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Issue 24 - Creative Light Magazine :


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Contents 8

Iain Poole Craftsman


Rob Hill New Panel Member


Photographer of the Year 2017 Mark Lynham


My Awards Weekend Joan Blease


Image of the Month 2017 Results - Top Ten Photographers


Sian Shipley Master Craftsman

64 70

Jo Bradley Master Craftsman

82 100

Helen Walker Craftsman Gold Awards January 2018 Gold Awards February 2018

Photographs: Ian Knaggs

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Front Cover “Oh boy - the rest of the day has got a lot to live up to when it starts off with such amazing news... Received the results from the first The Guild Of Photographers competition of 2018, and it has blown me away! Out of my six entries I have received: One Gold chosen as the front cover of Creative Light Magazine - Issue 24! Two silvers and three bronzes.

bernard pretorius

I have always thought that Silver was the elusive one I was chasing, but receiving my first ever Gold has surpassed all my expectations�

Awarded Gold January 2018

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STEVE & LESLEY THIRSK The Guild of Photographers Welcome to the Spring! We’d love to know where the last couple of months have gone, as it’s been a whirlwind here. Our Awards Night at the stunning Crewe Hall was only a few weeks ago yet in many respects it seems ‘ages’ ago. What a great night it was too - Celebrating peoples well deserved successes is always a great pleasure, as is socialising with everyone at this annual event! It’s a little like a family reunion in many ways! Also because, a great value PhotoHubs Training event takes place on the 2 days before the Awards night, for many it becomes an extended weekend. If you want to put the dates in your Diary so you don’t miss out next year, the PhotoHubs side of things will be on the ** and ** February in 2019, and the Awards Night on the **. All at Crewe Hall in Cheshire once more. Connected to awards, Rob Hill, who was last years ‘All-Round’ Photographer of the Year and this years Runner-Up is to become a Judge on the Guild’s Panel. He’s a Master Craftsman too, and probably best known for his creative and inspiring Commercial work. There’s an article about Rob in this Edition! No sooner than the Awards Night was over, we were preparing to visit ‘the Photography Show’ at the NEC. That was an exciting few days, and another great chance to catch-up with members – many of which came for the ‘Limited Edition’ Guild red pen (an ‘in’ joke amongst members)! During our time there we were able to catch-up with a few members who had been pro-actively using the Interest Free Credit Service we launched at the previous show. It’s a service where the photographer can offer their customer Interest Free Credit for up to 12 months on a purchase, yet the photographer gets paid the full sale cost, minus a service charge, straight away. Those using it spoke very highly about how simple it was to use and the positive impact it was having on their business. If you want to know more about, simply contact the Guild’s office. At the NEC we also met lot of people who had consciously come to our stand to join the Guild of Photographers. What was particularly nice about this was that many had done so following recommendation by existing members or Trade Suppliers! Many Panel Judges joined us there too, offering free critiques to anyone who asked. In short, they and the Stand were both very busy throughout all 4 days! If you are a new member and this is your first read of Creative Light, you might like to know that you can read all the back copies too, as they are linked to this one. They can also be downloaded from the Guild website as PDF’s. Thank-you for joining us! Looking ahead, if you are in business please remember that the GDPR regulations will be in place by the time the next edition of Creative Light is released at the end of May, so it’s very important that you undertake the Data Mapping for your business as soon as possible in order to prepare a Privacy Policy that complies with the Regulations. The Guild has commissioned a FREE Webinar to assist members with the subject. If you have yet to see it please contact the office and they will pass you the link. We have also arranged 2 Seminars on the subject – one in the North and one in the South. Between now and then there are also some great Training opportunities pending through PhotoHubs. They range from Newborn to Wedding, Business to Qualification preparation, and there’s even a MotorCross Experience Day as well as an opportunity to go on a fully escorted ‘once in a lifetime’ trip to China and Inner Mongolia! They can all be seen HERE - Looking even further ahead, the dates for the 2 Day PhotoHubs event in Coventry have been secured – They are 14th and 15th November 2018. Put the dates in your Diary as these were an amazing 2 days last year – inspiring speakers and workshops at amazing value prices, all together in a great venue with fab food thrown in! Issue 24 - Creative Light Magazine :


Editor I am still collecting ‘Before’ and ‘Afters’ from members so please keep sending them to me so that I can build an article for the next edition which is due out at the end of May. Please send me two images (before and after) with information on how they were processed, ( If you have any suggestions of photographers you would like to see featured in forthcoming editions, please send them to me, and, no they do not have to be members of The Guild of Photographers.

julie oswin

Have a great month and don’t forget that it is Fathers Day in June! Get your portrait campaigns out now!

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© Julie Oswin

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Awarded C

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Iain Poole

Craftsman February 2018

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© Andrzei Dragan



D C111


WW.HAHNEMUEHLE.C OM • #HAHNEMUEHLE_GLOBAL Issue 24 - Creative Light Magazine :


New Panel Member

Rob has been a photography enthusiast all his life and, while much of his work is studiobased, enjoys the diversity of shooting many genres. Rob had a long career in the electronics industry, with leadership roles in sales, marketing and engineering. During this time he travelled extensively around the globe and managed businesses in the USA, Germany and most recently, the UK. He currently has his own business that combines writing highly technical marketing copy for large technology companies with a product photography business ( Despite his background in technology, Rob is often happiest working with old mechanical cameras to create images – showing that equipment is not a constraint. He is an active Guild member and was awarded Guild ‘Master Craftsman’ in July 2016 as well as being ‘All Round Photographer of the Year 2016’ and winning ‘Commercial Image of the Year’ in the same year.

rob hill

Most recently he was named ‘Fashion Photographer of the Year 2017’ by The Societies of Photographers.

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Q: Why do you enjoy photography? As someone with an engineering background, I don’t consider myself particularly creative or artistic, so as photography moved from film to digital, it bridged the technology and artistic aspects. I enjoy the technical and artistic challenge of producing images that are pleasing to my eye – and hopefully, other people’s as well.

Q: Tell us about your journey as a photographer Photographically speaking, my earliest memory was about the age of four, in my parent’s back garden with a Kodak 127 roll film camera. I then moved on to instamatics and eventually a 35mm Rollei compact that my father gave me, before buying my first SLR – a Nikon F301 around the age of 18. I went through the darkroom phase and used to develop my own film, both negative and slide. I even tried my hand (with limited success) at printing with an enlarger I bought at a car boot sale for £3, in a ‘darkroom’ in my under stairs cupboard.

© Rob Hill

Until my late 20’s most of my photography was just recording holidays; then I started to try and be more creative – shooting everything I could – except people and pets. A colleague who had been an image buyer for a major agency complimented me that I had an eye for composition and that spurred me on. I had an opportunity to exhibit in a local pub that doubled as an art gallery and was surprised how successful that was, selling many prints and replenishing them to sell again. Soon after that I moved to the USA, shooting many things including classic cars and began to supply microstock agencies, selling many thousands of images. I had the chance to shoot models in a studio for the first time around 2009 and I enjoyed the experience so joined some local clubs in Boston and began to develop my skills in that area. When I returned to the UK I heard about the Guild and joined. I started entering IOM in the ‘people’ category and as I wanted to expand into ‘Open’ began to learn the basics of product photography – which ultimately led to me starting my product photography business.

© Rob Hill

Q: What was the first image you sold? What has been your best-selling image?

The first image I ever sold was a yellow taxi from a holiday in Havana, Cuba. It was in the pub art gallery and was bought by a lady whose father ran a taxi company and she bought it for him as a gift for his office. My best selling image is one of the US Capitol building in Washington, DC. It’s a slightly unusual angle as the day I was there, scaffolding was everywhere and, quite honestly, it was the only shot I could get. I’ve sold this thousands of times, and every time there is a US election, it starts to sell again.

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© Rob Hill

Q: Have you had any formal training? In a word, ‘no’, no formal training or qualifications. I’ve used magazines and latterly the Internet to learn skills as I feel I need them – especially with regard to postproduction. I’ve also been on various courses, many with Andrew Appleton, who also mentored me very successfully for a couple of years.

Q: What is your view of qualifications? I think this is an individual decision, some photographers just enjoy making images, others enjoy a sense of achievement. I’ve always thought that the value lies not in the certificate, but in the process of planning and challenging yourself to reach the required standard. As photographers, we should have personal projects to help us develop – for some, qualifications are a way of doing that, but there are other less formal ways of achieving this too.


What is your advice to members seeking qualifications?

© Rob Hill

Well the first two points are easy – do it, and get a mentor. It is invaluable (as I found out) to be able to speak with someone who knows what is required for success and can view your work dispassionately. Especially for higher qualifications where a printed panel is required, the most valuable thing is to have a proper plan before you start shooting – know what you want to achieve and then work towards it, making tweaks as you go along.

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Q: What equipment do you use? For most of my time I’ve been a Nikon photographer. I never get involved in the ‘my brand is better than your brand’ discussions – my reason for choosing Nikon was simply that 30 years ago I went to a secondhand camera shop and it was what the shop had available – and I stayed with it. When I started shooting seriously in studio, I bought a Hasselblad digital setup. I always promised myself a medium format system and this was quite opportunistic – the price was one I couldn’t ignore! Older mechanical cameras are a passion of mine (my Master Craftsman panel featured some of my collection) and I bought a Hasselblad CW503 that I sometimes use, albeit with a digital back – and I also have a Mamiya RZ67 that is built like a tank, so is very much ‘studio only’. The latest addition has been a Cambo technical camera. As you can move both the film and lens planes independently it can create effects that are not possible with normal cameras or post-processing – for example, a product (or group of products) can be sharp from front to back at a wide aperture with no focus stacking. It was fun (and challenging) learning the basics of how to use that camera.

Q: Post processing or get it right in camera? Coming from the days of film, I tend to lean towards getting things right in camera. I find it quicker and easier. Clearly post-processing has a place these days and when done well can set an image apart. With the product photography, post processing often becomes a deliberate part of the process, with complex compositing being necessary to achieve the desired results. When post-production is deliberately planned as part of the process it is a good thing, but trying to use post production to ‘rescue’ in-camera mistakes rarely gives high quality results.

Q: How do you see the distinction between ‘enthusiast’ and ‘professional’? Quite simply, pure enthusiasts are able to shoot whatever they want, whenever they want and other than their own self satisfaction there is no compelling need to deliver results, although many deliver consistently high results. Working professionals have to deliver the results the client is paying for and, therefore, have less flexibility. I think photographers can (and should) bridge both modes – shoot what puts food on the table, but also go out and explore other genres and styles as a way to relax and develop.

Q: What are your thoughts about joining the Guild Panel? I still feel very flattered and honoured to be asked to join the panel, especially considering the highly accomplished photographers that are already members. I not only admire their photographic work, but the breadth of knowledge that they bring to judging discussions. One of the hardest parts for me was deciding to give up the IOM – it is highly addictive, but there are other outlets and places to keep the ‘competitive bug’ alive. I think I have a slightly unique perspective on the Guild process having joined the Guild as an amateur photographer and used the mentoring, qualifications and IOM to hone my skills to the point where I can win awards and gain qualifications both with the Guild and elsewhere. It is a fun and interesting journey and I look forward to sharing whatever I can with Guild members that are on their own journeys.

Q: Where next with your photography? If there is a consistent theme to my plans, it is that I want to branch out and try different things. When shooting for competitions such as IOM, I think people naturally tend to stay close to what they are good at as that is most likely to bring success. One of my goals for this year was to be exhibited and, through having images accepted on the BPE circuit, I have achieved that in a small way. I have a long way to go on my BPE journey and I want to continue to develop there as well as joining the international FIAP circuit – it is very different to IOM, but equally challenging. As I have primarily shot in the studio, I want to get out and shoot more on location and learn to use natural light well. I also want to travel more with places such as India, Vietnam and Eastern Europe high on the list – to capture the people and their culture in more of a street / documentary style. - Rob Hill MCrGP Rob’s product business is at and his personal work can be found at www. Issue 24 - Creative Light Magazine :







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The Guild’s

Photographer of the Year 2017 “

Mark had accumulated the highest total score from his entries into the Image of the Month Competition in any single genre”.

mark lynham

- Steve & Lesley Thirsk

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PHOTOGRAPHS © MARK LYNAHM 24 : Creative Light Magazine - Issue 24

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My Awards Weekend

I had an email from Julie Oswin asking me if I would like to write about my Guild Of Photographers Awards Weekend experience? It was a no brainer, of course I would, in fact it would be my pleasure, but how to go about summing up this wonderful event. I could describe the feeing of surprise when I found that three of my pictures had been short listed and how that was quickly surpassed by the phone call from Steve Thirsk (Guild Director) asking me to be one of the speakers at the Guilds Event at Crewe Hall. Wow, what an honour ! I could write about my overwhelming anxiety about giving my presentation, what would I say, would it be of interest to the audience, would the fact that I was just an enthusiastic amateur be a problem? Needless to say I took the plunge and consequently found myself in the events room listening to the other speakers (who were on before me) giving some of the best presentations I had seen in a long time. All delivered in a very professional and entertaining manner that everyone who attended went away with lots of tips and guidance on how to improve their own photography. I might mention that my worries aboutÅ giving my presentation were unfounded judging from the number of people who spoke to me in enthusiastic terms after I had finished - they seemed to like my work. I came away with lots of business cards and the names of quite a number of people who were interested in attending future workshops. Its always a great feeling when people seem to be interested in your presentation and a bonus when they don’t leave the room or fall into a deep sleep (especially if they are on the front row). The venue was superb - I could mention that - and how everyone looked so fabulous in their tuxedos and posh frocks. The award ceremony would need to be described in glowing terms with the runners up in each category being awarded a certificate whilst the winners were given a certificate and an engraved glass trophy and a beautifully framed print of the winning picture - which I thought was both a lovely and thoughtful idea.

joan blease

I might find it difficult to put into words the feelings I had when my name was announced as the winner of the Creative & Digital Art Category but I fear I could never described the feelings I had when I heard my name read out at as the Judges Choice Winner of Image Of The Year 2017. I was speechless and had to be nudged to get up to receive my award by the person sitting next to me - at the time I was sitting with my head in my hands totally gob-smacked. I would have to put into words what an overwhelming and totally unexpected experience this was for me. If I wrote about the experience I would obviously have to apologise to all the gentlemen in the room who I probably alienated at my “girl power” acceptance speech, enthusiastically congratulating the ladies on winning so many of the top prizes. Luckily the balance was finally restored when a man won the overall photographer of the year award - phew ! I would have to talk about the warmth and happiness that filled the room, the cheering and standing ovations when someone went up to collect their award. The hugs and smiles of the friends who sat together in their Buddy Groups - it didn’t matter who won, their whoops of joy could probably have been heard in the next county. Not once did I detect a moment of sourness or jealousy from those who didn’t do as well as they had hoped. To be honest I have never experienced anything this before, it was both heart warming and totally overwhelming. So how would I sum up this fantastic Awards Weekend - what words would I use? Amazing, aweinspiring, humbling, joyous and inspirational? Unfortunately those words don’t even come close in describing one of the best weekend events I have ever had the pleasure of being invited to and all it was all down to the wonderful organisational skills of the superb team at The Guild Of Photographers. Could I do a write up..... I think I just did!

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Image of the Year Rural & Landscape

WINNER - Charlotte Bellamy RUNNER-UP - Rich Wiltshire

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Image of the Year Avant-Garde Portraiture

WINNER - Carola Kayen-Mouthaan RUNNER-UP - Gemma Varney

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Image of the Year Babies & Toddlers

WINNER - Sian Shipley RUNNER-UP - Kayra Cinar

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Image of the Year Birds

WINNER - Ed Burrows RUNNER-UP - Ann Aveyard

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Image of the Year Children Portraiture

WINNER - Martin Leckie RUNNER-UP - Roxanne Bunn

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Image of the Year Classical Portraiture

WINNER - Maryna Halton RUNNER-UP - Gary Hill

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Image of the Year Commercial Portraiture

WINNER - Ian Knaggs RUNNER-UP - Rob Hill

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Image of the Year Creative & Digital Art

WINNER - Joan Blease RUNNER-UP - Heather Burns

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Image of the Year Event, Sport & Action

WINNER - Mark Lynham RUNNER-UP - Mark Lynham

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Image of the Year Flora & Insects

WINNER - Sian Shipley RUNNER-UP - Sian Shipley

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“it’s an absolute dream working with a somebody who totally gets what a photographer needs.. because you are indeed also an amazing photographer with a wealth of wisdom, understanding and experience. You know what good looks like :-)” TAMARA “I couldn’t have asked for anyone better to help me with my website and I’m totally in love with it. I have no idea about websites or hosting, domain it was massive mind field but over the past few months Yvette has educated me talked me through any issues I have had and I’m now getting clients through my site. Thank you”. Helen Rowe - ROWE STUDIO UK “Yvette has been incredibly helpful and efficient from the very first time I spoke to her. I am thrilled with my new website! It’s exactly what I wanted. She was really patient with me and made me feel like nothing was too much trouble. She works very efficiently and always had things ready for me sooner than I was expecting I can’t recommend her enough. The techy stuff really goes over my head but she was great at explaining things and offering solutions. I will definitely be using Lemonade Design again when I’m ready to develop my second website. Great work Yvette – thank you so much again xx” Sandra Ace SANDRA ACE PHOTOGRAPHY


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Image of the Year Nature & Wildlife

WINNER - Gillian Lloyd RUNNER-UP - Chris Chambers

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Image of the Year Newborn & Maternity

WINNER - Sarah Wilkes RUNNER-UP - Lisa Sumner

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Image of the Year Pets

WINNER - Karen Riches RUNNER-UP - Linda Johnstone

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Image of the Year Urban

WINNER - Helen Walker RUNNER-UP - Ivan Trotman

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Image of the Year Newborn & Maternity

WINNER - Scot Johnson RUNNER-UP - Chris Chambers

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Image of the Year Judges Choice

WINNER - Joan Blease RUNNER-UP - Carola Kayen-Mouthaan & Ed Burrows

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Image of the Year Members Choice

WINNER - Sian Shipley RUNNER-UP - Linda Johnstone & Gary Hill

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Bar Winners

A unique distinction awarded to very few photographers who have successfully had images assessed by the Guild over the course of a year’s competition, and attained a score equating to an award for each entry made, thereby evidencing an exceptional level of professional skill and consistency”.

© Linda Johnstone

Andy Robinson -- Andy Smith -- Ann Aveyard -- Anna Georgakakos -- Arron Gent -Carola Kayen-Mouthaan -- Caroline Bridges -- Caroline Dell -- Catherine Dashwood -- Charles Thorne -- Charlotte Bellamy -- Chris Hunter -- Claire Osborne -Dawn Cotterell -- Debbie Longmore -- Ed Burrows -- Emily Endean -- Emma Campbell -- Polly Lee -- Evelyn Dianne Makepeace -- Fiona Millington-Pipe -- Gail Timms -Frances Van Der Merwe -- Garry Bree -- Gillian Summerill -- Hannah Merrett -Heather Burns -- Helen Walker -- Henry Ransby -- Iain Poole -- Ian Hage -- Ian Knaggs -- Jamie Peters -- Jason Allison -- Joanna Bradley -- John Rampton -- John Retter -- Karen Brammer -- Karl Redshaw -- Kate McNeil -- Katrina Wilson -Kirsten Hollister -- Laura Spence -- Laurence Sweeney -- Lisa Mullins -- Lisa Scott -Lisa Sumner -- Lisa Wildgoose -- Liz Greenhalgh -- Louise Dobson -- Lynn Stanfield Lynne Harper -- Magda Bright -- Mark Bannister -- Mark Lynham -- Maryna Halton Mel Taylor -- Neil Bremner -- Neil Pitchford -- Nigel Hepplewhite -- Phil Green -- Pip Bacon -- Victoria Amrose -- Rachel Bradshaw -- Rob Dolton -- Rob Hill -- Roxanne Bunn -- Sara Sadler -- Sarah Wilkes -- Shane Peagram -- Sharon Lewis -- Sian Shipley Simon Newbury -- Steve Collins -- Tania Rebelo -- Tim Wilde -- Tina Stobbs -Tracey Lund -- Tracy Main

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Image of the Month Top Photographers - 2017 OPEN CATEGORY


WINNER: Mark Lynham RUNNER UP: Rob Hill

WINNER: Maryna Halton RUNNER UP: Shane Peagram

Ian Knaggs & Sian Shipley Ed Burrows Ann Aveyard Heather Burns Tracey Lund John Retter & Henry Ransby Anna Georgakakos Frances Van Der Merwe & Tim Wilde Gillian Lloyd Iain Poole, Andy Smith, Phil Green & Lisa Mullins Charles Thorne Garry Bree & Arron Gent

Gary Hill Mark Lynham Sarah Wilkes Pip Bacon Carola Kayen-Mouthaan Jason Allison Iain Poole Caroline Bridges Heather Burns Joan Blease Helen Walker & Victoria Ambrose Rob Hill & Polly Lee Sian Lewis & Clive Hall Roxanne Bunn & Debbie Longmore



WINNER: Chris Chambers RUNNER UP: Ann Aveyard & Liz Greenhalgh

WINNER: Sarah Wilkes RUNNER UP: Sian Shipley

Photo: Katrina Wilson

Lynn Stanfield Andy Robinson Simon Newbury Lisa Wildgoose Victoria Ambrose Sian Lewis Nigel Hepplewhite

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Lynn Harper Debbie Longmore Tine Stobbs Joanna Bradley Hannah Merrett Laura Spence Kayra Cinar Sharon Lewis, Tania Rebelo & Lisa Sumner

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Sian Shipley

Photo: Sian Shipley

Master Craftsman February 2018

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I present the Butterfly Collection for this Master Craftsman submission. Mounted in snow white 16 x 20 inch boards and printed on Hahnemühle Photo Rag Pearl 320gsm fine art paper. The texture provides a beautiful feel to the images and the pearl finish leave a little shine to help the butterflies stand out from the paper. The panel is an evolution of the Butterfly Collection presented for my Craftsman submission in May 2017, which also included the Floral and Nature collections. The inspiration for this panel of butterflies is the Greta Oto, which is my favourite butterfly. These stunning glass-winged insects form the heart of this display, with the four delicate Greta Otos showing their beautiful transparent wings. Surrounding them are various other breeds of butterfly from Malachite to the Owl butterfly. All of the butterflies were photographed in the same location in a glass butterfly house. They were photographed over several trips spanning a two-year period. In my panel the butterflies are doing one of four things; sleeping, eating, sunbathing or just chilling. When you look closely at the detail you will see their tongue is either curled up or extended out (looks like a leg). When it is out they eat nectar off flowers, microscopic moss off surfaces, fruit and man made butterfly feed and you will see all of these different foods when inspecting the detail. When the tongue is curled up it is likely the butterfly is sunbathing or chilling and when the wings are fully open the butterfly will be sleeping. All these butterflies were photographed during their natural behaviour and were not assisted into position. The butterfly house provides a variety of environments to form stunning backgrounds and stands for the butterflies: stone and brick walls, rockery’s, green leaves, pretty flowers, corrugated plastic, netting, tables, fruit, bucket handles, wooden panels and trees. The specific spots to take the images were chosen carefully so that the butterfly was at least lit from the front and had a pleasing backdrop. My style for photographing butterflies is macro close-up and I like clean straight angles, either a straight on side profile or from above shooting square to an open winged butterfly. The decision to either shoot side profiled or open-winged is determined by the pattern on the wings. Some butterflies are plain on top or bottom, and patterned on the other side, whilst others have the pattern on both sides. I like fill up as much of the frame as possible with the butterfly so that the texture and pattern of the butterfly’s wings are visible in the details and to leave only a tiny bit of background for context and composition. I am less interested in the butterfly’s surroundings than I am the detail of its wings. All the images were taken using a Canon 5D mkiii and a 100mm f2.8 macro lens. The butterfly house prohibits the use of flash photography to protect the butterflies and no tripods for health and safety of other visitors. Therefore, they are all taken hand held using only available light. The available light however, is beautiful and soft as the glasshouse is semi opaque acting as a huge soft box, and there are lots of leaves and trees to create shadows and direction to the light. The trees and leaves can create multiple light sources so that the insect is often lit from the front and behind, creating a two light effect. All of my images have been altered to a degree in post processing. The purpose of my butterfly images is not to “document” the butterfly in its surroundings as such, but to create a piece of art that one would frame and hang on a wall. The butterfly itself will remain unaltered in my processing, but I may heavily remove foliage and other distracting elements from the background. I may also flip the butterfly to make it compositionally more pleasing within its surroundings. I own an online art boutique where I have various collections, including the butterflies available to purchase. I hope you enjoy viewing this panel, and remember the beauty is in the detail!

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Photographs: Copyright of Sian Shipley

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Photo: Sian Shipley Photo: Sian Shipley

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Photo: Sian Shipley Photo: Sian Shipley

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... AND TIME “Shuttertax have a very straight forward and efficient way of working which requires very little effort from me.” We wanted to tell you what a fantastic online accounting service we provide for photographers but we decided to let Guild members tell you for themselves.

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PASSIONATE TO HELP “Paul is a brilliant guy, extremely helpful, understanding, and within minutes you will realise that you've found someone who's passionate to help other photographers.”

SAVED ME MONEY “Shuttertax has definitely saved me money in my first year and with Paul's help, I am sure my business will grow and grow.” “Paul took most of the tedium of accounting off my hands, and in completing two tax assessments for me so far, has certainly saved me more money than I've paid Shuttertax.” 60 : Creative Light Magazine - Issue 24

NO QUESTION IS TOO STUPID “No question is too stupid, communication is excellent and my tax returns have been painless now for two years.” “Paul patiently and expertly answered every single 'daft question' I threw at him and due to his expertise and patience my self assessment return has now been filed in record time and with the minimum of stress on my part.”

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Issue 24 - Creative Light Magazine :


Š Sal Cincotta

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The world is my studio Profoto A1

We created the Profoto A1 with a round head that delivers light that’s both natural and beautiful both on camera and off. It’s also incredibly easy and to use, with superfast recycling and a longlasting battery, so you’ll never miss a shot. It might be the smallest light we’ve ever made, but the creative possibilities are enormous. Discover the world’s smallest studio light at Issue 24 - Creative Light Magazine :


Jo Bradley

Master Craftsman February 2018

I have been in business as a photographer for just over 8 years. Previously I was a primary school teacher but left this career after the birth of my second child. I decided to work from home and turn a hobby into a business. My dad is a keen amateur photographer, mainly travel photography, and I grew up surrounded by his amazing photos – although at the time I didn’t appreciate the ones of me! His work has always inspired me and it seemed the natural option when looking for a change of career. I initially did a City and Guilds Studio Photography course to learn the basics of studio work. I then converted my attic into a studio and began. This is where the true learning started, working out how to control the lighting as well as the subjects. I completed online courses and watched lots of tutorials and gradually improved my skills. At this point I was mainly focusing upon children and families. After a couple of years I photographed my first newborn baby and for me this was the turning point. It was incredibly difficult and there was so much that I did wrong, but the feeling of capturing this unique stage in a child’s life was amazing and I knew this was the direction I wanted to go in. I wanted to stand out from other photographers in the area, and offer something more unique and personal to the big studios in Essex. I booked a posing course with a top newborn photographer in the UK and again watched a lot of creative live courses. After another couple of years of hard work I had got to the point where I felt I could confidently call myself a newborn specialist. At this point in 2014 I joined the Guild of Photographers. I felt that I wanted to push my photography further than I could by myself and wanted to enter some of my work into monthly competitions to see if it was any good. My clients always loved my images but I felt I needed an external opinion. I first entered Image of the Month in September 2014 and was delighted to be given 2 bronze awards. I was encouraged by my success and hoped I was continuing to improve. I then entered in April 2015 and was again awarded some bronze awards. In 2016 I set myself a target to enter the competition each month. I began well, again gaining some bronzes and was absolutely delighted to get my first Silver award in March 2016. However, I then received lots of classified results and was unsure why. I couldn’t necessarily identify the difference between a bronze and a classified. I therefore decided to complete some mentoring with the Guild. My first session was really inspiring and I learnt that I was just making some silly mistakes – small errors that were causing me to lose marks. Again I worked hard to rectify these and was encouraged to enter my images for qualification. After some more mentoring I moved

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onto my Craftsman qualification and was delighted to pass. Preparing for my Master Craftsman has again been a huge learning curve and I feel that the experience has pushed my photography on much further than anything else I have done. My mentor has again helped me to look more critically at images and to try and get every detail perfect. I have had to find my style to create a set of images that work well together. This has been much harder than I thought but I do feel that the process has helped me to define who I am as an artist. When looking at a range of images it is sometimes hard to see a common theme. My clients all choose different colours and props and so I found it difficult to identify my style. After looking at many images I began to realise that I love simple photography, or at least the illusion that it is simple, despite the work that goes into it. I aim to make the baby the main focus of the picture and so use simple props, without lots of extra styling. I always focus upon making sure the baby looks relaxed. For me the beauty of the photograph comes from the expression, not the ability to achieve a particular pose. continued ...

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I have focused on images with a darker background as I feel the contrast between the dark background and the lightness of the baby’s skin really draws the attention to the baby. I also feel the dark background creates the feel of a timeless image. Colour fashions come and go but natural earthy tones will hopefully stand the test of time. The wooden props also reflect the idea of natural, organic images. I make a lot of my own props - I made the wreath, the log bed and the swing. I also hunt for props in all sorts of places from charity shops to antique centres. This way I aim to add a touch of uniqueness to my work. Newborn photography is a very emotional experience. Parents, although very tired, are filled with absolute unconditional love for their child. It is this pure joy that I aim to capture in my photographs. Parents often stand and watch me work and I like to get them involved, holding reflectors as well as helping with composite images. They love to feel part of the process and connected to the final photographs. Babies change so quickly and even at viewing sessions only 2-3 weeks after a shoot parents will comment on this. These viewing sessions can again be very emotional. Although they have seen me take the images and may have seen photographs on the back of the camera it is nothing like seeing the final edited image. A really important part of the experience is a final piece of art work as ultimately this is the purpose of a photograph to be seen and loved. The two pieces of wall art I have submitted are a framed canvas and a framed pro mount. I love the beautiful simplicity of both of these products and feel they enhance the style of my photography. These types of photographs are only really possible in the first few weeks so it really is a once in a lifetime event. Trust is very important and being part of the Guild of Photographers, having my Craftsman qualification and having won awards for my work really helps to provide that for my clients. My experience with the Guild of Photographers to get to this point has been truly inspiring and has helped me to improve my photography so much. I still have lots I want to learn and continue to be an avid creative live follower! My ambition for the future would be to become a mentor myself. I have gained so much from the experience would love to be able to inspire others in their journey�. - Jo Bradley MCrGNBP

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© Jo Bradley

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Photographs Copyright of Helen Walker

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Helen Walker

Awarded Craftsman February 2018

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congratulations Ivan Trotman QGP

Qualified Guild Photographer January 2018

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Photo: Fiona Millington-Pipe 74 : Creative Light Magazine - Issue 24

BOOST YOUR REFERRALS with easy share galleries from 3XM

THE BENEFITS • Generate instant referrals by allowing your clients to share their images on social media • Your brand goes along with it so every share opens you up to potential new clients • Your client will love being able to save their gallery to their phone for easy access anytime and anywhere • It’s a great way to deliver digital files • Extend your sales reach beyond your direct client • Rest assured all printed products are professionally produced • Embed your own video to really impress

3XM Issue 24 - Creative Light Magazine :


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congratulations Shaheen Chohan QGPP

Qualified Guild Professional Photographers January 2018

Issue 24 - Creative Light Magazine :


Street and travel portraits By Dietmar Temps

In recent years many photographers discovered the exciting field of street and travel portraits. Street and travel portraits are associated with the genre of portrait photography and not street photography, as one might expect. For that reason, the rules for street and travel portraits are more connected to general portrait photography. As opposed to street photography, the people are aware that they are being photographed and have given their consent for the portrait. The ambition is to work out the character and the expression of the person. Street photography, on the other hand, always focuses on images at a decisive or poignant moment. Both genres combine the possibility to create a study of a particular milieu or environment. For this particular purpose the surrounding should be a major part of the composition of a street or travel portrait.

Best practices In order to create expressive and fascinating street portraits it is always helpful to know a few basic best practices. However, it is less about the composition which always depends on the creativity of the photographer. It is more about common tips and tricks to achieve natural and authentic portraits.

Search for interesting faces The first step to get successful street and travel portraits is always the search for expressive and interesting faces. But also the selection of introverted or reserved persons can lead to extraordinary and authentic portraits. Another important step is to obtain the consent for the portrait. This strongly depends on the cultural milieu. Often a smile and showing the camera is enough. However, sometimes it is required to explicitly ask for the permission and briefly explain why you want to photograph the particular person.

78Datacolor : Creative Light - Issue and 24 Spyder are registered trademarks of Datacolor. Š2018 Inc. All rightsMagazine reserved. Datacolor

Relation to the spectator

It is important to establish a relation between the person in the photograph and the spectator of the final picture. It is the responsibility of the photographer to create this relationship while shooting the portrait. Sometimes it takes only 2 or 3 minutes, but it can happen that it is required to invest a lot more time to gain the trust of the person. What always helps: avoid long focal lengths and approach the person as close as possible.

Background first

A proven approach is the rule: “background first”. The aim is to photograph the person in their familiar surroundings wherever it is possible. Ideally, the shot will take place exactly where the photographer met the person. The background may not always be perfect, but often a slight change in the camera position and point of view can lead to a good result. In order to avoid a tedious search it is advisable to have already an alternative location in mind in case the existing background is not suitable at all.

Lighting conditions

The next step after choosing the background is to inspect the existing lighting conditions. The optimal portrait lighting can be achieved by slightly changing the camera position. The best light for portraits is the soft morning and evening light, diffused shadow or backlight. When shooting indoors the available light is always a challenge for good portraits. If possible flashlight or artificial reflectors should be avoided. On the other hand, especially in shadow and backlit shots, natural reflectors like a sunlit wall or sunlit ground can achieve an interesting image effect. The inclusion of the reflected light in the composition requires experience, but it can lead to wonderful results especially for the eye area of the portrait.

Natural and authentic portraits

The purpose of the described approach is to minimize the time for the camera settings while shooting a street portrait. A brief period of time for the settings often decides whether a street portrait works naturally and authentically. There is nothing wrong to take more time for the portrait depending on the situation. However, this time should be used meaningfully to communicate with the person and observe their behavior: does the person feel comfortable in front of the camera, is the person introverted or extroverted, and does the person have patience? And yet: it is important to try to get a great portrait within the first two or three shots. It is typical for street portraits that the available time to nail a shot is often unpredictable. At any time, friends or passers-by can interfere and unsettle the person. Or the person soon loses patience with the photographer and the shooting. And sometimes it can be the worried mother who tries to arrange her child’s hairstyle or collar, and in the worst case, inadvertently destroys the candid character of the situation. The mentioned approaches, rules and tips are of course not carved in stone. Every photographer should have the courage to leave the beaten track, and sometimes they get their best shots in these situations. On the other hand, photographers who try to shoot natural and expressive street portraits without any preparation or experience will quickly realize that great results are often succeeded only by chance. Accomplished media designer and photographer Dietmar Temps lives in Cologne, Germany and has amassed almost 20 years in the media business. His first professional position as a photographic assistant took him through whole Europe and across the pond to America. After that he studied photo and media technology at the Cologne University of Applied Science. Currently he mainly realizes photo and internet projects with the focus on travel photography, social networking and video streaming.

Dietmar Temps

Contact: Dietmar Temps // Photography and media design // Cologne, Germany //

Dietmar about Coulor Management: “The calibration is surprisingly easy. The colors are after calibration better and the contrast is slightly higher. The images are simply looking better. After using the before/after function my monitor shows a slight yellow/green color cast which I hadn’t realized before. Dietmar Temps // Travel Photographer and Photo Blogger // Cologne, Germany Dietmar is a Datacolor Friends with Vision Member since March 2017. He is using a Spyder5ELITE+. Issue 24 - Creative Light Magazine :


congratulations Charles Thorne QGWP

Qualified Guild Wedding Photographers January 2018

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Issue 24 - Creative Light Magazine :


january 2018

Tracey Lund

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Karen Kimmins

Tracey Lund

Heather Burns

Bernard Pretorius Issue 24 - Creative Light Magazine : 83



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congratulations Ian Knaggs QGP

Qualified Guild Photographer January 2018

Issue 24 - Creative Light Magazine :


congratulations Caroline Dell QGPP

Qualified Guild Professional Photographers January 88 2018 : Creative Light Magazine - Issue 24


38 Eastbank Street, Southport, Merseyside PR8 1ET / 01704 534534 Issue 24 - Creative Light Magazine :




Over the past 10 years we have many changes to refine our busi we’ve tried different web solution trialed new camera systems, outsourced editing, brought it ba house, etc. But we had not mana to find a Web solution that work us — until Zenfolio.

This year we really wanted to streamline and expand our busin

Ioan Said is the BIPP North-West Wedding Photographer of the Year 2017, and two time North Wales Wedding Photographer of the Year. He is ranked among the TOP 100 wedding photographers in the UK on Fearless Photographers and recently served as Chairman of the North West BIPP region. See his site at:

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Like many wedding photographe we are busy with all the different we need to do — shooting, editi social media, blog writing, traini networking, selling, organising, finances, and more. These other are time consuming, and the wh reason we got into this business the first place was to take picture Plus, our little boy is now an am 2 year old, and I want to make s spend as much time with him as I can!


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Because of the time-consuming aspects of running a photography business, I constantly felt like I was missing out on maximising my database, missing promotions, getting through my blog posts, missing upsell opportunities…the list goes on. These are all areas where Zenfolio has really sorted things out for me. Partnerships with print companies who handle everything with suggested pricing including markups save me time. Free marketing campaigns that can ensure we make the most of our databases — many of them activated with a single click — are beneficial as well. Since switching to Zenfolio we have sold more prints in a year than we had in the previous five years combined! The blog is fully integrated, making it easy to source images and ensure Web traffic is optimised to one

website. Previously we had a separate blog, had to ensure it was kept secure, and optimise two websites… which was very stressful. Not any more. Our website is now fully responsive, and there are other smart integrations such as client apps that let our clients share their pictures on social media in a way that always promotes us. All of our photoshoots are stored within the Zenfolio system, giving us an easily accessible backup of our files, and with a few SEO tweaks, our site recently shot up in Google for most of our targeted keywords. We are delighted we made the switch to Zenfolio. It’s sorted out a lot of issues that were bugging us and has also opened up new opportunities for us to expand. We are looking forward to seeing where our new website takes us!



TIP SHEET #3 Mastering Tricky Selections & Cut Outs

Glyn Dewis shows how to use Photoshop’s Color Range to make light work of potentially tricky selections and cut outs when creating composite images.

Step 1: Color Range Open the Color Range properties by going to the Select > Color Range menu. Position your cursor on top of the image to be selected and click to begin making a selection, which shows up in white in the Color Range preview.

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Step 2: Add to the Selection Hold down the Shift Key, then to add to the selection click and drag over the image. Also use the Fuzziness slider to increase (right) or decrease (left) the range of colors chosen that are forming part of the selection and click OK.

Step 3: Add a Layer Mask With the active selection visible choose the Lasso Tool and whilst holding down the Option/ALT key, remove unwanted areas from the selection. Add a layer mask to cut the tree from the background. Hold down the Option/Alt key and click on the layer mask attached to the tree layer to reveal it. Set the foreground color to black and with a normal soft edged round brush set to Overlay Blend Mode paint over to tidy up black areas of the layer mask.

Issue 24 - Creative Light Magazine :


Step 4: Overlay Blend Mode With the same brush, change the foreground color to white and paint over the layer mask to tidy up white areas on the tree to make them pure white. Hold down the Option/Alt key and click on the layer mask to return to the colour view. To add density to the tree create two copies of the tree layer by holding down the CTRL/Command key and pressing J then merge the layer by going Layer > Merge Visible.

CHECK OUT MY YOUTUBE PAGE FOR 100’S OF FREE TUTORIALS 94 : Creative Light Magazine - Issue 24


congratulations Carola Kayen-Mouthann QGPP

Qualified Guild Professional Photographer January 2018 Issue 24 - Creative Light Magazine :


congratulations Peter Farrington QGP

Qualified Guild Photographer January 2018

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Issue 24 - Creative Light Magazine :


Cliff Spooner

february 2018

Cliff Spooner

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Tracey Lund

Andrew Ford

Henry Ransby

Garry Bree Issue 24 - Creative Light Magazine :


february 2018

Nathalie Rouquette

Steve Collins

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Joan Blease Emily Endean

Rich Wiltshire

Issue 24 - Creative Light Magazine :


february 2018

Sarah Wilkes

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Rich Wiltshire

Joan Blease

Jason Allison

Sian Shipley Victoria Strongitharm

Joanne Bradley Issue 24 - Creative Light Magazine :


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congratulations Jayne Bond QGWP

Qualified Guild of Wedding Photographers February 2018 Issue 24 - Creative Light Magazine :


Š Ian knaggs 108 : Creative Light Magazine - Issue 24

The first series of Cameracraft was a quarterly subscription-only magazine, covering three years of important developments in photography from 2012 to 2015 when it became part of f2 Freelance Photographer bi-monthly. A year later, from the November/December 2016 issue, Cameracraft returned as the main title for the magazine though you’ll still find the f2 logo there. Now Cameracraft is back and a new ISSN has been issued, the next edition will lose the f2. We have teamed up with The Guild of Photographers so all their members, professional and enthusiast alike, will receive Cameracraft. - David Kilpatrick

Issue 24 - Creative Light Magazine :


congratulations Jayne Bond QGP

Qualified Guild Photographer February 2018

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Issue 24 - Creative Light Magazine :


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Issue 24 - Creative Light Magazine :


infocus photography Insurance

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ou don’t have to kiss the frog to find our Prince and Princess Charming’s. Just give us a call on 0161 925 5051 or email us at

Infocus Insurance has for decades been a committed supplier of high quality insurance products and services to photographers and videographer’s. We aim to do it with a smile on our faces and to bring a smile to the faces of our customers, especially when things go wrong. As a thank you to all the wonderful members of The Guild for your continued support we are offering 12 months cover for the price of 11. Every year! What you get when you insure with us: • Interest free instalments • Worldwide cover for your photographic & technical equipment • Include Professional Indemnity cover and you’ll automatically get PR help with our ‘Crisis Containment cover’. We’re the only specialist Photography insurer to offer this cover! • Policies underwritten by Hiscox Insurance • Your own personal handler • Also Available: • Home Insurance, designed with you in mind: • Business & home contents • Client home appointments allowed • No Claims Discount up to 25% • Interest free instalments • Low excess • Home Emergency & Home-care included as standard • Pensions • Critical Illness cover • Cyber and Media

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I recently had to make a claim. I would just like to thank you for your help, I was not expecting such a fast turnaround. I am now able to replace my camera that I just wouldn’t have been able to do had I not been insured. I found your staff very helpful. Again, thank you so much” - James Sommerville

‘In Focus Photography Insurance’ is the trading style of The Alan Stevenson Partnership Ltd for General Insurance. The Alan Stevenson Partnership Ltd is authorised and regulated by the Financial Conduct Authority no 305785. Registered Office: 34 Victoria Street, Altrincham, Cheshire, WA14 1ET. Registered in England No 4320605

Issue 24 - Creative Light Magazine :


congratulations Victoria Horsfield QGNBP

Qualified Guild Newborn & Baby Photographer February 2018

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Issue 24 - Creative Light Magazine :


© Rebecca Goutorbe

Professional Membership costs £126 and Regular Membership costs £96

“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”

Telephone: 01782 970323 118 : Creative Light Magazine - Issue 24

Creative Light - Issue 24  

Creative Light Magazine brings together people interested in the craft of photography.

Creative Light - Issue 24  

Creative Light Magazine brings together people interested in the craft of photography.