Issue 49 - Creative Light Magazine :

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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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© Helen Trust

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uiqd G hotographer P

Iain Jack MCrGP

Icreatedain I ack J hotography P somesixears y agotoshowcasemyork: w tI hasdeveqopedand morphedintoaommerciaq C hotography P businesswhichrunsaqongsidemydayjobasaSaqes irector D inthedrinkindustryandfocusesprimariqyonrodu P ctandLandscapePhotography:Ifeqtit necessarythatIgainsomeaccreditaDonstoenabqecqientstobeconfidentinmyabiqitydandhence theprocesswiththeuiqd G ofhotographers P began:TakingsqightqyqongerthananDcipateddueto theovC idJandemic: P oqqow F ingatwentyJfiveJyearabsencedwhereIhadfoundotheracDviDestotakeupmyDmedI rediscoveredmyqoveandpassionforphotography:Thisstartedwhenmysistermanagedtoqose mypointandshootcamerawhiqstinustraqiad A whichsherepqacedwithaDSLR:fter A acoupqeof ears y ofnotdoingmuchwithitdIdecidedthatanted wI todeveqopmyknowqedgedandsevenears y qaterdIamwhereIamtoday: niD I aqqydIconsumedqoadsofinformaDondnotknowingwhattypeofphotographyas wI drawntod takingqotsofshotsofanythingandeverything:rimariqy P qearninghowthecameraorkedd w the subjectmatteras w ery v aried v aqongwiththeresuqts:er vO DmedIstartedtogravitatetowardtwo areasthatinterestedme9bottqeproductphotographyandtheseconddandmypassiondqandscape photography: avH ingspentendqesshoursoutinthecountrysidePmyjobhasaqqowedmetovisitsomegreatqoca DonsaroundtheUKQ:tI cametothepointthatwhenas wI pqanningmytripsfororkd w as wI aqso qookingatwhatas w intheqocaqareathatIcouqdshoot: Themorethisas w happeningdthemoreIkeptstandingintheaterd w whetherintheseadariveror apond:TheimagesstartedtodeveqopintoastyqeofusingmuqDpqefiqterstogettheeffectsas wI qookingfor:sty yM qehassubsequentqydeveqopedintotakingphotosinvoqvingater w andusingqong exposuretechniquestoobtainamiqkydflowingqooktomypictures:IconstantqyuseacombinaDon ofapoqarizerdNDsoftgraduatedfiqtersdLittqerJstopfiqtersandtheig B StoppersPJstopQ:Iuseda combinaDonofdobe A Lightroomandhotoshop P toeditmyimages: ThereforedthepaneqthatIpresentedtotheudges J forAssessmentarefromariou v sqocaDons aroundtheUKwhereIhavebeenstandinginflowingaterd w reqaxingdhearingthesoundsofnatured andofcoursetakingtheimagesIqove: 54

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row G Yourrandd B Youroqqow F ingh Yourrofits P withSuccessfuqoint J Ventureartnerships4 P

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CEWE PHOTO AWARD 2023 On May 16th, the largest, free to enter contest of its kind in the world relaunched for 2023. The CEWE Photo Award is the perfect place to show off your masterpieces, and now is the time to enter! Under the slogan “Our world is beautiful”, we’ve got ten different categories for you to submit your greatest photos to. It is open to anyone over the age of 18, whether you’re a keen amateur photographer ready to show your work in your first major photo competition or an already established professional. SCAN HERE

to find out more and register now!

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uiqd G hotographer P

Tim Wilde MCrGP

“ Over the past three years, the pre-elusive odyssey to my panel has been a fundamental driving force of my photographic plan. Several years of hard work in my photographic business and my passion for Seascapes formed the basis of my LSINWP (Society of International Nature and Wildlife Photographers) and ASINWP panels. At the age of eight, my photographic beginnings were when I purchased my first camera, an Agfa 110, followed by a Zenit B. Then, I was the proud owner of one of my most treasured possessions, a Canon A1, and thus my lifelong relationship with Canon was born. My vision for my successful panel was to discover something unique and very different from the norm, demonstrating the use of Intentional Camera Movement (ICM) to exhibit the understanding of light, colour and movement without the need for extensive post-production. The images within my panel have been genuinely inspired by entering the monthly image competition in the In-Camera Artistry category. Each image for my panel was conceived on my local beach, only a few hundred meters away from my home in Tywyn, North Wales. My panel represents a place of peace, solitude, happiness, and beauty... a Nirvana for so many! My panel has intensified the feeling of utopia by adding additional elements of tranquillity to display the ethereal diversity of subtle variations in colour and light which occur from season to season. Demonstrating my skills at the highest level by using intuitive knowledge and innovative mastery of creativeness in the quest to visualise my dream of achieving my Master Craftsman with the Guild of Photographers! I want to thank the Guild of Photographers for awarding me my Master Craftsman and for all that you do for so many photographers.” - Tim Wilde MCrGP 72

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Mary McClymont

My Journey to Enter the Founders Cup “ I joined the Guild back in 2014 and was finishing a Degree in Law. I had no real idea what the Guild did but wanted to get back into photography in a big way. I took my first photograph at the age of six, suffering from a poisoned ear in the summer of 1972, and told my Mum I wasn’t allowed out. Being bored, my elder brother’s room was a treasure trove for me, and I found his camera, worked out how to load it, and the rest is history. When I left school, I wanted to be an industrial photographer and was stopped by my brothers and father, who felt this was not a job for a girl and was told I had to get a proper job! I worked for a local photographer back home in Greenock (West of Scotland), he had installed a MiniLab, and due to the fact that I had been writing to him since the age of 14, asking to be taken on, I got the job when I was 18. He had no idea I had a darkroom at home, and he soon discovered that my photographic and darkroom knowledge was greater than he had thought. During this period, I also did weddings and portraits with a group of local photographers. After that, I worked for some of the largest photographic retailers in Scotland and the UK (Tom Dickson Cameras Glasgow) and KJP in London. I fell out with photography a little bit in the early ‘90s and went off and got a proper job (as family members said); however, my hankering and desire were to fulfil my creative side, and by the late 90s, I bought my first digital camera (Nikon D100). With it came a CD of Adobe Elements’ which I managed to teach myself some basics but never really knew how to get the best out of it. I bought a Nikon D300, went on a Kenyan safari, and volunteered at a big cat project in Namibia, and that’s where I fell back in love with photography. Spending time in the African bush being stalked by five feisty Cheetah waiting to be released back into the wilds of Namibia was amazing. It was an experience I will never forget and would love to do again. I then purchased a Nikon D3 and dabbled with photography for the next six years. I had very little opportunity to take many photographs due to the intense studying for my law degree. I had joined the Guild Facebook pages and was always impressed by the monthly IOM images; I thought about entering but never really did. I didn’t know my pictures were up to that standard. 74

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A friend challenged me to enter the Guild’s IOM (Image of the Month) competition for January 2020. I spent the month convincing myself not to enter. I finally entered nine images and received a High Bronze, Bronze, and four classifieds. In May 2020, I obtained my first Silver, one of which was selected as the Image of the Day. I signed up for mentoring, and my first mentor was Gavin Prest, who helped me obtain my Qualified status in September 2020. Gavin used Lightroom, and I just can’t get to grips with this software. I used Photoshop and knew that it was my biggest weakness as I had done very little post-production processing. Joining my first ‘Buddy Group’ in 2020, I received some excellent feedback and help and have since joined a few more. The ‘Buddy Group’ system is a great idea and is greatly helpful with postproduction processing, constructive feedback, and general support. The 2020 and 2021 images of the months were a mixture of highs and lows, obtaining silver, high bronzes, and bronzes, and many classified. To say it has been a journey and a roller-coaster would be an understatement, and the nerves, excitement, and anticipation on the 21st of each month are difficult to explain. I have had huge highs and disappointing lows. I kept beating myself up with the numerous classifieds I have received, not really understanding that this is a good level as it shows your work is a professional standard. I should have been taking from this that my work is improving and going in the right direction. During the Lockdown, Photohubs posted on the Guild pages that they were planning to run a sixweek course on Photoshop with Panikos Hajistilly. It was a no-brainer, and I signed up immediately. I had bought several self-teaching books on Photoshop and had got a little further, but not much; the buddy groups had created little videos for me, which helped but didn’t go far enough. PhotoHubs ran the next level with Panikos in 2021; again, I signed up, and Panikos and I have been meeting via Zoom every two weeks since that course ended. My skill set is getting better, but I still want to learn more. Throughout 2021, I wanted to enter the Founders Cup; my plan was always to do the Falkirk Wheel. I had chosen to go down the creative route, even with the notion of having very little chance of reaching the finalist stage. The Falkirk Wheel

had switched off the lights at the beginning of lockdown to dissuade people from going there. They eventually switched them back on in June/ July 2020. I spent the whole month of August going back and forward seven nights a week to get the right images and kept dismissing the ones I took. This was my first attempt at a panel of three closely connected images. I got my first image on my first visit, the second on my second visit, and my last photo on the last night of August. I wasn’t sure that the judges would get the panel as it was obvious that two of the three images were very closely connected, but I wasn’t sure of the second image, as they may not have heard or even seen the Falkirk Wheel and may not have got the connection. I spent September processing them, using the skill set that Panikos had taught me during our training sessions, spending many hours processing. I then printed them off and showed them to a handful of people for feedback and for anything that immediately drew their eye away from the main focal point of the image. Having processed them and removed bright lights that drew your eye, they were now ready to submit. I almost convinced myself they were not good enough to submit and nearly never entered them. A friend persuaded me to enter them. I received the email in October from Guild’s HQ stating entries were of an exceptionally high standard. However, this is where I stopped reading and convinced myself I wasn’t successful and went off and made myself a cup of tea. I had to convince myself to finish reading the email and was shocked to learn I was ‘one of the ten finalists, and I had to supply three printed images which were to be at Guild’s HQ by mid-November. The paper was duly ordered, and I submitted the photos! The next four months were nerve-racking! Again, I had convinced myself I was not in the top three, and if nothing else, it was a good first attempt to be in the top ten. Friends had wanted me to post the images online and couldn’t understand that I couldn’t in case the judges saw them. Meanwhile, Panikos and I had continued with our training sessions every two weeks, and I was now using the skill set he had given me to process images to a standard I liked. I was also beginning to find errors in my processing and learning how to correct them.

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I booked Crewe Hall as soon as the Awards weekend was announced and managed to get my awards dinner ticket on the morning the tickets were available. I left home on the 4th Feb early (6 am) and drove to Crewe, thinking, if nothing else, it will be great to meet the people I had met online. Carl and Monima Simpson-Smith were the first I met, followed by Pani. I met Lesley and Steve Thirsk and Gavin Prest in the bar for a drink; I even tried to persuade Lesley to reveal the winners, and she wouldn’t. I had waited this long, and another 24hrs wouldn’t hurt! The evening of the awards had finally arrived, and I had convinced myself I had got nowhere, Carl Simpson-Smith asked me what I was up for, and I showed him the images from the finalists’ book; he thought I was in with a good shot at the award, I was not convinced. When Steve announced that the first award of the evening was the Founders Cup, I stopped listening and then thought I heard the last part of my surname being announced, looked at the screen, and thought the finalist images were just being shown. Across the table, Carl was grinning and nodding, and a friend who had attended the awards with me was telling me to get up as it was me. I got up from the table and walked slower towards Steve, believing I had imagined this and got it wrong! I had secured my first piece of glass and was gobsmacked that my first major competition had awarded me runner-up! I have taken this year out of IOM and concentrating on my Craftsman panel and my Founders Cup entry for this year. The Guild is an amazing body of people; the training is exceptional, the staff, Steve and Lesley, are fantastic, and they are genuinely on the end of the phone (I have had calls from Steve on a Friday night to assist when I cannot get access to a link). The mentoring is second to none, even when it is confusing and leaves you scratching your head! - Mary McClymont

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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. 78

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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. https://amzn.to/2wDin8e Issue 49 - Creative Light Magazine : 79


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Guild Event

Wedding Training Day

Hylands House with Scott Johnson The day started with informal hello’s and some much-appreciated coffee and pastries whilst we got to know each other and where we were on our photography journeys. Some were full-time wedding photographers (like me), and others were preparing to shoot their first wedding, so there was a broad spectrum of people. First up, we made our way to the magnificent Drawing room in Hylands House, which is a Grade II listed Mansion house set in 574 acres of landscaped parkland for the more formal introductions from Scott. We discussed how the day would play out and what each of us was looking for. We were lucky to have a real couple as our models for the day; Lucy and Matt Blah had previously been photographed by Scott, and the shoot gave them another opportunity to dress up again; Mharie also joined us to provide some makeup for our bride, Lucy. The first scene was bridal preparations; Scott explained how he approached the first part of the day – not launching in-camera ablaze but taking the time to get to know people and assess the situation before starting work. He showed us some simple tips on how to place the bride in the best light to capture the moment and show the work of the makeup artist. It was great to see how with just a small change, you can go from a reasonable photo to an award worthy one – all in the same room with the same conditions. Next up were some groom preparation shots; in particular, we learnt how to use the available light in a room to our advantage and make the best use of spot metering. We also saw how to use various focal lengths of lenses to help frame a subject and achieve different outcomes in the same location. 88

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Lunchtime! The Hylands Estate team had laid on an excellent spread, and it gave us all a good chance to discuss the morning session. Now fully refreshed, we embarked on one of my favourite features of Hylands house, the Grand Staircase. Our bride certainly got her steps in during this session, as we worked through various setups using the Grand Staircase. I found it exciting that rather than focusing on the bride solely in a particular location, it was to use the location to show off the bride. What I mean by saying this was taking a photo of the stairs in this case and knowing where to place the bride so that the whole image combined the various aspects harmoniously. And so, onto the Banqueting Room, a stunning neo-baroque room with 24-carat gold leaf and scroll decorations, silk-lined walls and hand-painted wall motifs; this room provided an opulent space for our couple shots. Here we worked first with the available light, then moved on to using a little off-camera flash to add just a bit more pizazz to the scene, Scott again showing us how just the slightest movement from the photographer can change the entire photo. I thoroughly enjoyed the day arranged; it was great to meet up with other photographers once again and spend time learning from one of the top Guild wedding photographers. My thanks go to the Guild of Photographers for arranging the day and Scott for being… well, being Scott! Also, thanks to the Hylands Estate for an excellent selection of refreshments, Mharie (Makeup Artist) and, of course, Lucy and Matt. - Adam Prescott, Guild Member


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© 2022 Adam Prescott| Image captured on Scott Johnson s Training Day


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THE GUILD’S PARTNERS + MEMBERS BENEFITS ALAMY The leading online photographic library for stock images. Guild members earn the first £500 commission free. www.alamy.com APPLESTORE Save up to 10% in store or online, as well as on refurbs and offers. www.apple.com/uk CEWE The largest European producer of photobooks is now available in the UK pro market. Guild members get an exclusive 20% off any CEWE photobook and wall art. www.cewe-photoworld.com DATACOLOR SPYDER Computer display colour calibration solutions. Guild members receive 20% savings. www.spyder.datacolor.com DIGITALAB Digitalab delivers high-quality printing, frames, and presentation products. Guild members - 50% OFF any sample products. www.digitalab.co.uk EPSON One of the largest manufacturers of printers, projectors, and much more. www.epson.co.uk GURUSHOTS Join the daily photo challenges, improve your photography and get rewarded.www.gurushots.com HANDPAINTED BACKDROPS Suppliers of stunning bespoke made backdrops, discounted for members. https://handpaintedbackdrops.co.uk/ HAHNEMUHLE FINE ART One of the oldest paper companies in Europe that live and breathes paper. 10% discount for Guild members. www.hahnemuehle.com HANDEPAY Guaranteed savings for Guild members on card processing fees. Discounted quotes for Guild members. www.handepay.co.uk INFOCUS PHOTOGRAPHY INSURANCE Unique savings for Guild members with this highly respected insurance company. www.infocusinsurance.co.uk INSTITUTE OF PHOTOGRAPHY® No.1 provider of online courses in the UK, offering a real course experience with tutor feedback. www.institute-of-photography.com ( Trade discounts/offers are subject to change ) 98

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LOUPEDECK 10% discount on The Photo & Video Editing Console for photographers and videographers, for faster and more creative editing. www.loupedeck.com LOXLEY COLOUR Scottish professional imaging lab with a worldwide reputation. www.loxleycolour.com nPHOTO Special deal exclusively for Guild members of up to 60% discount. www.nphoto.co.uk ONE VISION IMAGING 30% OFF your first order. Special offers for Guild members. www.onevisionimaging.com PIXSY - ACT AGAINST COPYRIGHT Special Guild member offer worth £350 per year. www.pixsy.com PHANTOM FLIGHT DRONE SCHOOL Brilliant Guild discounts of up to 20% OFF Drone courses, lessons, and holidays. www.phantomflightdroneschool.co.uk PHOTO-SENSORY Pre-School Education Service offers five different class types. Guild members can be official photographers to Photo-Sensory. Contact Guild HQ SIM IMAGING Guild members only discount 10% www.simlab.co.uk SHUTTERTAX The online accounting option for photographers with a 20% discount for The Guild. www.shuttertax.co.uk UK PRINTED PENS Special discount for Guild members of 20% www.ukprintedpens.co.uk VISION MEDIA DESIGN UK Creative Design Agency. Guild Members - SAVE £95 off your new website or revamped design. www.creativedesignagency.uk WILKINSON CAMERAS Large range of photographic equipment and Guild members exclusive retail offers. www.wilkinson.co.uk 3XM 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” 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.

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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. 102

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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.

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