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welcome april
This month I’m not going to be able to say as much as usual about the latest issue, but hey, I guess that’s not such a bad thing, when design and photography define a page. I never get bored of talking to photographers about photography or listening to what photographers have to say; it’s what feeds the content of the magazine and dictates how and why we include what we do. Any of our regular readers will know that this is not a magazine created to a format. Each month we try to bring together a whole host of stuff that responds to what we see and hear. We also try to make sure we listen and talk to people working in all areas and at all levels of success, from iconic photographers such as Michael Thompson on Page 54 to people just starting out like the Haarala Hamiltons on Page 88. We have photographers filled with passion and determination, such as Maciej Dakowicz on Page 64, and humour and commitment,

like Peter Dench on Page 36, as well as those who understand the business and future of photography, such as Clive Booth on Page 30. These are just some of the photographers who help to define our community which I hope you also feel part of. Welcome to the club.

Grant Scott, Editor


114 Legend Julia Molony meets Pål Hansen.co. who has turned his lens on war and disaster for more than 30 years. A portrait of David Bailey by Norwegian photographer Pål Hansen. NEED TO KNOW PP Editor Grant Scott recalls a shoot at the Moët & Chandon chateau in France where he was caught in the crossfire between a non-English-speaking photographer and a fashion editor. INTERVIEWS WITH. Peter Dench catches up with the owners of the Third Floor Gallery in Cardiff to discover what it’s really like to run a gallery. 70 It’s Only Rock ‘N’ Roll but I Like It Paul Middleton talks to Michael Ochs.. Grant Scott revisits the subject of depression among photographers. dreams. www. Robin Gillanders explains why the German portrait photographer matters so much. . your opinions. The latest essential news. 36 The Dench Diary The sometime working pro travels to Norway to teach up-and-coming photography students...uk 5 . 54 God is in the Details NEWS & REVIEWS 14 Click This month’s line-up of the best news. 96 Subscribe Check out our latest subscription offers.. gossip and kit from the pro world. 103 Stop Press. Our pick of this month’s most exciting photographic exhibitions around the UK. 42 The World of Convergence 45 Frontline Don’t miss film maker John Campbell’s regular news-packed take on the world of convergence. 88 Supermarket Sweep Cass Chapman talks to Max and Liz Haarala Hamilton. PÅL HANSEN PP Editor Grant Scott speaks exclusively to fashion photographer Michael Thompson about his stellar career and what it was like to assist Irving Penn.professionalphotographer.. your page. head of photography at The Guardian and The Observer. 49 Feedback Your thoughts..NEW PHOTOGRAPHY 8 Portfolio The best of your work posted on to our online portfolio. We look at the life of American photojournalist James Nachtwey. 23 Diary 80 August Sander is Important. 25 Being There 30 Dispatches Clive Booth gears up for the high-octane event that is London Fashion Week. contents april 53 Exposure Fashion photographer Ellen Von Unwerth shoots for wedding dress designer Jenny Packham. themes and photographic schemes. KEEP IN TOUCH 28 Podcast Free photographic discussion for the masses. 51 Guess the Lighting 64 The Year of Living Dangerously Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. the Norwegian photographer who sees beyond the glamour and glitz of the celebrity world he shoots. possibly the greatest archivist of music images in the world. whose personal project on The People’s Supermarket is now bringing them new work. 93 Talkin’ Photography Blues 74 What Lies Beneath PP Editor and longtime Hasselblad user Grant Scott discovers that going back to the legendary brand is all about asking yourself questions. Read our interview with Pål on page 74. We talk to Roger Tooth. 98 Working the System Following an overwhelming response to his article on loneliness last year.


uk MANAGING EDITOR Simon Reynolds simon.uk. whom he interviewed for the feature on page 70. employees of the sponsor company. 01242 264751 MD SPECIALIST MAGAZINES Miller Hogg WHOLESALE AND RETAIL DISTRIBUTION If you have difficulty obtaining Professional Photographer. It was through this link that he gained access to his brother. I Employees of Archant Specialist. for PP he looks at the work of the German portrait photographer August Sander – who is the subject of a major exhibition in Scotland – and explains why his work is so influential. Paul Middleton Writer Paul. the printers nor any distributor is responsible for errors or omissions.pope@archant. Phyllis Giarnese.co.co.uk.professionalphotographer. Jonathan Worth. copies of which are available from the advertising department. ABC certified circulation (Jan-Dec 2010): 9.386.lamb@archant.shaw@archant. or pass your details to selected third parties. Archant House. Roger Tooth Photojournalist A press photographer who cut his teeth on the Hackney Gazette.co. Pound conversion rates correct at the time of going to press. The Observer and guardian. Roger is now head of photography for The Guardian. Describing the incredible archive as “a hobby that got out of control”. to introduce new products and services to you. contact Seymour.uk.flint-elkins@archant.co.co. 01242 211092 SALES EXECUTIVE Leigh Barr leigh. Ochs began collecting photographs while working at Columbia Records in the late 1960s.co.subscriptionsave. Oriel Road. I Archant Specialist may wish to contact you in the future. a part-time football and music writer.co. 01242 264783 lucy. He is also a practising portrait photographer and has several works in the collection of the Scottish National Portrait Gallery.barr@archant.warren-meeks@archant.okane@archant. are not eligible to enter. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online.uk \ 01242 264767 © Archant Specialist.dufty@archant. 86 Newman Street.uk CONTRIBUTING EDITORS London: Suzanne Hodgart.co. All prices and data are accepted by us in good faith as being correct at the time of going to press.co.uk Twitter: @prophotomag Printed by William Gibbons GROUP BRAND EDITOR Grant Scott grant. Gloucestershire GL50 1BB www. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist.co. 01242 216054 CLASSIFIED SALES EXECUTIVE Bianca Dufty bianca.co.uk EMAIL professionalphotographer@subscription. as well as campaigns for luxury brands including Emporio Armani and Chanel. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising. 01242 211099 GROUP COMMUNICATIONS MANAGER Lucy Warren-Meeks.uk EDITORIAL ASSISTANT Jessica Lamb jessica.co. for example.uk HEAD OF DIRECT CUSTOMER MARKETING Fiona Penton-Voak SUBSCRIPTIONS MARKETING EXECUTIVE Lisa Flint-Elkins lisa. 01242 265895 SALES EXECUTIVE Amy Pope amy. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer.uk.professionalphotographer. and those professionally connected with the competition/ giveaway. Archant Specialist is part of Archant Ltd. please tick the appropriate boxes on the entry form. www. Since he joined The Guardian as assistant picture editor the industry has embraced new forms of multimedia.uk DEPUTY EDITOR Eleanor O’Kane eleanor.co.co. On page 54 he talks to PP Editor Grant Scott about his approach and how being a Virgo has influenced his style.friends april Robin Gillanders Lecturer in photography Robin Gillanders is Reader in Photography at Edinburgh Napier University. competitions/giveaways are only open to UK residents.uk ART EDITOR Rebecca Shaw rebecca. If you are sending your entry by text and do not wish to be contacted. Cheltenham.co.co. From there his career went into orbit. I The Editor’s decision is final and no correspondence will be entered into.uk FEATURES ASSISTANT Kelly Weech kelly. London W1T 3EX TELEPHONE 020 7396 8000 PRODUCTION MANAGER Susan Bozzard REPROGRAPHICS MANAGER Neil Puttnam With special thanks to Mandy Pellatt www. I Prizes are as described and no alternatives can be offered. the music archivist Michael Ochs. Geoff Waring. See page 80. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Paul runs the Phil Ochs website No More Songs. Michael Thompson Photographer Michael has shot celebrities for magazines such as Vogue and Vanity Fair.scott@archant.uk 7 .weech@archant.professionalphotographer. If you are sending your entry by post. is a full-time fan of late folk singer Phil Ochs.co. that information is obtained from a variety of sources and neither the publisher. At the start of his career he assisted Irving Penn. Professional Photographer is published monthly by Archant Specialist.co.uk.reynolds@archant.godwin@archant.uk \ feedback@professionalphotographer. changing the commissioning of photography. David Eustace ADVERTISING DIRECTOR Eleanor Godwin eleanor.uk. The author of several books on photography. In our Frontline feature on page 45 he discusses the changing face of photojournalism and what it takes to be a press photographer. New York: Jake Chessum. please add the word ‘NO’ to the end of your text message.uk SUBSCRIPTIONS/BACK ISSUES CUSTOMER CARE 01858 438832 ORDER HOTLINE 01858 438840 VISIT www. I Unless otherwise stated. having knocked on his door to find it being opened by the legendary photographer himself.co.

uk . UK SIMON TURNER.professionalphotographer. so for your chance to appear in Professional Photographer.co. ILIAN. go to their online profile to access their website details.professionalphotographer. If you want to see more of any photographer’s work. UK SAM COOPER.PORTFOLIO Each month we share the best of the latest postings from our online portfolio with our magazine readers. go online and start uploading your best images to www.co. UK 8 www.uk.





And for many photographers it becomes a tool they cannot be without. Birmingham Thursday 14th April Join Commercial advertising and car photographer Tim Wallace at an exclusive live shooting event . Well known within the automotive industry for his creativity and open approach he is regarded by many as one of today's leading car photographers with a unique and strong style of work that inspires not only his clients but also their customers. Birmingham Thursday 28th April An Introduction to Successful Architectural Photography Richard Southall A seminar session followed by a walking tour of Birmingham where participants will gain a basic understanding to architectural exterior photography.co. The format of the day will be a demonstration of the use of the Home Studio Kits and the techniques used to light a model to give varying styles of classic poses.30-13. residential and constructions industries for over 23 years. There’ll be lots of product demonstrations. During this event John shares his many years of experience too show from the absolute basics. product and still-life photography.uk We now accept paypal for seminar and event bookings. Birmingham Wednesday 6th April Manchester Wednesday 4th May Belfast* Wednesday 13th April Edinburgh Wednesday 20th April Drummond Street Wednesday 11th May * Belfast 10am-4pm Studio Lighting John Clements If you need ultimate control of where and how you place light. Malvern Link. who has a one-woman exhibition of her photographs of gardens which will coincide with this seminar.uk Morgan Motor Company. A critique of the students images and a final question and answer session will close the days workshop. Birmingham Saturday 21st May Morgan Motors Photography Day For full details visit www.calumetseminars. then studio lighting is the answer.co.00-16.seminars & events Calumet Spring Open Days Come and meet us at our Spring Open Days in-store. Worcestershire WR14 2LL Tuesday 10th June Check our new website for times and prices and more great workshops! www. at Birmingham Botanical Gardens and Glasshouses. atmosphere and drama Further posing and composition advice. promotions and experts will be on hand for advice. retail. He is a qualified college lecturer and a member of the Association of Photographers. how to choose and use studio lighting for simple and repeatable. something that was reflected in 2010 when he won International Advertising photographer of the year. where the photography will take place.30 Mastering your cameras characteristics and lighting for its specific performance capabilities Refining exposures through histogram usage Flash metering for accuracy The best lighting tool (accessory) for the job Recreating famous styles On location shooting . Lode Lane. A practical session will then follow for students to photograph the model. The seminar will start at the Gallery at Birmingham Botanical Gardens and Jenny will discuss aspects of her work as displayed in the imagery on view.00 Creating lighting solutions for various face and body shapes Creating the all important backdrop Lighting for mood. and or simply a need for sheer power. Of course we’ll have sensor cleaning at each location too. Mercedes and Morgan. Thursday 19th May & Friday 20th May Landrover Experience. Land Rover. Manchester Thursday 14th April Glasgow Thursday 5th May Landrover – Location Lighting Experience Tim Wallace day event 2 Say it with Flowers Jenny Lilly Jenny is a widely published and exhibited stock garden photographer. Our stores will be open from 10am until 6pm. Pickersleigh Road. people. . Course will include discussions on the legal aspects of street photography and the law.calumetseminars. An evenings walking tour of Birmingham city centre where the participants will gain a basic understanding of the techniques required for successful night photography in a city environment. Tim works with clients across the globe such as Aston Martin. hints and tips Bringing a variety of lighting effects together to work as a ‘whole’ Studio Lighting Seminar Level 4 Afternoon session 14. followed by a session of photography at the Gardens. Birmingham B15 3TR Wednesday 1st June An Introduction to Night Photography Richard Southall Richard is a prominent nationwide architectural and interiors photographer who has been producing images to the leisure. We look forward to seeing you there. Solihulll West Midlands B92 8NW Maximum 14 Attendees . A camera and tripod will be essential.book early to avoid disappointment Studio Lighting – The Next Level John Clements Studio Lighting Seminar Level 3 Morning session 10. Birmingham Botanical Gardens and Glasshouses Westbourne Road.working with ambient light Lighting or Post Capture? Choosing the best solution Drummond Street Saturday 30th April Portraits using Home Studio Paul Southall This workshop will show how to set up and use a two head kit to achieve professional style portrait images. A digital SLR and tripod will be essential.

click Mick Jagger. www. Anton Corbijn. dreams.99. In 1945 he hired 19-year-old aspiring actress/model Norma Jeane Dougherty for her first modelling shoot and struck up a lasting friendship with the woman who was to take the world by storm as Marilyn Monroe.professionalphotographer.co. perhaps due partly to the longevity of his career. which he then abandoned to concentrate on shooting nudes. a shade better. www. themes and schemes. A book by François Hebel – the director of the Arles festival – features images 14 www. Marilyn. André de Dienes. more naïve (and less blonde) Monroe than we are used to seeing.taschen. and with luck. published by Taschen.uk from the 2010 exhibition spanning Jagger’s whole career and shot by a variety of photographers. Mick Jagger The Photobook is published on 3 May by Thames & Hudson. edited by Eleanor O’Kane The seldom seen kid It’s often the case with a long-dead superstar that some information bubbles up to the surface revealing just a little bit more about their life than we previously knew. priced £14. HERB RITTS the latest photographic news. 1987. London. Norman Parkinson ANDRÉ DE DIENES . ISBN: 978-3-8365-2710-1. ISBN: 978-0-500-289495.com I like to make people look as good as they’d like to look. Herb Ritts and Andy Warhol. Taschen has decided to reissue a book of images by de Dienes showing a much younger. £24.95. Photographer André de Dienes was born in Romania and came to America in 1938 to shoot fashion. Mick Jagger is one of the most photographed rock stars in the world.com QUOTE OF THE MONTH Honky Tonk Man The subject of a retrospective at last year’s Les Rencontres d’Arles photo festival in France.thamesandhudson. including Cecil Beaton.

just a 19-year-old girl who had just started out modelling a few weeks before that trip. She was completely sincere and natural.“She was absolutely nobody at the time.” André de Dienes .


the homes and interiors picture library. www. their force is undeniable.teneues. A new book from teNeues. which saw creditors agreeing to work with Red Cover in a bid to keep the agency afloat. In summer 2008 the agency accepted a Company Voluntary Arrangement. Los Angeles. part of its Stern FOTOGRAFIE Portfolio series. £31. pure light and otherworldly air of the young models make for beautiful images that embody the spirit of California. California Dreaming. www.com www. whose collaboration with shoemaker Charles Jourdan changed the face of fashion advertising. £26. Breaking the boundaries of what was possible in the ad world.. ISBN: 978-3-652-00002-4. Bourdin’s images still provoke extreme reactions. California Dreaming by Paul Jasmin.50. Guy Bourdin was famous for his sophisticated use of colour and form. pulls together the work of this influential photographer. PAUL JASMIN True colours One of the 25 bad boys from our August 2010 issue.. Those with images at the agency have been contacted by email and advised to send hard drives to the Red Cover office for retrieval.co. The perfect weather. ESTATE OF GUY BOURDIN. Dream on American photographer Paul Jasmin shoots for top magazines such as Vogue.95. published by teNeues. Paris. shooting in and around his apartment on Wilshire Boulevard in Los Angeles. Shoot for Vogue.Jonelle. Stern FOTOGRAFIE Portfolio No. ISBN: 978-3-86930-030-6. published by Steidl.uk 17 . has finally closed after hitting hard times more than two years ago. W and Interview.professionalphotographer. 61 Guy Bourdin. USED BY PERMISSION OF ART + COMMERCE NEWS. 2009. he uses models he found through his college job and friends to explore the notion of dreams and desires.com Run for cover Red Cover.steidlville. 1977. In his latest book. Love them or hate them.

Gallery One. National Media Museum. showing for the first time some of the earliest images taken in Africa. 15 April-4 September.com/blog Out of Africa © NATIONAL ARCHIVES The National Archives has digitised the photographic collection of Britain’s defunct Colonial Office. Dorothea Lange.uk/africa 18 www. http://treats magazine. the Open Award is for both members and non-members. Close call The Association of Photographers has launched three of its competitions: The Photographers.© RICHARD SADLER FRPS. As its name suggests. Assistants – 15 April.nationalarchives.com Life behind the lens The National Media Museum in Bradford houses collections from some of the world’s greatest photographers and while its images might be familiar to us we don’t always know much about those who took the pictures. A new. With no categories or themes. it’s research. sit alongside images and work of street photographer Weegee (pictured above in Coventry in 1963). www. The Lives of Great Photographers.gov. The collection includes pictures of Prime Minister Harold Macmillan draped in leopard skin on his ‘Wind of Change’ tour in 1960 as well as this image of his wife at a market in Accra. while the Assistants Award is open to AOP Assistant members to showcase the best imagery from the next generation of professional photographers. COURTESY OF THE NATIONAL MEDIA MUSEUM/SSPL AOP Gold and Best in Category Award winner 2010. To the treats! magazine blog..co.. The Lives of Great Photographers.uk © MICHAEL MEYERSFIELD . The exhibition encompasses a variety of photographers dating back to the early days of the medium.professionalphotographer. Ghana during that trip. explores the lives of the men and women behind the lens with images and histories of the photographers themselves as we’ve rarely seen or heard them. The deadlines for entry are: Photographers – 3 May.nationalmediamuseum. Bradford. Famous for shining a light on how others live. The Photographers Award is open to full and provisional AOP Photographers. Assistants and Open awards. View the archives at www. it recognises all forms of outstanding imagery shot by professionals and amateurs alike. some of their remarkable images and personal effects such as notebooks.org. If anyone asks. Tony Ray-Jones and Larry Burrows. free exhibition at the museum. For more information visit www. It’s a great insight into the minds and motivation of those who have changed how we see the world. portraits and work of legends such as William Henry Fox Talbot and Edward Steichen. Open – 20 May.uk TREAT YOURSELF.the-awards. each photographer – none of whom is still alive – is represented by a portrait.


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professionalphotographer. but the 2011 exhibition will be shown at Ambika P3 at the University of Westminster while the gallery is closed for redevelopment.co.uk ROE ETHRIDGE Deutsche Börse Photography Prize 2011 University of Westminster’s Ambika P3 Space. Stables Market. www. 35 Marylebone Road.We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. such as Peter Tosh. The work has only recently come to light after extensive research into the archives of the legendary British photographer. Bunny Wailer. www.co. . London. Elizabeth Taylor and the Rolling Stones. and Elad Lassry from Israel have been short-listed for the Deutsche Börse Photography Prize 2011 and examples of their work can be seen at an exhibition this spring. Thanksgiving. The prize is one of the most prestigious of the international arts awards. The exhibition gives collectors and fans an exclusive opportunity to buy previously unavailable prints. London. Frank Sinatra. Terry O’Neill: 50 Years at the Top Chris Beetles Fine Photographs. FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.co. will be included in the exhibition. London.proud.org. Roe Ethridge and Jim Goldberg from the USA. The Horse Hospital. behind-the-scenes approach. are run by the Photographers’ Gallery.chrisbeetlesfinephotographs. The winner will be announced at a ceremony on 26 April. His subjects have included some of the world’s most famous actors.uk 5 April-1 May 2011 Thomas Demand from Germany. Bob Marley & the Golden Age of Reggae Proud Camden.uk 7 April-15 May 2011 Proud Galleries present Bob Marley & the Golden Age of Reggae. www. The £30.uk KIM GOTTLIEB-WALKER TERRY O’NEILL The Rolling Stones outside the Donmar Warehouse Theatre. now in their 15th year. Burning Spear and Lee ‘Scratch’ Perry.000 first prize goes to a photographer of any nationality who has made the most significant contribution to photography in Europe during the previous year. Toots Hibbert.professionalphotographer. Many previously unseen images.1963. The photographs. created from his original negatives. Over the past five decades O’Neill has created a different kind of celebrity portraiture with an intimate.com 23 March-23 April 2011 A collection of vintage and modern prints will be on show this spring to celebrate the 50-year career of photographer Terry O’Neill. 1984. a series of intimate photographs to mark the 30th anniversary of the artist’s death. As well as images of the iconic reggae singer. The awards. 0845 262 1618. taken in 1975 and 1976 by photojournalist Kim Gottlieb-Walker – the wife of Island Records’ head of publicity Jeff Walker – capture exciting moments from Marley’s career. London. Chalk Farm Road. NW1 8AH 020 7482 3867. For a full list of exhibitions and events visit www.photonet. 3-5 Swallow Street. actresses and musicians. including Brigitte Bardot. W1B 4DE 020 7434 4319. the black-and-white collection includes other stars who brought reggae to the international stage. NW1 5LS.

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including the models.uk 25 .co. wine and coffee. but we instantly got on like a house on fire. from people he liked working with (all French-speaking only) and they had driven up from Paris the previous day to check into a hotel in the town. so the expectations of everybody involved were slightly higher than for the standard magazine shoot. The photographer had refused to check in and instead found himself and his assistant what he considered to be a much more appropriate hotel at considerably higher cost. He had started out as a photographer while a French punk. He spoke hardly any English and I speak very little French. But they were just some of the challenges that faced PP Editor Grant Scott when he arrived at the Moët & Chandon chateau. Then at one o’clock on the dot Michel stopped. Locations decided upon and models dressed. In a small square in Épernay we found a family-run corner restaurant. We were off and running. The atmosphere was as cold and depressing as the weather and we still had four days to go. who was used to working through lunch and grabbing a sandwich when possible. This was the final straw for the English fashion editor. I had got to the shoot later than everyone else and by the time I arrived on the Monday morning there was already stalemate. cold days and no communication. My stance on this matter instantly gained me the photographer’s respect. Heavy rain. we started to shoot the first of the fashion stories. The French crew did not expect to go with him. And that is when things had started to go wrong. He gave me a look that said he approved of my decision. The photographer had pulled together the rest of the team. The photographer was never going to be the fashion editor’s best friend but to me that wasn’t car. well cooked. leaving the photographer and myself to spend the last day shooting still-life setups within the chateau. they were paying for it on the basis of the concept I had sold to them). Instantly he was happier and agreed to leave the a problem. he was a photographer for whom creating the best images possible was everything.. They were now very unhappy. On the Monday morning the French contingent had woken up to both black. I quickly followed Michel and jumped into his “I had to deliver to the client the images he was expecting and whatever that took was okay with me. even without the language barriers. which from the www. It is often said that photography is a universal language but that’s not a lot of use when you’re squeezed into a location bus with a truculent French photographer refusing to take any pictures. As always on editorial shoots. they were happy with the food they had picked up from a supermarket on the way to the location. proudly French and at home with the anarchic side of his personality.professionalphotographer. My stance on this matter instantly gained me the photographer’s respect. The fashion editor had arrived the day before and had no problems checking into the chateau where she was staying as a guest of honour. A man’s man. It was his lunchtime and he expected a French lunch: hot. I had to deliver to the client the images he was expecting and whatever that took was okay with me. meant that this was not going to happen. Everyone else had checked into the Ibis but no one was happy there. budgets were tight but this was to be a magazine supplement created in association with Moët & Chandon (well. His name was Michel Momy and he is one of the photographers from whom I have learnt the most throughout my career. two physically shaking French fashion models (I presumed fear and cold were the reasons for that) in the sodden grounds of the Moët & Chandon chateau in the French countryside on the edge of the champagne town of Épernay. It was time for me to adopt the role of international peacekeeper. Torrential rain. with bread. The first three days were meant to be devoted to shooting three fashion stories based around light spring frocks and bright spring days before the fashion editor returned to the UK and the models went back to Paris.Lost in France.” Grant Scott location bus with me to start scouting possible locations in the rain. There was a definite English/French divide but we were shooting and moving forward. a fashion editor at her wits’ end. This was not Michel’s way and he strode off to his car to go in search of the lunch he expected. “The magazine will have to pay. they were not impressed by the local Ibis..” he had declared with a Gallic shrug. a French photographer who didn’t speak English and a fashion editor at war with the photographer were not the best ingredients for a successful weeklong shoot. Unfortunately. rain-filled skies and the realisation that the fashion editor was staying at the chateau. He had shot for i-D magazine in the UK since its launch and had an approach and personality that suggested it was his way or the highway. Much to the fashion editor’s disapproval I agreed to pay for the photographer to stay in his hotel of choice.

professionalphotographer. despite the weather. budgets dictate and you are left with no choice. was convinced this was the right place for lunch and he strode across the square and into what was a cold. come one o’clock I always get the look that says “time for lunch”. never content with one approach to framing. We didn’t speak each other’s language but it didn’t actually matter. not as a dictating force. Michel took it all in his stride and wasn’t bothered in any way about shooting the setups. Michel was a whirling dervish with a Hasselblad. everybody.michelmomy.PROFESSIONALPHOTOGRAPHER. The team was waiting. only this time our lunch was both longer and more relaxed than on the previous days. He would run. However. He was constantly experimenting with composition. lean and do whatever it took to get the image. empty place which felt as if it had been dreamt up by a set designer hoping to create the most perfect caricature of a provincial French stylist and the photographer. Having worked on innumerable still-life shoots in the past I had a pretty good idea of what worked and the importance of having odd numbers of items and not using too many props. Hasselblad in hand and with no sign of a tripod. and to the fashion editor. Just Michel and I were left to spend a day shooting still-life setups of place settings and glasses in the interior of the chateau. Of course it goes without saying that come one o’clock we were off to what had become our regular lunchtime location and meal. Again he ordered steak and wine from the old lady out of the kitchen. who could not wait to escape back to London. We sat and ate. What I wasn’t expecting was Michel’s photographic approach to what I’d created. and we tried to communicate through broken snippets of each other’s national language. he trusted his instincts and made still-life photography fun.” Grant Scott restaurant.CO. Again we scouted locations and worked through our shoot list. A strong coffee and it was back into the rain and the chateau. so I had no choice but to step in. Michel ordered for both of us before we had even chosen a table and sat down. We found a table near a window which gave us some beautiful and soft natural light.UK 26 www. Michel. He did all the work and required little from the models other than expecting them to look great and help him create his images by listening to minimum instruction. The next day the weather had improved and everybody was getting on well. jump. a Saint-Émilion. We had become firm friends through adversity and our joint passion for photography. I had never seen anybody work like it and it was inspirational. An old lady. Unfortunately. On fashion shoots the strong relationship should always be between the fashion editor or being disrespectful to the photographer and the other creatives involved. At the end of the day everybody went off to their designated hotels. But wherever we have been and whomever we have been working for. which Michel and I brought to our dinner party still lifes. The images they create on a shoot should come from their collaborative effort and vision. We were to have steak and red wine. The art director should be there as a creative and client barometer. It is never ideal to ask a photographer who specialises in fashion. exhausted from the stress. a morning of fashion images around the grounds with a one o’clock stop for the same lunch in the same restaurant. VISIT WWW. I have always thought of still-life art direction like playing soldiers as a child.uk .com GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY. and I began to create the setups from the glass and ceramics we had been supplied with. he leapt and bounded around the setup in exactly the same way as he had photographed the models over the previous three days. Less is more definitely applies to still-life shoots. The judgments you have made are based solely on storytelling and aesthetics and that was the formula. except the fashion editor. the fashion editor very cold and wound-up. I went to the Ibis and immediately understood why Michel had not wanted to stay there. the French very chilled and relaxed. My friendship with Michel continues to this day. You are moving things and positioning them in ways that make sense only to you. We have shot together all over Europe on all sorts of shoots and campaigns. The steak was fantastic. who was never going to be persuaded by Michel’s anarchic charms. He didn’t even shoot a Polaroid. came out to greet us from the kitchen. on this occasion it was obvious that Michel was never going to work with the fashion editor and vice versa. as was the wine. wonderfully appropriate for the interior. work and wine of the past four days. At least that’s how I have always liked to behave on shoots. At one o’clock on the dot. I had never seen anybody work like it and it was inspirational. You move things around with an idea of where you want to put things but there are no rules. in those days and even more so now. we drank coffee and then returned to the shoot.outside looked depressing and definitely the wrong choice. The next day was just the same. We finished shooting all of the setups we needed. hair and make-up. Our conversation was just as stilted.co. Michel again mimed the actions of eating and drinking to me and off we went to our little restaurant in the town. By the end of Wednesday we had shot all of the fashion setups we needed and it was time to say our goodbyes to the French team of models. It was still-life photography as an extreme sport as he battled with the setup and light to get what he perceived to be the perfect frame. beauty and portrait work to shoot still lifes as well and when commissioning it is something which you always do your best to avoid. PP www. “He was constantly experimenting with composition. however. dusty. that is. never content with one approach to framing. We polished off the remaining shots that afternoon and then Michel drove me back to Paris. There is nothing worse than a pushy art director on a shoot. The rain had started again and I slept for most of the journey. tensions. Then when you get things right you sit back and admire your display.

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They ponder whether possessing business and photography skills go hand in hand. it’s time to join us online. As curator and exhibitor respectively. the PP team of Grant Scott. So if you haven’t listened in yet. Veteran pros Grant and Peter relate their experiences of working alongside other photographers and how these have influenced their working practices. November Issue SEXY OR SEXIST? Grant Scott. including the PP’s United States of Photography support group. The team look at new ways of networking. December Issue PHOTOGRAPHIC COMPETITIONS Grant Scott is joined by Eleanor O’Kane and photographer Peter Dench to discuss the world of competitions. Eleanor O’Kane and podcast regular Peter Dench discuss the world of exhibitions. January Issue ICONS OF PHOTOGRAPHY PP Editor Grant Scott and deputy editor Eleanor O’Kane are joined by regular columnist and photojournalist Peter Dench to discuss the importance of learning from the masters.professionalphotographer. You can subscribe for free and download the podcasts from iTunes by typing professional photographer into the search tab or listen via www.uk . PP 28 www. With the days of the communal darkroom and lab long gone. the opportunity to share news and advice in person has disappeared. Does it depend on context or are there other factors at play? October Issue THE SECRETS OF BEING A PRO The team discuss the secrets of professional photography.professionalphotographer. debate and talk around a subject featured in the magazine. The team talk about their personal favourites and explain why they think their choices deserve iconic status. and debate the point at which they believe a photographer becomes an icon. discuss potential areas where seeking professional advice could reap rewards and ask if current photography students are aware of the importance of business skills when choosing a career as a professional photographer. the contentious Taylor Wessing Photographic Portrait Prize and whether there is such a thing as a formula for winning. finance and marketing. We post them on our website and you can subscribe for free and download them via iTunes. THIS MONTH’S PODCAST April Issue GETTING YOUR WORK EXHIBITED In the latest podcast.uk.podcast ON YOUR WAVELENGTH Every month we record a free to download podcast in which we discuss. Eleanor O’Kane and Peter Dench discuss an issue that often crops up in the industry: why some images are seen as sexy while others are labelled sexist.co. Should a photographer approach the project in the same way as a commission or adopt a different tack? They look at photographers who have got it right and ask if there are too many introspective projects.co. AND THOSE YOU MAY HAVE MISSED… March Issue THE PERSONAL PROJECT SPECIAL The team grapple with the importance of creating personal projects for sustaining and developing a photographer’s career. Grant and Peter share their experiences and the team discuss the right way to make an exhibition of yourself. February Issue THE BUSINESS SPECIAL The regular podcast team talk tax.


batteries charged. 50mm lens.. Canon EOS-1D MkIV. Zacuto Crossfire. first reading the books and then watching the films.5 and follow-focus system. while Michael organises a tiny area in Charlotte’s office for the laptop card reader and twin G-Tech portables. As it’s DSLR I have two trusted Manfrotto tripods (546GB legs. now it’s three and. and the more uncertain the shoot the more nervous I get.8. two 14mm f/2. I decide CLIVE BOOTH .4. an EOS-1D MkIV and a 100mm f/2. making it the largest employer of all the creative industries.. Bacchus Studio is responsible for This month: Clive steels himself to shoot at the UK fashion industry’s biggest event of the year: London Fashion Week. not even 10 years ago. For sound it’s the usual Rode on-camera along with a Rode studio mic and Tascam portable recorder. which scared me half to death. sports activity..professionalphotographer. As I want to shoot at wide apertures I bring along several ND filters.000 people.. a firm favourite with a very easy levelling system) and one compact lightweight (190CXPRO4 legs. plus a 17-40mm f/4. I always feel nervous before shooting. 70-200mm f/2. bewildering and dazzling array of hardware I think. Given all this hardware it’s difficult to believe that I can still shoot so freely and move so easily but there is no getting away from the fact that it would not be possible without Billy and Michael. As we unpack the bags the table fills with two Canon EOS 5D MkIIs.2. The past few days have been spent finalising security passes. I try to relax watching Stanley Kubrick’s Spartacus. My hope is that the finished film short will give the viewer a glimpse of what it feels like to be a part of the strange. Bill Waters. “Handheld again and I’m changing lenses quicker than the models are changing outfits. Additional lighting comes from the ever-faithful Litepanel 1x1 Bi-Color LED with an array of gold.2 and 135mm f/2. 28-70mm f/2. 35mm f/1. It is similar in size to the food and drink service and telecommunication industries.co. first assistant and lighting. I’ve been slowly ticking off the great man’s work. Bacchus Studio and co-collaborator). chemical manufacturing and advertising/video sectors.uk putting on the five shows I am going to cover over the next three days: Osman.4. Mark Fast and Emilio de la Morena. I prefer to have them all at my disposal. and lenses and sensors cleaned. I marvel at the monumental levels of effort that Kubrick went to in order to fulfil his vision. All the equipment is packed. 85mm f/1. just two. There is nothing certain about the outcome of this shoot. 50mm f/1. David Koma. The DSLR equipment is far more cumbersome than the camera alone. I find the books are essential. 701HDV head) along with a rented Glidecam HD-2000 camera stabiliser and Manfrotto monopod (682B). without whom none of this would be possible. in the old days. 180mm f/3. I start to assemble the DSLR equipment. second assistant. along with tripod bags and Pelican cases. The journey is easy and I make it to Somerset House for 11am. As usual it’s chaotic and space is at a premium. I count 16 lenses in total and although it is entirely possible to do this project with fewer. ready to shoot at the industry’s top event: London Fashion Week. As always I want the final result to be beautiful. At 8am I leave for London after a half-eaten bowl of porridge and a cup of Lavazza. Sometimes I yearn for the simplicity of one camera body and a handful of lenses.8 macro. especially when watching 2001 and more recently The Shining. the UK fashion industry contributes £37 billion to the economy and directly employs 816. Billy fights to get us a table.5 macro. Holly Fulton.8 and finally 45mm and 90mm tilt-shifts. but Zacuto has made a fine job of creating a modular system that can be assembled and broken down very quickly and easily.2. another 24mm f/1. atmospheric and to some degree meaningful and real. mystical and magical world that we are about to enter. and Michael Williams. Security is tight and Charlotte’s assistant has the passes (around five per person) and we enter backstage B at London Fashion Week. 30 www.dispatches Clive Booth tales from the frontline of professional photography According to the British Fashion Council’s Value of Fashion Report 2010.” Clive Booth A model runs to change outfits. I’ve fitted the zip gears (a gear ring which hugs the lens) to five of my favourite lenses: 24mm f/1. Sunday 20 February. It used to be that one big Lowepro bag would hold everything. it’s still growing. Media comes in the form of four SanDisk Extreme Pro 90MB/s UDMA6 CF cards along with the essential Lexar CompactFlash Pro card reader. checking the location lighting and chatting with the team: Charlotte Lurot (director.4 and 85mm f/1. When I stand back and look at this somewhat confusing. 501HDV head. “What the hell have I got myself into?” but quickly dispel the thought when I imagine the potential results. So here I am.8. and bigger than the wholesale and retail auto industry. organising equipment loans. white and silver reflectors for subtle fill. Z-Finder x2.

. Canon EOS-1D MkIV. 14mm lens. On the catwalk.” Clive Booth Backstage at London Fashion Week. Clive captured this shot with a Canon EOS 5D MkII and 14mm lens clamped to the base of a lighting rig with a monkey grip. mystical and magical world that we are about to enter.“My hope is that the finished film short will give the viewer a glimpse of what it feels like to be a part of the strange.

rods. Most are now shooting video with all manner of DSLR contraptions.2 as the models come off the catwalk and rush to change and then reappear. stylists. wood and weightlifting weights). the sound of an advancing army of hair dryers. For many assistants DSLR is still new and learning to assemble and disassemble the gear is very different to the skills needed for stills. enabling the finished film to appear as one show. By day two it’s clear that the three of us are working as a tighter unit.co. Lots of cameras. the list goes on.. steamers. One beautiful piece of moving imagery will work better when seen from different viewpoints.. 50 fps (if needed) and a reassuring weight and strength. hair. ironing boards. The Zacuto Crossfire can be lifted off the tripod in one move and I work handheld. so this compromise must be made.” Clive Booth Backstage make-up. bottles and bottles of water. Models eating. Interestingly it has been two seasons since I was last backstage and nearly all the photographers are now using Canon. last-minute make-up. 24. It’s chaos and calm. Hoovers. 85. excellent low light capability. which is in addition to a manual sensor clean with the blower. It is simply not possible to keep manually resetting the white balance. seamstresses. 50mm lens with ND filter. focal lengths and cutaways to make sure there is plenty of material for the edit.920 x 1. rehearsals and catwalk. shot from a multitude of angles.080p on manual. but unlike stills I must make sure I have covered multiple angles. Billy and Michael are pros and make it look effortless. make-up artists. All cameras are set to record PAL 25fps 1. note pads and cameras. trusting much to instinct. grapes. As with stills the shooting is intuitive. Michael literally running to download cards. All are patient and polite and there is a peace that exists due to this symbiosis of being made up to be seen and recorded. walls of clothes rails. In fact I have to look hard to find anything else. tables full of accessories. hair and make-up artists. The available light is for the most part bright tungsten and we decide to set the white balance accordingly. There is so much to shoot here it’s almost overwhelming and I have to keep reminding myself that although I’ve shot shows many times in the past I must try to see this as if it were the first time as I move from 85mm to 50mm and then 100mm macro. dressers.while the backstage 14mm captures a multitude of magic. sandwiches and Haribos. reacting to what I see. colour and styles all wrapped up into one. clapping.4 Mk1 (I love the way this lens shows the elements when shooting into light). from the professional to the home-made (aluminium. line-up. Canon EOS-1D MkIV handheld. 135. clipboards. As the day unfolds I’m CLIVE BOOTH . 135. Shooting backstage is no picnic but my drive and passion to capture this 32 www. texting.professionalphotographer.uk world in moving pictures pushes me into the very necessary spaces which are normally the domain of the models. darkness then light. with some great static and panning footage shot on the tripod with the 50mm f/1. to shoot almost everything on the Canon EOS-1D MkIV . Handheld again and I’m changing lenses quicker than the models are changing outfits: 35. walking through the line-ups shooting into light as girls have last-minute tweaks to hair and make-up while what seem like dozens of photographers fight for positions. whooping and dancing. Day one is a reacquaintance with the fashion show and the multitude of moments and opportunities it brings. hot as hell. boxes of shoes. models distorted with giant red shoes. Backstage it’s bright light. every hour or so. Both Billy and Michael have never been backstage before and I watch their reactions as we walk from hair and make-up to wardrobe. I switch to the Glidecam and a 5D MkII along with the 24mm f/1. model cards allocating wardrobe and space. sleeping. make-up mirrors. 100. As we have five shows in the one location the final edit can be cut from elements of each. both at the same time. It has a very long battery life. radios. The smell of a hundred different products. Day one goes well and even exceeds my expectations. hair stylists. production crew. The 5D MkIIs will be static cameras shooting from occasional fixed positions on tripods or monkey grips. each time making sure to allow the camera to do a sensor clean.dispatches “. designers. I like the idea of this eclectic mixture of people. and little pockets of peace and quiet for the art of make-up application. LCD monitor brightness at 4 (vital when this is the viewfinder) with grid display switched on and picture style set to neutral.

Turning. clapping. all in shot. I quickly stop down the lens as models walk from left to right across the top quarter of the viewfinder. My hope is that this will cut well in the edit.co. I move with the crowd and push through to the security guard who. hair and make-up are already setting up for the next show. handheld for one last key shot. 50mm and finally 85mm. Behind me there is an explosion of flashes and I turn to see Prime Minister David Cameron’s wife Samantha surrounded. fashionistas. models distorted with giant red shoes. kiss and hug. A Canon EOS 5D MkII is attached to the lighting rig with a monkey grip above the photographers’ pit with a 24mm while another 5D MkII is secured to the floor at the models’ feet covering the line-up and entrance to the catwalk. beginning to enjoy myself and relax a little. we set to work covering the last show from multiple angles. First I shoot the rehearsal from three angles moving from wide to tight.uk 33 . Because much of the detail and atmospheric footage are already on the hard drives. The space is cleared. as the bokeh is mesmerising and dreamlike. As the show is about to begin. I have a ringside seat using the lightweight tripod and fluid head covering the show on a 24mm. all good.. Billy runs to my position and grabs all the stuff as I head backstage. conversations and looks of recognition followed by fashion kisses. EOS-1D MkIV and 35mm (nudging 50mm due to the MkIV’s sensor size). finishing on a 50mm ultra-tight shot on the shoes (to be shot later that day).co. I move freely in the midst of the melee and there is a feeling of detachment as I watch the proceedings through the viewfinder. PP www. Then it’s all over. Too much light.clivebooth. I am now behind the onlookers. I linger on this. darkness then light. whooping and dancing. Billy has to leave at lunchtime as he is photographing Bee Gee Robin Gibb at a recording studio in the West End. camera crews and celebrities jostling to interview and meet the designer.professionalphotographer. and then I position myself in front of the photographers’ pit (it’s a runthrough and nobody minds) with the 135mm f/2. I let the models walk into the f/2 focal plane and then out again.uk www. occasionally stopping to capture a nuance. Happy with the 14mm footage. GO ONLINE FOR MORE DISPATCHES FROM CLIVE BOOTH www. the beautiful soft shapes gradually moving into focus to reveal determined faces full of attitude. I find the journalists.. sssh.uk Next month: Clive sits down to edit his work from London Fashion Week. Again I follow my instincts and just let the world unravel around me. I move downstream circling interviews. Michael hands me the 24mm. Day three. Billy jostles for a ladder to press ‘record’ in the photographers’ pit (12 minutes’ maximum record time on the 5D MkIIs) while Michael is on his hands and knees doing the same backstage. the 24mm over the pit shows the sheer size and scale of the show with photographers in silhouette. hair. sssh and then music. look. she sits calmly as tens of photographers just feet away open fire again and again.professionalphotographer. camera on tripod and 14mm. Canon EOS-1D MkIV. while the backstage 14mm captures a multitude of magic. waves me on. Before the show we take a position centre and back overlooking the audience and catwalk. It all works beautifully. and I go into orbit around this fascinating scene. knowing that we already have many very usable shots. 35mm and 50mm. mobile phones dance like fireflies and then light. journalists and photographers.co.Catwalk boot detail. I stand like an island in the middle of a surging tide of celebrities. A quiet anticipation follows and the lights dim. then 35mm. and so Michael and I trim down the gear and head to the catwalk. Michael stays with the tripod and I head off with the Zacuto Crossfire. last-minute make-up. 85mm lens. seeing my pass. question.

8. reliable cameras and lenses are a must and here he explains why his Nikon kit never lets him down.4. So if you are slow to react.STREET TOUGH Award-winning photojournalist Kieran Doherty travels around the world covering major sporting and press events. and I will use pretty much every lens I own when on assignment. I couldn’t believe the clarity and that everything was so sharp. a 50mm f/1. for example.8G ED VR II. Because he shoots in all light conditions. The first time I used Nikon kit was in 2008. I took a couple of pictures while sitting on the side of the court and when I looked at them. I also have these autofocus lenses: the 50mm f/1. They are so good that I would say they pick up a little bit of ground for you. when you have to pick up the 70-200mm really quickly because there’s action in the goalmouth. so it was quite dark. I started to laugh because what I saw was incredible. It is a testament to Nikon kit that I have never once had to send a lens in for service. as . I thought immediately to myself that if these lenses could produce these kinds of images in this low light then I couldn’t go wrong.8G AF-S ED Zoom NIKKOR and the 70-200mm AF-S NIKKOR f/2. and I rely on the kit to get me out of trouble. the 24-70mm f/2. I was covering the tennis at Wimbledon and photographing Andy Murray playing in the evening. Frankly. I don’t deserve to have the lenses and cameras react as quickly as they do. Canada. The Burj Khalifa building in Dubai. Kieran took this picture from a viewing platform at sunrise while shooting stills on assignment for BBC’s Human Planet series. the tallest man-made structure in the world.2 and an 85mm f/1.4G AF-S NIKKOR. I have never had to say it needs tweaking. In 2010 alone. There are times in football matches. Barcelona and China. I shot in Dubai. come rain or shine. or it’s not focusing or it’s back focusing. I was using Nikon’s 24-70mm and 70-200mm lenses. My personal kit has taken knocks in all different climates. This was before the roof was put into place with the artificial lights. In my kit bag are Nikon D3s and D700 bodies with the following manual AIS lenses: a 24mm f/1.

His images have featured in and on the covers of many major international journals and magazines. I always use a 50mm for street photography and I have two lenses. They are really sharp and as a photographer you can’t ask for anything more. The quality is there.kierandoherty. Stern. but so light and great value. 2010. They do exactly what they say on the tin. One is the old f/1. Apart from some fogging on an LCD screen and to a lens because I forgot to take it out of my bag when I returned to my hotel room. even in low light. but I never thought I would ever ‘shout from the rooftops’ as much as I have done about how great the zoom lenses are. For my street photography. The primes are great if you want to be a little less obtrusive. For more information about the kit Kieran uses. where it rained for eight days.2 and the other is the new autofocus version – the f/1. and produce documentary work the world over.565. That for me is the ultimate test. I did not encounter any problems with the bodies or lenses I used. REUTERS The results I get from Nikon cameras and lenses are instant. soon as your finger touches that button and the lens kicks in. it can almost save your bacon. IN KIERAN’S KIT BAG 70-200mm AF-S NIKKOR f/2. bearing in mind that every time I took out the camera to check an image it got soaked. www.99 BIOGRAPHY From 1993 to 2008. In 2010 he took first place in the news category of the Press Photographer’s Year awards.4G AF-S NIKKOR – which is instant.com KIERAN DOHERTY / PHIL NOBLE. This is incredible.co.8G ED VR II RRP: £2. the New York Times Magazine and the Sunday Times Magazine. National Geographic.uk .ADVERTORIAL West Ham goalkeeper Robert Green stretches to try to save a shot from Arsenal’s Eduardo during the FA Cup third-round match at West Ham’s Upton Park ground in London on January 3. Newsweek. Most recently he was commissioned by the BBC to shoot stills to accompany the Human Planet television series. Kieran Doherty worked as a freelance and staff photographer for the Reuters News Agency.085.8G AF-S ED Zoom NIKKOR RRP: £1. please visit www. when I am not assigned to shoot for anybody I use my range of prime lenses. everything comes into focus. especially when working in stadiums where the light is pretty grim and murky. including TIME. I covered the 2010 Ryder Cup golf. in particular the 24-70mm and the 70-200mm.99 24-70mm f/2. as soon as you touch the button. If you want to talk about the toughness of Nikon lenses. Today he is commissioned to cover major press and sports events.nikon. It’s solid.

Today what were probably my last editorial mail-outs will reach their destination.royalmail. London.com/smilers service: ‘Smilers – Share a special moment.. On the plus side there’s always a launch party just around the corner. Resisting the urge to imbibe I start snapping the street. two male visitors to the CLA Game Fair lie down for a rest in front of Blenheim Palace. A 1999 Marie Claire a whacking 426 pages. It feels as if I’m trespassing all over iN-PUBLIC member and street photographer David Solomons’ Up West project. We start one of those twitchy conversations photographers often have with one another where no one is really paying attention. a 1998 GQ a healthy 321. 1st “Whilst Peter has shown an increased dedication to photography and has produced a good portfolio of work for interview.co.the dench diary This month. Club Med. Keen to know her progress. From habit I ordered 200 postcards. If I ever have a lover of advanced years who enjoys the Daily Express and a good royal wedding this is the ideal venue to take them. Flicking through the viewed-once magazines it’s clear just how much editorial half dozen within a few months. Kemer. flippancy and at times complacency. Afterwards. Oxfordshire. In my home town of Weymouth there are three boxes of my life needing rescue. My contributions failed to save some of the publications: Frank. my former A-level photography teacher. clockwise: Peter. visits to a town dedicated to Superman and foam parties at Club Med. The stamps bore my cheesy pate next to a billowing Union flag courtesy of the www. his overall attitude tends to be one of indifference. David is gracious enough to let me crash his drinks meeting but something odd happens: I decline. Club Med. party dances get under way at the swimming pool. The Face. Wish and Nova all gone. the first foam party of the week in full swing. The sun is out. fewer than 70 recipients still have their job.. 36 www. Looks like many of the men at the tables agree. I say a mental goodbye to the days of jollies masquerading as stories. Checking the list.’ Above. plus another 8th I’m hanging my LoveUK exhibition at creative ad agency Archibald Ingall Stretton in time for Valentine’s Day and pop along to the offices to assess the space. I have three hours to occupy before a long-anticipated private view of an important Eve Arnold retrospective at the Chris Beetles Fine Photographs Gallery in Swallow Street. The format is big and the pages are jammed with adverts for PalmPilots. Unless Peter grows up a little in the very near future and works hard in all his subjects he will soon find himself out in the cold world surrounded by students who leave him standing. My mum has retired and is doing what mums do best. It’s iN-PUBLIC member and street photographer David Solomons shooting his Up West project. but nothing else. It’s poignant tipping them into recycle. Turkey. Kemer. The walls are . Grace and Marcus Bleasdale enjoy the snow in Oslo. sorting things out.uk photography has changed. Turkey. including this college report.” Words as relevant now as they were 21 years ago. While stalking red scarves around Carnaby Street a Hexar AF sneaks into view. welcome to the world of a sometime working pro. the award-winning photojournalist finds that self-imploding magazines and shrinking expense accounts mean things just ain’t what they used to be in the world of professional photography. I’m enjoying myself and continue to play peek-a-boo with the sun as we bounce up and down Piccadilly before I finally succumb and head up to the fifth-floor bar in Waterstone’s Bookstore. and I go out with a smile. Peter Dench. pre-Viagra remedies and photographs of Gail Porter with hair. Three immediate commissions would usually follow. I discover eight used copies of her book Focus on Photography for sale at a penny on Amazon. eyes and wrists flick to the colours that pass and the people who wear them. I Google Virginia Bolton. catching the sun in Carnaby Street.professionalphotographer.

her friends turn up and the moment fades. some of it familiar. Then say yes. It’s opening time at Chris Beetles and I jittery-flit moth-like towards the gallery door. I snort derisively. Havana.decorated with the covers of 40 years of Pulitzer Prize winners. they let anyone in these days. the table I glanced inside was groaning with fizz. My legs bow. skip back round and nip through the door. For a second I think she wants to caress my head in her leathery nape. The bubbles are introduced to my palate and I acquaint myself with the work.uk 37 PETER DENCH . A man views the work seated. I scribble some down. swerve sharply and compose myself around the corner. by scooting round in a desk chair.professionalphotographer. Breathe. Another prods me out the way with his walking stick.co. some not. In a fantasy moment I rehearse purchasing Bar Girl in a Brothel in the Red Light District. www. The woman next to me asks if I’m a writer. No name or invite check.

co. It is time to go on a journey to see a man.wonga. 12th Attend the first anniversary party of the Third Floor Gallery in Cardiff – turn to the six-page feature in this issue to read of the experience. Marcus Bleasdale. Jean-François Leroy. I check my Air Miles from more prolific times and book an escape. Winner of World Press Photo of the Year 2005 Finbarr O’Reilly shot the stills. The red dots are out and at least four have stuck. I think he will concur that he benefited from my tutelage. This is big news. Wait! Finish the diary first. a portrait in 38 www. I hold my nerve and let the lady trying to stand them up take the blame. Not just any man. Leroy ends the call with those magic words.” Peter Dench Cuba. I arrive bearing the requested maximum quota of duty free and series eight and nine of Silent Witness. It’s one of the cheaper prints. I simply call him Bleasdale. The ladies call him Mr Darcy.uk Soho of former Home Secretary and MP Jacqui Smith. to the surprise of the office. “Welcome to the club. 1960 is a busty £17. This is big news. Nevada.” 18th TAXVAT-Man has cleaned me out and is still squeezing. I decide to leave when my camera bag dominoes an empty glass into a terracotta army of others. While Jacqui is having her make-up done I get a call delivering news that is as significant as winning a World Press Photo Award. I breeze past presenter Clare Balding and into the BBC’s Henry Wood House where we are to meet. I check my lapel for a scarlet disc. of which I was already a member. in 2002. £2.“It’s the director of the 2011 Visa pour l’Image festival of photojournalism. It’s satisfying to see him doing so well and progress to a point where I was only on the subs’ bench at his wedding. Realising that I’m heading to one of the most expensive cities in the world I log on to www. . Others call him friend. where he lives.800.000 Barmaid. I first met Bleasdale when he joined the IPG agency.500. 1950s. grab my coat and burp into the evening. doff an imaginary cap to the £8. I momentarily detect the spirit of Roy Castle and Norris McWhirter chortling their approval. Many call him Captain Congo. Bleasdale has got me a gig teaching a workshop at the Bilder Nordic School of Photography in Oslo. Most I talk with think them a fair price. release a shattering fourth. 17th The editorial mail-out has tweaked the interest of Stylist magazine. Now with the VII photographic agency. but a man with a fine head of hair.professionalphotographer. 1954 and check the price. I’ve only ever spontaneously shouted out loud for joy three times in adult life and. Marilyn Monroe During the Filming of The Misfits. Current Magnum president Jonas Bendiksen was on video duty. It’s the director of the 2011 Visa pour l’Image festival of photojournalism. with confirmation that they would like to exhibit England Uncensored.com to see if I can raise enough for a round and head off to the airport. with confirmation that they would like to exhibit England Uncensored. Jean-François Leroy. New York City.

and end by reading a few extracts from the Diary to see if it translates and am pleased the laughs are loud. This image will be on show at Visa pour l’Image. The theme of the workshop is Irony and Humour in Norwegian Life and Society. I ask Sebastian what’s his excuse and float the idea of getting the non-shooters to sing a chorus along with Jahn: “My best friend’s brother took an overdose and his wife hanged herself. Opposite page: A father holds his son’s hand while carrying a gun in the other as they walk through the grounds at the War & Peace Show. Two pints of Guinness and two packets of crisps please.59. I stare out the window at the residence across the road and applaud the Norwegians’ aversion to net curtains. I’ve never taken so long to finish a pint. I assume an attitude of indifference. On one ride an accident smashed his knee and chewed the skin off his elbow down to the bone. Last night.. Nothing.” I let thoughts of punishment pass.. Right: One of the images shown to the students at the School of Photography. Under the Chinese masks Bleasdale talks about an orphanage he and a bunch of Congo-conscious journalists have set up (www. fluffy-jumper wearing.professionalphotographer. flippancy and at times complacency. Two days from decent medical care he patched himself up and finished the job. Breakfast with Bleasdale is not always an amusing start to the day. Perpignan.. £22.uk www. Kent. she was having difficulty raising the $65 tax required to get six cows across a lake intended to provide milk for the orphanage. He flatly explains spending $17. I check the slow-blinking lids of ice-cool Catrine on the front row for a written message. After ice-skating. I show them a cross-section from my work on England.uk 39 PETER DENCH . while reflecting on the quality of work from the Bilder Nordic School I find myself once again out in the cold world surrounded by students who will probably leave me standing. Oslo. All the hope and light from this dawn is juiced into a tale of Congo rape and child soldiers. My legs start doing an involuntary charleston. Three trips to A&E followed before he headed off on a three-week trip to the Central African Republic and www. “Are you a nation of tall. FREDRIK STABENFELDT the dench diary 10 days in Uganda. She just seems tired and idly jabs at her phone..000 on flights and only eight of those days being shoot days.professionalphotographer. board the plane. blond.. Mil Etter Mil Etter Mil.. whale-killing.congochildren. 19th Arriving at the £8.com) feeding.com You can hear Peter in person each month on the Professional Photographer podcast. available on iTunes or on our website at www. and end by reading a few extracts from the Diary to see if it translates and am pleased the laughs are loud. you can take Bleasdale out of Africa. pillaging sea warriors?” may not be the most conventional question to kick off a presentation but most of the ensemble seem to take it in 20th The family have joined me for a mini-break and while we watch the girls ice skate I complain to Bleasdale about having to pick up the cab fare on my Jacqui Smith all-in-fee commission and ask him about his recent 21-day trip to north-east Congo on assignment for Human Rights Watch and the Pulitzer Center on Crisis Reporting. medicating and educating around 134 kids from past or current conflicts.” This morning I don’t feel funny.000-a-year School of Photography the nerves aren’t bad but I postpone breakfast just in case. I kick off the morning with a YouTube video of Jahn Teigen’s 1978 Eurovision Song Contest nul pointer Mil Etter Mil (Mile After Mile) just to show that Norwegians are capable of being hilarious. from Dagenham estates to Blackpool hen parties.“The theme of the workshop is Irony and Humour in Norwegian Life and Society. PP Above: Jonas Meek Strømman receives a signed Dench for the best workshop project at the Bilder Nordic School of Photography in Oslo. Later.peterdench. He had started to regale me with a story of shooting backstage at Marc Jacobs during New York Fashion Week when a nun called from Congo. Of the 40 students who attended my presentation.co. Skidding round to the Dubliner Pub on a high I get the drinks in. hot chocolate and waffles we move on to the International Museum of Children’s Art. Not wanting to alarm his wife. I show them a cross-section from my work on England. you’d better be funny. sit back and suck back the British Airways Malbec. 22nd Today I’m back at the Bilder Nordic School to assess the work of the students. Before he can finish he beats off to catch the start of an African drum lesson. over venison at the Crown Prince’s favourite restaurant (I was tempted by the braised ox cheek in beer) Bleasdale had warned me: “Dench. the first she learned of his ordeal was as he crawled the stairs to his apartment 10kg lighter and urinating blood. country house events to Banbury Hobby Horse Festival.co.” Peter Dench their stride. Of having to fly with motorcycles and a generator before seven-hour rides through the bush. 20 have returned and 17 produced work. It’s a Peeping Peter paradise. I pick up the entrance fee and make a donation.

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[ THE WORLD OF CONVERGENCE THE POWER OF THE MEDIUM The Journey is a film by Scottish film maker Richard Jobson. mixing green screen. The film tells the story of a woman who has been trafficked from eastern Europe and forced to become a prostitute in a north London basement room.uk/ 0434 ON THE GRAPEVINE/////////// Rumour has it that Canon is about to launch a new camera. The preferred solution is to record on a separate audio recorder. After turning up at the Formula DRIFT motorsport competition at a racing circuit in Sonoma. and how most of us are sheltered from this desperate and awful side of society. This may also have the advantage of being a touch screen. The way the tilt-shift lenses make everything look like toys works amazingly well in this particular circumstance. Watching it will reaffirm the reasons why most of us get into film and its power is obvious to any viewer. John Campbell brings you the latest news. To make this process simpler. Be warned – this film contains strong violent and sexual scenes that some people may ] To make sure you don’t get left behind in the rapidly changing world of DSLR film making. downloadable A GLANCE AT DUALEYES software called DualEyes is now available. the fact the audio is somewhat lacking becomes pretty evident when you start working with it. photography and live action to create a truly thought-provoking piece. coupled with his recent interest in tilt-shift lenses.html 42 www.com/15045149 find disturbing.co.singularsoftware. www. has produced a stunning and unique film. California. Joe decided that instead of close-up action shots he would try a different perspective and make a film of the cars from a distance. It also shows how DSLR film making is changing the way we make films. Suggestions are it may offer a 24-megapixel sensor and a dual DIGIC 4 processor as well as an articulated LCD screen with 1. and shot on a Canon EOS 5D MkII.com/ dualeyes. which would make it the first full frame camera to have such technology. www. It is a stark reminder of the world we live in. leaving the victims ignored. I think the film will inspire a lot of DSLR users to experiment. the much-anticipated EOS 5D MkIII or 6D. having to turn bad circumstances into beneficial ones is all too common an occurrence. This.professionalphotographer. but this creates the problem of having to sync the audio and image in the edit suite. animation. The word is it will be released by the middle of the year.co. The beauty of this software is that it is standalone and can be used in conjuction with any NLE (non-linear editing) system from consumer level to professional. ONES TO WATCH TILT-SHIFT-TASTIC Sometimes being a film maker means you must think on your feet. Not wanting to waste his trip. At $149 (£93) this could speed up your workflow instantly. the most exciting films and the best kit from this brave new world that is transforming our industry. photographer Joe Ayala discovered that he was not on the media guest list. It uses technologies to automatically sync and cut the audio recording into clips that match the video. narrated by the actress Emma Thompson.uk . Watch this space.04 million dots.professionalphotographer. SOFTWARE Even though the images created when using a DSLR are stunning. http://vimeo.

with switchable phantom power and low bass cut. Hell and Back Again.co. KEY FEATURES: Exceptionally fast 12x Blu-ray writing speed Portable and stylish external design USB 3.com VIEWFINDER Having the ability to monitor externally from HDSLRs is essential. and English lead actress Felicity Jones won the special jury prize for her performance. the cameraman just used the EF 24-105mm IS kit lens with no rig or Z-finder. including PlexUTILITIES LightScribe disc labelling technology Two-year on-site warranty www. www. it gives you confidence that the audio is actually reaching the recording. plus you use the 12v DC supply that comes with the mixer. also picked up the world cinematography award for documentary film making.professionalphotographer. was given the US dramatic competition grand jury prize at the Sundance Film Festival. It has four XLR inputs.kr MIXERS Designed for those on a budget. which are the industry standard. It’s powered by two PP3 batteries. His film. the MX410 (below left). a photojournalist turned film maker.co. The 3. both of which can be switched to mic or line level. and the audio was recorded on a Tascam DR-100 recorder and a Sennheiser mic. the ability to shoot covertly and discreetly on a DSLR comes in handy. we saw again how in places where political unrest harbours fears of outside interference.plextor-digital. Sky News shooters used the Canon EOS 5D MkII again to film remarkable footage of the unfolding violence.6in LCD panel has a resolution of 1.rolls.uk/ 0488 EOS 5D MKII ON THE FRONTLINE During the protests in Egypt.co. priced £350. On the back you have the balanced XLR outputs and a 3.35mm) headphone jack and the ability to switch the monitoring from the mixer output to a return input on the back of the mixer.professionalphotographer.5mm stereo jack output. The PX-LB950UE is aimed at both home and business users. www. There is a 3.5mm) viewfinder monitor specially designed for HDSLR and small camcorder shooters.com www. This documentary follows a US marine fighting in Afghanistan and his subsequent rehabilitation at home after being injured.professionalphotographer. and an input level trim is added instead of the line/mic switch. has won the grand jury prize in the documentary category at the Sundance Film Festival. The film has since been sold to Paramount Pictures for a massive $4 million. is brilliant for students and first-time film makers wanting to attain high-quality audio recording. which was shot on a Canon EOS 5D MkII.uk/ 0401 CREDIT WHERE IT’S DUE Opening the door for all DSLR film makers. with a design that makes it easy to back up large amounts of data.NEWS FROM MODEST BEGINNINGS Shot on a Canon EOS 7D. these two mixers both cost less than £500 and come with a carry-case.tvlogic. headphone volume and a small LED stereo meter. you get four XLR inputs. directed by Drake Doremus. Meters are now analogue VU and you get a battery test button. However. to the centre or to the right side of the stereo output.5mm headphone jack. the Rolls MX410 and MX422 location mixers are outstanding for new film makers as well as established camera operators who need to be able to shoot while monitoring sound singlehanded. Danfung Dennis. Again. can cost thousands and are generally out of the league of film makers on a budget. The smaller of the two. www. The VFM-056W/WP from TVLogic is a light (300g) and compact (156mm x 103mm x 26. www. The MX422 (centre left) is its big brother. The headphone section gains a full ¼in (6. www.danfungdennis. The PX-LB950UE’s advanced software applications and external chassis design provide reliability and low noise for the relatively low cost of £179. Each channel has a pan pot [dial] instead of a straight switch and there is a mixer master fader.280p x 800p and a wide viewing angle of 170º. Second-hand SQN mixers. both line and microphone level. You have the four-channel volume faders and a pan switch on the front and you can literally switch each channel left. but both phantom power and low bass cut are now via good-sized push buttons on the rear. It has an ergonomic design and comes with a solid and light magnesium case which provides stability and outstanding ventilation.0 for faster data transfers Advanced software. Apparently. The VFM-056W/WP is perfect for both indoor and outdoor shooting with an HDSLR camera.com EQUIPMENT PLEXTOR’S BLU-RAY WRITER Plextor has launched a super-speedy 12x external Blu-ray writer with USB 3. if this is plugged to the headphone output on your camera.uk 43 . Inspiring stuff for us DSLR film makers.co. the indie movie Like Crazy. This versatile piece of kit is ideal for quickly burning and viewing rushes.5mm jack makes it perfect for use with a DSLR as well as a video camera. These two mixers are excellent value for money and using them will undoubtedly improve your audio recording. The monitor’s 5.0.

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uk “. head of photography at The Guardian and The Observer to hear his thoughts on what it takes to become a photojournalist in 2011 and how the platforms of news delivery are changing. That was before The Guardian had a weekend magazine and before they bought The Observer. if you’re working on news you’re not interested in a sports picture but first thing in the morning you might find yourself ploughing through American baseball pictures. and now between the two newspapers there are about 30 of us working on desks.professionalphotographer. Why do you think that the standard of photography you are seeing has risen? I think it’s due to the fact that these days many people go to college and study.co.it’s simpler to tweak a photograph in Photoshop than it was to tweak it in the darkroom – so everything is so much more accessible to photographers. although we do wade through such a lot of images we’re not interested in. of course. the right advice and the inside track on how to get commissioned? This month we hear from Roger Tooth. the aesthetics of it. It was a simpler place although.co.000 pictures a day. The Observer and guardian.uk 45 .co. the number of products that we do has grown. When I came here there were three picture editors. but also because there are more ways for people to get pictures to us. In a way things were more difficult then..Need to put a face to a name.000 to 20. Possibly it’s also because the craft side is easier – it’s simpler to tweak a photograph in Photoshop than it was to tweak it in the www. the communications were worse. get the background story. They might have gone to study art or graphics but they take time out to study the art of photography. with FTP and photographers shooting on digital cameras with Apple Macs in the back of their cars. It is a good thing to have more choice. For example.” Roger Tooth How have things changed since you joined The Guardian? Well. we’re now getting around 15. It’s more time-consuming but actually the standards have gone up hugely in those years. The Observer and guardian. in a way it’s easier. In terms of images there’s a big difference in numbers so if you worked over a weekend in the late 1980s you might get 200 pictures to look at. because of bad communications. Is that because more people are now photographers? Yes it is. a researcher and a secretary. Now. If we wanted a picture taken in Manchester we used to have to get it wired down and then film was sent down on a Red Star train.uk Career history: Photographer: Hackney Gazette Photographer: IPC magazines Freelance photographer Assistant picture editor: The Guardian Picture editor: The Guardian Head of photography: The Guardian. frontline from the THE GUARDIAN Roger Tooth Head of photography: The Guardian.

Also. given that we are a features and arts newspaper. for example if they go abroad we can’t really help from the office but. If photographers really want to do photojournalism I think they should do a one or two-year postgraduate course. which we do a lot. which I think is really important. Do you think there are any misconceptions about photojournalism? The thing I’m slightly cynical about. if we want a picture of a closed factory it’s actually quite hard to find a picture like that. We’ve got a couple of women on contract. Someone asked if that’s what everyone in the industry thought and I replied that no. I recently gave a talk at a careers event and my take was that people shouldn’t do photographic courses. You could be sending a photographer round to shoot a female in her home and perhaps she’s not comfortable with a male. it’s a really good time to turn round and document what’s happening in this country. I’m sure the French are doing it in their own country. it’s like we’re in a Thatcher era. It’s more a case of who is available. just to get the website out every day. The other thing I look for in photographers is politeness. The current climate feels very 1980s to me. we rely on our staff people and the wire agencies. fine art when they leave school. how they look and how they translate on to pieces of paper or computer screens. Of course on the news side we’re so rushed it’s almost a taxi rank service. it was probably just me and Lord Snowdon! I definitely think a first degree should be an art degree rather than a photographic one. “Are we just buying you an air ticket to go off to complete your gap year?” I’ve always been keen on people documenting Britain.co. I think most photojournalists like that independence. Which courses do you think those hoping to become photojournalists should study? I think people should probably do a general art course and think about looking at things. I lend him photographers when he needs people. We tend to rely on them to organise themselves and just get on with it. so sometimes it is best to send a female photographer. I think there’s a difference between the two but I don’t know if that’s been worked out yet. Given that you have staff photographers do you build relationships with freelancers? We have five photographers on staff full-time and we have another set of regular freelancers who 46 www. is when people say. but we haven’t done that for a while. I think there are two problems: one is that people aren’t trained in the basics of photography. It’s horses for courses really. after all these years. At the moment we have a separate video department but I don’t know if it will stay like that forever. simple pictures because I look at it from a newspaper point of view. but both myself and the multi-media editor are busy in our own areas. I think people are doing the wrong courses. graphic. “I want to cover this in this part of the world. When we need a bit more help we’ll go out looking for photographers or I’ll remember people I’ve seen. so it’s good to have that option. Why don’t we look at our own country for a bit? Although we have foreign coverage we’re a UK paper. I suspect it won’t. So it’s not necessary to take a gap year and travel the globe to become a photojournalist? Certainly not. they produce the work we need to get the newspapers out. because if we do commission someone they are representing the newspaper. Do you think education is preparing photographers for the real world? No. quite the opposite really. For me the question is whether photographers end up doing video driven by a photographer’s eye or producing more inspired video. People don’t turn the camera on their own communities enough. The personality of a photographer is important. You need a general feeling for imagery. I thought we would have [formally] converged more quickly here than it has done. We’ve got someone in the office who trained on a regional paper in Scotland – a snapper – but the work he does now is of magazine quality. Reuters and APs of the world drive the news side of things now. Do you have any other advice for prospective photojournalists? I think they have to be prepared to work around the clock and not be looking for a nine-to-five job.professionalphotographer. Now is the time to document Britain. That’s what we now expect in news on a daily basis as well as in editorial. It sounds sexist but I think it’s the way things are.frontline darkroom – so everything is so much more accessible to photographers. which leads to a bit of naivety.uk are contracted up to four days a week. Some people telephone us and say they are very nervous about having their picture taken. the other is that they aren’t trained graphically. for example. They must be fairly self-starting. you can’t just go to college for three years and come out and say you’re a photojournalist. PP THE GUARDIAN . We’re very keen on The Guardian’s reputation being held in fairly high esteem. possibly with a bit of photography in between. How is convergence affecting the way you work? I think photographers have to understand that they must embrace it. things can go wrong very quickly on a shoot. With all the cuts. You need to get more experience. Most of the commissioning that we do now is for portraiture. so it hasn’t happened yet. on your own doorstep. so they don’t understand how their photography might be used. I think students have unrealistic expectations when they leave college. actually. Instead they should be studying. I get photographers contacting me every two hours! What do you look for when you see new work? I like clean. Do you build relationships with photojournalists or rely on submitted images? On a daily basis.” Sometimes I think. The Gettys. so I’m quite careful about who I might send on a particular job. For example. [Taking a photography degree] is too narrow and I suspect that students are spending too much time doing projects rather than the groundwork.


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all of the photographers you speak to month on month will have some degree of experience in this (like your banger racing project. it’s been the most positive thing I could have done. so it was a fantastic opportunity. it’s an enjoyable read and is a useful tool for someone like me who is trying to find his feet as a professional photographer. I’ve been asked to quote for a massive international advertising campaign for a well-known company.tell us what you think at feedback@professionalphotographer. When I finished. encouraging tone and first-hand beneficial advice. Just wanted to say I really enjoyed the article The New Kid in Town in the March issue along with Clive Booth’s article about establishing and maintaining your online identity. your publication is providing me monthly with insightful information about the state of the industry. she is starting to get it. but we still fight over it occasionally. via email Dear Professional Photographer. so it was an interesting experience to shoot something different to what I am used to and get a small taste of www. I just wanted to drop you a quick email to say thank you for the online Shoot the Catwalk competition [to shoot a show at London Fashion Week]. On 20 I know it inside out now. in fact. Passes for London Fashion Week are highly prized with only 200 photographers granted access to the catwalk pit. I'm also enjoying the little gems Grant Scott writes up on his tumblr blog [http://aneditorsview. PP feedback. Also the idea of showing hundreds of people my work through a blog rather than it sitting in a folder on my hard drive is making me a better photographer. Best of luck with the magazine. We apologise for the error. networking.uk Dear Professional Photographer.tumblr. February issue). Darran Armstrong. I found this month’s issue extremely relevant. I have struggled and fought with my wife for the time it’s taken me to do this work.co. I enjoyed your article on personal projects [March issue]. our skills current and ask ourselves important questions. because of it. James Whitty. We all need an arena to test ourselves in. via email Dear Professional Photographer.com]. for me. uploading your images to the competition gallery on our website. it was Irene van der Meijs. you can but it’s risky!) I was advised in my final year of college that ‘it’s a good idea to have something to keep going back to’ – a personal project of your choosing that you do in your spare time and is always on the back burner. Help us out sir! Bill Bradshaw. even though I had a clear idea of how useful it could be. And now. promotion. via email Correction In the Professional Photographer of the Year Awards 2010 feature in the January issue.”] I was surprised you didn’t include more on that in the article.co. I found something that interested me and was (and always is) great. All the winners got the chance to shoot the rehearsal as well as the show itself and you can see some of their images in our fashion gallery on the PP website. I think this would be a fantastic idea as a follow-up: with a positive. You can’t ‘play’ in the same way within the boundaries of commercial work (well. after seven years.uk 49 SEAN SAMUELS February our winners came to London from as far as Belgium and Romania.professionalphotographer. The New Kid in Town was especially relevant for me as I have really started to embrace the idea of blogging as a form of personally promoting myself. we incorrectly stated that Irene Frowley was commended in the still-life section when. deservedly so. the families of people who undertake such projects are likely to be a little more understanding and supportive. . One of the biggest benefits I see that could come out of it is that if you can justify it in print. Dewi Lewis picked up on it [“A lot of photographers will consider the term ‘personal work’ simply as the work they do for non-commercial reasons. Now. we’ve all seen them and some certainly have more success than others – generally speaking. We asked you to show us how you saw the world and more than 150 of you responded. she could never understand the point of doing something that didn’t pay – speculative work. It was my first time shooting a fashion show. In fact the whole magazine In February we ran an online competition in association with Canon to give away 20 unique accreditation passes to shoot a Jaeger show at London Fashion Week at Somerset House. I wanted to ask you to consider a follow-up article highlighting the importance of the ‘other’ sort of personal project. but understand space is limited and ideas flow aplenty! I was expecting more because I’ve been doing the same subject (around professional work) since 2004 and. exhibitions etc and I’ve even been approached by a publisher about getting it published. However. as professionals we want to keep our eye in. They make me consider things daily about the industry and my work that I might not have done otherwise. another part of the photography industry. I use the work for marketing.

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ISO 50. This month he brings his lighting experience and limited drawing skills to Rhianna and Michael Thompson.GUESSLIGHTING THE Professional photographer Ted Sabarese publishes a blog in which he tries to work out how other photographers’ images were lit and offers his own theory on how the shoot went. f/8. f-stop. MICHAEL THOMPSON / GQ USA camera right. but that doesn’t take away from the utter sexiness seeping from this January 2010 GQ USA cover. There is a lot of guesswork in guessing. JAN 2010 Rihanna may currently be entangled in a dab of plagiarism controversy over her latest video.6 (-1 stop) sits 4ft to camera left and 8ft high. camera. all lighting. A large soft box at f/16 ½ (+2½ stops) is positioned behind a framed.co. PP www. Five strobes did the trick. Lighting: The main light sources come from the sides and behind. Therefore. in the rear. this is called ‘Guess’ the Lighting. Two white umbrellas at f/11 (+1 stop) light the white background from both camera right and left.uk 51 .guessthelighting. MICHAEL THOMPSON/RIHANNA COVER.professionalphotographer. Michael’s soft backlighting paints a glamorous yet angelic picture of this rock and roll siren. shutter speed etc information may not hold up in a court of law. Camera: Hasselblad H3D-39 and 100mm lens. A medium soft box at f/5. grip. Shot at 1/125sec. GQ USA.com Turn to page 54 for our interview with Michael Thompson. lens. one-stop diffusion silk to camera left and behind Rihanna. www. Another large softbox at f/8 ½ (+ ½ stop) with framed silk sits similarly to Remember. handheld 10ft back.

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uk 53 . It’s not always met with understanding..professionalphotographer. talking and debating. but to help us in our quest comes one of the world’s leading fashion photographers. Ellen Von Unwerth (and PP bad girl – you can see our November 2010 issue to find out why!). Anyone ready for Peter Dench shooting weddings? Visit www. shooting the Spring/Summer 2011 campaign for leading wedding dress designer Jenny Packham.co..jennypackham. PP ELLEN VON UNWERTH / JENNY PACKHAM www.exposure Images that have us thinking. We spend a lot of our time here at Professional Photographer suggesting to wedding photographers that they shouldn’t be looking at wedding photography for inspiration but at the best of the world’s fashion photography. We applaud the collaboration and can’t wait to see similar partnerships.com to see all the images.

uk .professionalphotographer.co.54 www.

he has paid his dues getting to the top. Singer Joss Stone.co. www. learnt his craft assisting Irving Penn and has just released the second monograph of his work but. fashion and portraits for the world’s most prestigious magazines and commercial clients.{ICON} GOD IS IN THE DETAILS MICHAEL THOMPSON He shoots beauty.professionalphotographer. as Michael Thompson tells PP Editor Grant Scott.uk 55 .

coming out after three-and-a-half years at Penn’s studio I was obviously very influenced by his work and initially mine was very similar to Penn’s. It was a great time to start in the early 1990s. living on the west coast looking at these images. because celebrity work wasn’t that big a deal then. because he was very much on the scene and available but Penn was reclusive. In the early 1990s the economy in the States was not unlike how it is now in the sense that people were not willing to take chances and it wasn’t until later on in that decade that things started to pick up financially. So when I knocked on his door in New York and he answered the door. Every day I worked with him and saw him I would have to pinch myself and go. MT: I think it was just the clean and chic look of Bazaar at the time that people liked. I’d driven all of my belongings from the west coast in a rented truck to New York with my girlfriend who is now my wife. they’ve seen everything a million times.” GS: That’s an incredible start to a career. GS: After your work appeared in Bazaar you had a pretty meteoric rise. along with Richard Avedon’s and all the other big guys. Fashion is very much like that. so they need to be shocked now and then. when that happens people love to take risks because they have a lot of money to take them. MICHAEL THOMPSON . But I was just dreaming. GS: David Bailey once said to me the most valuable Avedon book was the one he hadn’t signed. When I’d arrived I didn’t have any leads or contacts so I just started doing what everybody does and began making calls. there are always things that shake it up. not an assistant. from working with Penn to working for Harper’s Bazaar and Fabien Baron. “Oh my God. They were both geniuses but they went about it in such different ways. It felt fresh. however. I almost fell on the floor. How did that come about? Michael: I started in 1991 doing beauty images for Allure magazine in New York and then I started doing the same for Bazaar. because it was so influential internationally at the time. MT: I had an interview with Avedon too and they couldn’t have been more polar opposites in personality. MT: Yeah. that’s Irving Penn. I first became aware of your work in the early 1990s when it was a major factor in the re-launch of American Harper’s Bazaar under the art direction of the great Fabien Baron. Now people are holding on to their wallets. kids in their 20s who caused a big shake-up. GS: Was Penn a great influence before you went to work for him? MT: Yes. So I was shooting beauty for them but with Fabien there things were done a little differently. GS: Your work at that time and ever since has had a very clean and precise aesthetic to it. I was known as a beauty photographer and I didn’t do any fashion or celebrity images. you know. I had his books. you know. Bazaar was a great shock back then. Penn was someone who agreed to give me an interview. young photographers there. so it was very interesting to be part of that group of movers and shakers. In fashion everyone is so blasé about everything. He took a lot of chances and went outside the box. I was part of a group of new.{ICON} Grant: Michael. Opposite page: Actress Milla Jovovich. MT: It was amazing. I kind of stuck with that. like Helmut Newton. because I was going Left: Actress Gwyneth Paltrow. then went off on my own and branched out into my own style as the years went on.

“In fashion everyone is so blasé about everything, they’ve seen everything a million times, so they need to be shocked now and then. Bazaar was a great shock back then.”
Michael Thompson

from an assistant’s salary I didn’t see that things were at an economic low. If I made $1,000 for the day then I was happy, whereas the photographers who had been around for a while thought that was nothing and were all upset. In the beginning people were hiring me like they do now, on the basis of what they see in the magazines. I’m fine with that. I worked a lot for the beauty houses in the beginning, which was great for me financially so I was able to pay my rent. There weren’t a heck of a lot of beauty photographers so it was a nice place to step in and say, “Hey, maybe I can be important in this area” and then move on into fashion. There were so many people doing it and there still are. GS: Your work is very controlled and always involves a very high level of technical ability, which you seem to bring to all of the areas you work in, even the ‘caught’ moment. MT: Yes, yes, I guess that’s me being a Virgo. There’s nothing wrong with an out-of-focus,
58 www.professionalphotographer.co.uk

grainy picture, so many amazing images are just that. I always say you can’t duplicate a moment. You can have a beautifully lit, beautifully technical photo but if it doesn’t have that feeling behind it, then it’s really nothing. So I always try to marry the two together. It takes a little bit of planning but I try to leave myself open. In the very beginning everything was very controlled, I was so nervous about getting the image I had everything planned out. Now I do the opposite. I have great assistants and equipment, and have enough confidence now after 20 years to just let things roll. GS: But there is a Michael Thompson eye; I can always spot one of your pictures, they are so resolved and have such an incredible attention to detail. MT: Thank you, that’s a nice compliment. In the 1960s and 1970s Penn was known for his white backgrounds and in the 1970s and 1980s Bill King was known for working with movement but

Above: Actress Kate Hudson. Opposite page: Actress Selma Blair.


I have always found it hard as a photographer to stay with one style, because I think I would get bored working in one way every day. I try to move around, I just think there are different lightings, feelings, stories and locations that I want to do. GS: For me your work is defined by the attention you give to the shapes that you make with your subjects. You always seem to be searching for absolute perfection. MT: Right, that’s the nice thing about doing a book, you get the chance to critique your own work. You can see threads running through the work and growth. GS: Why was this the right time to produce your second book? MT: I knew that when I did my first book in ’05 that I didn’t want to do a celebrity book, I wanted to do an all-encompassing book, but as time went on I thought I should do a portrait book. I actually decided to do one four years ago but by the time you get things together – a publisher, everybody to sign for picture usage – before you know it, it’s three-and-a-half years later. But during that time I’ve shot a lot of images, so the book has changed its look from my initial concept. GS: Pretty much every photographer wants to see their work in book form but it can be hard to judge when it is the right time to actually begin to compile one. MT: For me it’s become more important than ever to see my work in book form. I used to go into Rizzoli in New York or any bookstore and spend hours looking at the images. That’s how I fell in love with photography and I wanted to come back to that. There are a lot of great things about the digital age but there is nothing like holding and turning a page in a book. Also, as photographers all the things we work for and our images appear in are disposable, so it’s nice to have the image the way you envisioned it with no type all over it; I’m sure every photographer feels that way. GS: It also proves that we actually existed! MT: Exactly. GS: Your career was well-established before the advent of digital capture but a lot of the beauty work created today relies heavily on post-production manipulation. How do you feel about that? MT: I think in my group of photographers I was one of the last to start working with a digital


{ICON} 60 www.professionalphotographer.uk MICHAEL THOMPSON .co.

www. I try to move around.. feelings.co.uk 61 . stories and locations that I want to do.“.. because I think I would get bored working in one way every day.” Michael Thompson Actress Julianne Moore.I have always found it hard as a photographer to stay with one style.professionalphotographer. I just think there are different lightings.

so please trust me. That’s important. “What are you looking at?” and then they go to see and the shoot falls apart. but on scanned negatives. oh okay. MT: Exactly. Even when I was assisting I would do architecture photography just to find out how to write an invoice and how to work with a client. it wasn’t until three or four years ago that I started capturing in digital format. if they haven’t been published in the first two years they’re ready to give up.” I just said. People were coming to the studio and going. You can ask anybody in any profession who’s successful and you’ll find out that they’ve been working at it for a long time. PP www.co. MT: The thing is that when the celebrity goes on another set with a different photographer who 62 www. “Hey. How would you respond? MT: There are so many photographers out there that you should only do it if you really love it and put the effort into it. “It’s okay for him but that’s got no relevance to my life as a photographer. When I started assisting. The next was to try to get something published and it was these mini-goals leading up to the bigger picture which made it seem possible. “Here.UK . he wouldn’t have hired me and I know that for a fact. “Oh. The hood solves all of this. GS: A lot of other photographers will look at your career and the work you get commissioned to do and think. MT: Yes.” I’d been retouching digitally for a long time. because when I met Penn he asked me about all of the technical things that I knew and I was able to answer comfortably and became his first assistant. It takes the mystery out of the process a little bit. It’s easy to say what I do is easy. I’m fine with it now. You’re only as good as your last photograph. MT: Right. and because of the knowledge I gained from him I was able to get the Penn job. You just have to swallow your pride. It’s like going on a trip. But I used to work the same way with Polaroids.{ICON} camera.” I was still lighting and composing things.professionalphotographer. So I waited and waited and hung on and hung on. I think that photographers are going to have to become cinematographers. with little relevance to the real world. I’ve done this before. GS: You often reference great paintings or classic photographic images in your work and use them as inspiration. Too many photographers want things instantly. MT: Exactly. it was related to what I wanted to do and I got a paycheck for it. be patient and have the drive to keep close to what you believe in. GS: I think you’re outlining a problem that a lot of photographers will be familiar with.com MICHAEL THOMPSON FOR MORE INTERVIEWS WITH THE WORLD’S LEADING PHOTOGRAPHERS WWW. GS: It’s a sophisticated readership. then goes right back on again. I didn’t want to move over just to say I was shooting digitally but also because I didn’t think it had the qualities of film. GS: You were slow moving into digital but are you going to be as slow to move into creating moving images? MT: Past history would suggest that I will be. directors of photography and stills photographers all rolled up into one. Everybody wants you to work faster and faster and then when you’re on the set with a celebrity they want to see the screen. “This is how I work” and people respect that. because without the cover everybody just looks at the screen and it becomes like watching TV. It just pops off. MT: Very and that was a big education for me. they’ll rely on the photographer to do everything.uk lets them have access to the screen. You wouldn’t think that a catalogue photographer would relate to a Penn job but that’s how I got that job. I could learn from this. where you have the mini snippet movies of a photo shoot. no matter how many bells and whistles you have. I would look at them with my assistant behind a curtain and only show the celebrity one if I was happy with it. if I had to polish shoes I would do it. we take the cover off the screen. GS: That sounds like a gadget you should be copyrighting and selling as Michael Thompson approved kit. GS: Your way of seeing. GS: I always say that after that last shot we are always unemployed. then the person being photographed starts thinking. If I had come straight out of college wanting to work for Penn. But the one thing that will never change is the way in which you look at light and how you find light. I don’t want the session to be judged on one frame. I shoot young actors and actresses who haven’t even heard of Penn or Avedon. You can tell the publicist to stay outside the shooting area and I can tell the celebrity that I will show them something when I’m ready and they respect that. but the towns on the way are the mini-goals to that destination. I worked for a catalogue photographer for three years in Los Angeles before I had even set foot in Penn’s studio.” GS: Professional photography is not a great place to have a big ego. Then when we’re ready and feel we have a nice image to show them that we want feedback on. Over the years I have never been afraid to work hard. that’s going to have to be done by the photographer along with the stills. leave things open. How do you deal with that situation? MT: The good thing about having worked for a while is that you can pretty much say.PROFESSIONALPHOTOGRAPHER. this is not working.” Your position and work can seem like an untouchable ivory tower to many photographers. I didn’t say. Just being around a photographic studio was enough for me.michaelthompsonstudio. That’s not going to change. so I can show it to people and say. because you never know where that door leads. I would never show the subject the Polaroid when I was shooting celebrities and I won’t shoot tethered for the same reason. you’re still shooting film and Polaroids. I was happy to do just one job and paying my rent was always my first goal. you know what I mean. but if you look at the iPad. but there are drawbacks also. GS: That’s an interesting point. don’t close that door. That audience is very open to referencing images because they know the originals. It’s great that it allows you to work quickly.” I was enjoying it. maybe that’s why I’m doing this book. Your way of seeing. they become knowledgeable on what is possible and realise they can see the images as they are shot. I shoot with the monitor next to me because I like to know what’s going on and one of the first things I did was to make a cardboard hood for the screen that has a hole for me to look through and a little window at the side for my assistant to look through. it’s just like having a new camera. The client is not going to hire someone to come in and do that part of the photo session. “This is bullshit. I can’t tell you how many times I’ve worked late into the night while I was just plugging away but I never thought. I didn’t really care. MT: I’ve always looked to art for inspiration but I think it started when I began working for French Vogue in the mid-1990s. You never know where things will lead so I would say.CO. You have to look at the whole map to see your final destination. In the beginning nobody knew who Michael Thompson was and even today that happens. But I would never pull it out of the camera and show them it. He was very busy and I was able to cut my teeth in the industry. “I’m not interested in doing that.

Model Heidi Klum.

An independent gallery located at the top of a period building in Cardiff is showcasing some of the most exciting contemporary photography in the UK. On its first birthday Peter Dench catches up with the owners of the Third Floor Gallery to discover if it really is tough at the top.



An image from Maciej Dakowicz’s Cardiff After Dark project.

Each team member has no specific role. Any reply is good for me. More than 50 guests are jostling for position in the 60ft² gallery space tonight. The university is very important to TFG due to its proximity. The volunteers call ponytailed Joni ‘The Thinker’ for his Zen-like presence and Maciej ‘The Director’. ranging from interest to rejection with alternative suggestions. . The crowd is eclectic. moneymoneymoneymoneymoneymoney. taking the estimated annual number over 4. £3. The three gallerists chat informally. Tasks are taken as and when by who has the time or most suitable allegiance. The gallery and exhibition opened on 12 February 2010 to a warm welcome from the Cardiff media and community.co. in fact he doesn’t like to talk much at all. Joni and Bartosz are perhaps better MACIEJ DAKOWICZ (the sandwich board was a wishlist gift). about what work they want to see and what photographers they would like to work with. Joni heads down to Iceland to get some nibbles for the evening bash. A theme quickly dominates. filo wrapped prawns. and we wanted something with a bit of a nice bang to open up. A call from the considered and unassuming Joni followed and the details required softly spoken through a hybrid Finnish-Spanish accent. TV . This allows Joni. professional trimmer. for his opinion before deciding to exhibit at the gallery. I throw in some crisps and buy a couple of pasties to keep us going. He presses a splayed hand hard into his face and rubs. Carolyn Drake. I wonder if you’d be interested in exhibiting loveUK in Cardiff. It had taken them three hours to choose it. screwdriver set and some White Tack because of his matter-of-fact way of explaining how and when things should be done. Today is the gallery’s first anniversary party. On 22 December 2009 I received an email from Joni that said: “Dear Peter. Collective sales so far fall short of double figures. as well as providing a ready and willing rotation of visitors and printing some of the exhibition leaflets in return for having its name on the fliers and in the gallery space. Maciej doesn’t like questions and doesn’t like to answer them. Rob Hornstra is scheduled to exhibit next and there is a workshop by Joseph Rodriguez in the diary. ‘The Smiler’ wouldn’t be inappropriate. it’s the questions. which is surprising.” Thirty-five people visited the exhibition on the first anniversary day. or as he would describe it. Newport. Volunteers lubricate the gallery.36. The budget is £7-£8 but he splurges: 75-piece Tex Mex Platter. Maciej Dakowicz and I are opening a small photography gallery in February.” I’d arrived a few hours earlier. with Poland heavily represented courtesy of Maciej and Bartosz. a central pool of around a dozen help with the day-to-day running. because since the loveUK launch the list of exhibitors has been impressive.” No one is beyond being asked to help and we take turns to deliver the crates up 60 stairs past a taxi rank and Indian dance class to the top-floor premises. TFG has achieved charitable status but the benefits are yet 66 www. There is no nickname for the open-faced Bartosz. Jocelyn Bain Hogg. To exhibit. In the initial business plan. £2. A sandwich board at the door of the period building. Peter. Joni and Maciej had parked up outside with a car boot full of beer. One year on I am back visiting the gallery to find out how the first year has progressed for the team and what is involved in running a successful exhibition space. Blackforest gateau. pair of scissors. usually in the £2-a-pint Captain Scott pub nearby. Around £700 a month comes from donations. Students from the prestigious documentary photography – BA (Hons) course gobble beer and peer at the pinned Laura Pannack prints. padlocked to the railings.professionalphotographer.” Feeling festive I answered in the affirmative.{THE BUSINESS} Maciej Dakowicz is not comfortable. He rubs harder: “Ask Joni. checking for the best deals. Also well represented is the University of Wales.14. including David Solomons. Marcus Bleasdale is being pursued. It’s not the disco ball lights peppering his face that is causing distress. Located in the Bay area of the city. and Magnum royalty David Hurn and Chris Steele-Perkins. the photographer is approached and direct submissions discouraged. £2. The mood is friendly and familiar. I ask Maciej (pronounced mach-ic) what he enjoys about running the TFG. £4. “Give us a hand. Maciej and Bartosz to concentrate on off-site matters. chocolate strawberries. any shortfall is made up from the pockets of each proprietor. There is an Amazon wishlist that to date has provided an A4 multifunction mono laser printer.000. As I approached the gallery. tape dispenser. “Dealing with the shit. TFG sits comfortably opposite the Millennium Centre and the developing Mermaid Quay. Photographers often consult the course leader at Newport. Ken Grant. invitations were sent via social networks and word of mouth. Maciej with the details. No one has any and how to get it is a constant time consumer. quietly introduces the venue. It’s an open-door policy.uk to be realised. We are at the Third Floor Gallery in Cardiff that he launched with Joni Karanka (Bartosz Nowicki joined some months later). it was hoped the rent would largely be funded by print sales from each exhibition. a short bus ride from the centre. with the PR and communication side of it.

Maciej has already pinched the industry’s consciousness with his pictures and has his 5. is quickly finding his voice. too busy with his paid day job and the gallery. Opposite page: An image from Dakowicz’s Cardiff After Dark project. above left: An exhibition at the gallery.professionalphotographer.“One year on I am back visiting the gallery to find out how the first year has progressed for the team and what is involved in running a successful exhibition space.uk 67 .co. Bartosz. a recent graduate from Newport.” Peter Dench Joni. his burgeoning MACIEJ DAKOWICZ / MARTIN HANNA Top: Maciej Dakowicz (left). Bartosz and Maciej are all keen and productive photographers as well as appreciators of photography. A theme quickly dominates. www. Joni is in a hiatus from taking his own photographs. moneymoneymoney moneymoneymoney.000 or so Flickr followers anticipating each update. However. Joni Karanka (front) and Bartosz Nowicki of the Third Floor Gallery with exhibitor Carolyn Drake. Cardiff After Dark.

Is he happy with his situation? Stopping on a frame of a couple kissing in the rain under a black leather jacket. the security recognises him. is where he thrives. Came with my daughter Amy who is studying photography in college. In the Claude Hotel over lunch the following day I asked him how his night had gone. shots are distributed and speeches delivered. Exhibitions come and go every four to six weeks.com As the anniversary hour approaches. Certain bars are out of bounds. A nightly production penned by the devil himself. TFG is your friend. Independent.project on the city’s nightlife. good to know you’re not only alive but vital. Clicking through the results I spot some keepers. warmed only by the click-flick of cigarette lighters – the police and the bloodied never far away. What’s the best thing about running a gallery? It’s difficult to explain. What inspires him to take photographs he doesn’t quite know. The spectacle of the street has held his attention since the Pole moved to Wales from Hong Kong in 2004. an arm around the shoulder.000 prints inhibiting and the bar staff prickly on repeat returns to refill. Bounding up to the Third Floor Gallery you know you’ll be welcome.uk At the party I see an ejected fist from the opening show event that one year ago put a hole in the wall so big that it could have been appropriated for use on TV by Anton Du Beke: “Bring on the wall!” Also. Loved the show. He usually shoots in tandem with another snapper for safety. I have walked with Maciej along St Mary Street where the bulk of his project is shot. the glass-fronted and lighthouse bright interior felt intimidating.PROFESSIONALPHOTOGRAPHER. totter and titter through the litter. There wasn’t a Tex Mex Platter in sight. each watching the other’s back. people don’t change that much.UK MACIEJ DAKOWICZ . The Guardian. I’ve seen my fair share of Britain’s bad behaviour and St Mary Street is top ten.professionalphotographer.co. He admits to a lull in creative libido. his name is down and he’s not coming in. “With all the technologicel (sic) advances. a social club for the creative and surprisingly forgiving. I’m sure it will pass. Five images from the project were included in the Street Photography Now book and the work helped him to achieve an honourable mention in the reportage competition category for National Geographic Polska magazine. What Maciej enjoys about photographing he won’t say. choreographed girls shiver. to have a drink and a chat or just to look through the donated books. he stuck around for a while. On this occasion Maciej was fidgety in his skin. the £1. There’s an adjoining artist’s studio. I left Maciej at 3am. and is a big fan.” I sniff the 50% proof Finnish vodka and down a toast to the Third Floor Gallery being alive and vital in another year. where Ian Smith is currently resident. 68 www. just in case.CO. At a recently attended private view in the West End of London. that gives the place the feel of a work in progress and one you are encouraged to take part in. researching too many pictures on the internet to be interested in taking them. American Photo and Der Spiegel among them. the imbibing stars of Cardiff After Dark haven’t relished the attention (although the council did deliver a yellow skip to the street to help with the mess after seeing some of the work). FOR THE LATEST PHOTOGRAPHY EXHIBITIONS VISIT WWW. A comment in the visitors’ book catches the eye. I would suggest that – for 1/200th of a second each night spent on the street in Cardiff – he is. PP www. His work has appeared in many national and international publications.thirdfloorgallery.

{THE BUSINESS} This page and opposite page: Scenes from Cardiff After Dark. . the project by Maciej Dakowicz.

unbeknownst to me. as publicists. It was whilst I was working as head of west coast publicity for Columbia. and I supplied what he needed for the show.co. everything I could find to document my fanatical love of popular music. because I was really just getting stuff for my own private collection. I saw them throwing out all these boxes of old photographs of artists who had left the label. I lost my job at ABC Records at the end of ’75 then. of course. that I started saying to writers I was dealing with. Through the rest of 1976. but knew that I would never work for corporate America again and decided. for instance. Nowadays. very briefly. why not collect photos as well? This led to collecting sheet music. Michael Ochs was the only name an art director needed to know to get images of musicians and singers. and it occurred to me that maybe I could make money from this. I was right in the middle of it.” I’d always been an avid collector of records so I figured. because he knew I had the images. that you might be breaking the law? As it happens. The artists loved us. programme books. I got lucky. I did go out drinking with Jim Morrison and Janis Joplin did come on to me [laughs]. they went ahead and gave the job to somebody else. A few days later. In those days. a cheque arrived for a thousand dollars. It seems they changed their minds because. When you got the first lot of pictures from Columbia. copyright is a big issue. at the beginning of ’77. The ‘star system’ didn’t exist yet. and it meant we got to hang out with the likes of the James Taylors or the Carole Kings or the Rod Stewarts. which grew to contain about 3 million items and was dubbed “the premier source of musician photography in the world” by the New York Times. and who were working on historical or retrospective pieces. I had another job lined up. I said. I came to Los Angeles in 1966 with a useless degree from Ohio State University. whilst I was organising the concert. the world’s pre-eminent rock image archive? I actually was a photographer. Did it ever occur to you in those early days when. to give music some kind of perspective. So when did the archival process begin? I started working at Columbia Records in 1969 and. but this made me realise that maybe there was a career in it and maybe I should take it just a little more seriously! Was this the point when you left the music industry? Not quite. I have pictures of Carl Perkins (for example) when he was at Sun Records. It was basically a hobby which got way out of control. So when did the archive take over. wanting me to go back to New York and manage him. and they asked me to shoot it. How did a non-photographer come to assemble what became. I thought. Phil (the folk singer. totally unsolicited. my brother killed himself. Although. as Paul Middleton discovered when he spoke to him. Then. it meant we could deal with both the artists themselves and the corporate side of the business. I was at a concert where the photographer didn’t show up. “15 bucks” and I thought. and Dick Clark [the TV producer and show host] was doing another TV retrospective. to make the archive work. “How much? He said. I tried different things. I was always terrified that I was breaking the law. one day. and I did work for a full year as a professional photographer. but I was pretty good with a camera. . which meant I did get to know Jimi Hendrix. “This is it. He called. apart 70 www.professionalphotographer. did you have any idea where it would end up? Not at all. His work in the music industry led him to start the Michael Ochs Archive. how deeply involved were you in the music industry itself? Oh. three months later. and Michael’s brother) called. at the beginning of ’67. this is what I’m going to do”. which you can have for free. “Y’know. and the fledgling archive. I’ve always said if I’d planned to do this I would have failed. With the job at Columbia. but was in the middle of organising a tribute to Phil. he is the saviour of the history of music photography. you were selling the use of images to Dick Clark. this stuff should be documented. There was a camaraderie. because we loved the music. the record companies had what they called house hippies and. what I was doing at the time was legal. according to the New York Times. He sold the archive to Getty in 2007. I had never previously thought about making money from the archive. and that was the end of my photography career. My new employer assured me they understood and told me to take the time to organise the tribute. For 35 years.ROCK N ROLL but I like it You may not have heard of Michael Ochs but.uk It’s only from making sure the writer stayed in touch with me. “This is criminal. which made my job easier.” This was great because. in terms of actually being a moneymaking career? It was in 1975. it meant I could push the past.

I was friends with Michael Jackson. rather than fight them. ever. the cost of simply looking after the archive and preserving it was approaching half a million dollars a year. eventually leasing it over a hundred times. He loved the texture of the black skin. but I told him it wasn’t for sale for any amount. was acting as Michael’s runner at the time. fireproof. and one of these cabinets had all the images from the magazine. but I knew that I had to make the archive completely legal if I wanted to progress. the stuff he had and. His answer was. looked like a generic Elvis Presley. but he actually thanked me for giving him a second career! We arranged to meet next time I was in New York. Michael had just performed at the [American football] Super Bowl and his career was really on the up. Rather than commission photographers. If there were images I didn’t have. who’d had a one-hit wonder a few years earlier with Bluebirds Over the Mountain. knowing the responsibility you had in keeping the archive safe and what a loss it would be if the archive were ever destroyed? I spent a lot of money ensuring that we never had to loan out an original. This gave the photographer the freedom to put images anywhere they wished and so they had nothing to lose from coming with me. There were boxes of images everywhere. taken prior to the new legislation being passed. became public domain property regardless of who owned the original negative. We housed the archive in a building that was bombproof. culminating in its use at the front of the Rolling Stone History of Rock and Roll book. did the first publicity shots of Sinatra. Offers such as? When one publishing company went bankrupt. They were the original publishers of Right On! magazine.{ WORKING PRO} It wasn’t actually until 1978. and it was like going back in time. when I bought it in the publisher’s bankruptcy sale. I started to represent them. he went way back to the likes of Cab Calloway.professionalphotographer. and get comments from you and Janet and everybody else.co. that nobody else did. I asked if they were www. would you have when trying to buy a collection? It depended on the collection. Now. Did you ever consider commissioning photographers to shoot a particular artist who you were interested in holding images of? No. and I was right. the same hair. I bought their entire image collection. My first thought was that I was about to be sued for something. earthquake proof. but he said he wanted to think about it. about a year later. and it turned out he was due in James Kriegsmann’s studio on the day I was available. that a law came into effect giving photographers more rights over their images. rather than fight them. I did have the right but. I didn’t hesitate at all in agreeing. killing the project stone dead and that was the end of that! The collection. and started to buy collections where I could get complete rights. everything. I had a single image of a singer called Ersel Hickey. basically. I called the guy who had the collection. I did have the right but. one day. I would find a photographer who had them. it may be the most stupid decision that I ever made. Because of that. Sometimes you get lucky. It was ideal for me. the phone rings and it’s Ersel Hickey.” and I represented him from that point on. it turned out that all the stuff I was worried about was perfectly legal. The law stated that any photographs. I thought. the whole sex thing then broke. Anyway. Have you had photographers who objected to you holding on to images of theirs when you were dealing directly with them? I got calls from some photographers who threatened legal action over some of the publicity photos I had. and Simon and Garfunkel when they were still Tom and Jerry. How much competition. We went in. Anyway. saying I had no right to use them. but it turned out I was the only serious bidder. same stance. typically. if they needed photographs taking. One I was thrilled to get was from the photographer Earl Leaf. and concentrated on capturing the shot properly.” Michael Ochs . I also knew that the archive could only ever be a single collection and. the lot. Was it ever a burden for you. “Hey. and offer to represent that photographer. which ran to about 100 filing cabinets. I bid just $30. The guy selling it only contacted one other party. I called him and said. well. didn’t know he had. There was even a picture of Joan Rivers as a member of a folk trio! When Kriegsmann turned 80. Kriegsmann probably photographed more musicians than anybody else. Overnight. when they were still Levon and the Hawks. What they didn’t do though. As it was. and made an offer. instead of trying to anglicise them. I would ask if I could represent them. which I got due to a complete fluke. I wanted to become the biggest and best in the world. I would ask if I could represent them. had an exaggerated appraisal put on it of $3million. Hickey. The collection had shots of The Band. I wanted to become a kind of one-stop shop for anybody who was looking for photographs of musicians. within the hour. Motown and Stax both used Kriegsmann exclusively. saying I had no right to use them. I mean it was amazing.uk 71 “I got calls from some photographers who threatened legal action over some of the publicity photos I had.000. was that almost every image ever taken of the Jackson 5 to that point was in this one filing cabinet. and Miko Brando (Marlon’s son). I knew the image would sell. was apply the law retrospectively. he became known as the man for black singers and musicians to go to. and was the first person ever to photograph black people properly. it comes out of another story. Of course. I was the only bidder for it. and created for publicity or mass production or that ran without a copyright line. and I asked Kriegsmann if he realised what a fortune he was sitting on. why don’t we do a book? We could use all the images I’ve got. by the end. he called and asked if I wanted to buy the collection. I knew that what we had was irreplaceable and. actually. As luck would have it. and that was the National Enquirer. 12 months after I started doing the archive full-time. mainly as a token effort and not dreaming I might be successful.” He agreed and I knew I was on the verge of something big. What I offered. I was always more of a hoarder than a seller. Miko knew I had the collection and. I’d probably have to say the James Kriegsmann collection. “Yeah? Prove it kid. was non-exclusivity. What this meant. although I’ve had offers over the years for people to buy certain sections of the archive. I always refused. So which collection would you consider the best you ever got? Oh boy. The studio looked like it had never changed since the day it first opened. I had a call from Michael asking me to name my price. And how did you come to own the collection? Actually. as I really wanted to meet Kriegsmann. I mean.


he agreed. would you have persevered? Very possibly. all I kept were the images of Phil that were in the collection. the world has just changed so much. I probably would have still had the enthusiasm and slight naivety of youth to at least try to continue. even the past is changing! How do you feel if you see websites using images from the archive which you just know won’t have been licensed? Well. as money had never been the driving force behind what I did. Of course. Of course. The archive was my baby. I go along to the theatre for a 10 o’clock appointment. were already in the public domain. did you see a change in attitude from them. I wasn’t that affected by the new awareness amongst artists. to see that. I did as I had promised and sent them back. bearing in mind that racial tensions were still very high in all the major cities. and looking through collections of Britney Spears and so on. I allowed Getty to take all the digitised copies of the images. The guy didn’t show at 10. Here were people who knew that archive better than anybody else and Getty did exactly the right thing by them. and I hoped for a bit of a bidding war between those two. and managed to persuade him to let me see the photographs. It wasn’t Had you been a younger man. Do you think we’ll ever again see a library of the magnitude of the Michael Ochs Archive being assembled by an individual? I don’t think so.co. What that meant was that I ended up with an archive full of images which were important to me. You were 63 years old. unsold. but which would never generate any money. who played with James Brown.professionalphotographer. and I’m just about the only white face for miles. was the increased demand for editing work on the images. say in your 40s. Nostalgia. although he wasn’t keen on me turning up on his doorstep. and still hadn’t arrived at 11 o’clock. Add to that Getty dropping their licence rates and it all made life very difficult. isn’t what it used to be. so I was able to pick up whole collections for a song.uk/ochs www. say. even the past is changing!” Michael Ochs unusual for me to buy an entire collection just so I could get a single negative of. “As the world’s attitude towards certain things changed. From a small percentage of the archive being used regularly. and artists became more image-rights aware. I called the guy who was running the place and. In the late ’60s. but I bumped into someone there who was an original member of the Famous Flames. even then I hadn’t thought about actually retiring until someone asked me how much I thought the archive was worth. simply got thrown into the trash. and that really hurt my business. we were asked to Photoshop out things like cigarettes or other increasingly undesirable elements – with Photoshop.{ WORKING PRO} interested. getting armfuls of doubles and a whole load of originals. But was there a reason other than age. because nobody else wanted them. I learned later that those originals. and I just thought.co. He had terrific access to everybody and anybody and then. As the world’s attitude towards certain things changed. Was there a collection you regret missing out on? Yes. yes and no. I was getting requests for images from the early ’90s. Leadbelly or Charlie Parker. I worked frantically. so I saw my lawyer and we did just that. and I didn’t want to see it broken up. as long as I was out before the main guy arrived. which pre-dated the 1978 law change. PP To view the Michael Ochs Archive visit www. but not because I didn’t bid enough. the downside of that meant that other collections suddenly became prohibitively expensive. play that game properly anymore.uk 73 . I’d really assumed that I’d be doing it for the rest of my life. incredibly. That’s how quickly things changed for those guys. When you sold the archive to Getty. In the mid-’80s. I was really at the point where I didn’t want to. he had no access at all. and it was the photographers who bore the brunt of it. we were asked to Photoshop out things like cigarettes or other increasingly undesirable elements – with Photoshop. along with the rest of that magnificent collection. which was great. “I’m not interested in this shit”. and he said their reply was just. At least I got to preserve some of it. which was important to me. but I kept the originals. I promised to send the originals back as soon as I’d copied them and. A lot of the older images. and suddenly they were desperate for images that had been sitting in the archive. Another reason why Getty were a good choice was that they also hired my entire staff after the purchase. y’know. The reason they were my preferred choices was simply because they offered the best chance of keeping the entire collection together. he lost interest in the business and sold his collection to me. all the record companies started re-releasing entire back catalogues. for one reason or another. nor could I. sell it to Ochs. You sold the archive to Getty in 2007. But. only doubles. I told him why I was there. in Harlem. Eventually.professionalphotographer. A bigger change for me. archival images were considered worthless. as they say. I think I was just in the right place at the right time. almost overnight. As time went on. did you keep any back for yourself? Apart from a few art prints. So. How did Getty come to be the successful purchasers? Did you intend for a bidding war to dictate the sale price? It was a combination of price and finding the right home. I managed to get them into my bag just as the owner arrived and threw me into the street. for me. for leasing. but nor was it $49. what I didn’t realise at the time was that someone would be good enough to invent CDs! In the ’80s. Our price point wasn’t exorbitant. It was suggested to me that we run it up the flagpole to see what response we got. actually. Once I’d copied the originals. That was great for me. was taking months to sift through thousands of negatives and that aspect had gone. it suddenly went to 100% of the archive being useful. we eventually made an appointment. “Ah. which prompted your retirement? What really made my mind up was that I hadn’t actually been able to buy a decent collection in five years. I got to the point where Getty were offering images for website use for just $49. we use him anyway”. and that I didn’t take any originals. so the thing that had benefited me in the early days now came back to hurt me. There was a photographer called Michael Montfort. regarding images you held? Well. at the time. but it was my desire that the archive should go to either Getty or Corbis. Personally. The fun. I didn’t have a clue. I got word that there was a massive collection of images in a room in the back of the newly re-opened Apollo theatre. for years. who used to shoot for all the big German magazines. We approached a few people.

.Artist Damien Hirst.

His report on the human side of the crisis. sports and movie stars who litter his portfolio might not seem an obvious development for a man who admits to being preoccupied by social issues in his personal work. It’s easy to pick on people who can’t stand up for themselves. “they’re getting slaughtered in the newspapers. “Often when I pick subjects they are socially based and they are based on social issues.” says the Norwegian-born photographer Pål Hansen. “I would definitely say the interest in people maybe almost came first for me. www.co. noisy concept. as a young assistant looking to navigate his way to a career as a freelance photographer. and the losses suffered by farmers. His journalistic nose had won him his first break and taught him the immediate selling power of a newsy. they don’t have a voice themselves. “By having a story. and has since made portraiture something of a specialism. I think you have a lot more to offer. The strength of his ideas became his currency. earned him his first major commission. but steady career trajectory. and a place on the short list of the Observer Hodge Award. It set him apart from his peers in photography. With a bit of lateral thinking. “I like to pick subjects for personal stories that don’t have a voice or that I can be the voice for.{ WORKING PRO} What lies beneath Compassion and a genuine interest in his subjects have helped Pål Hansen to carve out a successful career in portraiture. It’s easier to get in the door.” he says. but hold on. But after deeper inquiry. citing a picture essay from 2005 short-listed for the National Portrait Gallery Portrait Prize. the link is clear.” And for Pål.uk 75 PÅL HANSEN .” he says. Julia Molony meets the Norwegian photographer who sees beyond the glamour of the celebrities he shoots. because he was able to offer more than his skills as a photographer. Photographing the rock. Teenage parents. He managed to parlay that first. they’re teenagers. towards the end of the UK’s foot-and-mouth crisis (a time when almost everyone thought that the issue. Pål managed to uncover an as-yet-unseen angle behind all the endless images of carcasses to which the public had become inured. from the Telegraph. self-initiated story into an incremental. And it’s easier to be used again because you are basically giving them (editors) something and then they want to try to see if you can do a similar thing again. with a commission after that. It was in this way that. as a subject for features and photo-essays. the commissions do indeed keep on coming.professionalphotographer. It was 2001. and it’s often about people who maybe don’t have a voice at the time. had been well and truly exhausted) when Pål rolled up at some of the most badly affected farms with camera in hand. Pål went after his first break.

then you’re not really photographing the subject.co.{ WORKING PRO} “I think if you impose too much that isn’t natural to them.uk .professionalphotographer. It becomes more about you.” Pål Hansen Singer Bryan Ferry. 76 www.

It’s not in me to be in that world. or to pursue the taking of them as a career. Initially. so he has always had a strong affinity with the UK.” Pål grew up in Norway. this is great. it’s good to have the technical part running as machinery in the background. Whatever the reason. This warrior look might seem imposing if it wasn’t offset by his open face and the soft Scandinavian lilt to his voice. “At the time of shooting. they’re new parents. looking back at it. They often talk about how the world is very different for fashion. run through the ideas and see if they’ve got any. Certainly. ‘Ah. “You realise there’s more to life than that. there’s an ease to his manner which must smooth the way with people he photographs – a gentleness. I could do something with that. “What I find important now is to have a very good assistant who knows exactly how you work and you really just have to turn your head a little and everything is there – to keep everything running smoothly in the backdrop. models. “Maybe it was a vague connection to a boyfriend of my mum’s who was into photography and I thought. he had his sights set on fashion.” he says of the way he works on an editorial shoot. which may go some way towards accounting for his talent for getting his subjects to open up. wow. when they think of something on the spot or they do things that are natural to themselves. “I like to involve my subjects as much as possible in the ideas and the thinking behind them.” He can’t identify exactly where the impulse came from to take pictures. I’m going to have to do something about this.” Perhaps it’s his compassion as a photographer that has made him such an expert at portraits. ‘Ah. then you’re not really photographing the subject. I think if you impose too much that isn’t natural to them. the key is preparation and the contribution of a practised. Often the best shoots are when you get a lot of input from the subjects. how you see if you can get emotions out of them just by being yourself and talking to them normally. He’s utterly unthreatening. with its obvious draw of glamour and. to reveal something new or previously unseen about themselves to him. well. “I meet someone before the shoot. waist-length dreadlocks. he says. I definitely ended up in the right place.” PÅL HANSEN . In the last of his three years doing national service he “stumbled upon photography” almost by accident. how you make them relax. they’re vulnerable. that’s actually a job. efficient assistant. while the communication is what you are focusing on: how you talk. “I found a camera and started taking pictures here and there of army life and I thought. he was soon on a plane to the UK and to a degree at Nottingham Trent University. Nordic face and fair.’ ” he says lightly. It was never really me. but his mother comes from Yorkshire.’ In Norway there was only one course where you could do photography – nothing like a proper university degree. with a strong.” Beyond that. putting the diversion down to being in his 20s. It becomes more about you. It was during his short career in the army (“something I fell into”) that he first picked up a camera. He is tall. he had discovered where his real interests lay. or not being judgmental. but by the time of his graduation.especially teenage parents. Singer and songwriter David Gray.

But you get the sense that for Pål that’s not the point. mostly because of legal constraints. But in his personal work he remains preoccupied with photography’s potential to interrogate moral issues and to provide a bridge to the fringes of human experience. About who and what. One such project he took part in recently brought him into the world of Tim Andrews.uk that’s the whole idea. gave up his job and decided to turn his life into an art project. Pål has recently signed up to an agency with a view to taking on more commercial work.UK PÅL HANSEN Sir Bob Geldof. Pål has tackled one of the most controversial contemporary issues head on. “The idea is that a house offers protection from the outside and this becomes their way of protecting themselves from the outside. Pål seeks to expose.palhansen.com FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW. You never know what your neighbour is up to. The project was recently the subject of a feature in the Guardian Magazine. It is the neatness of the concept that has become something of a trademark of his – an unflinching approach that seeks to lift the lid on otherwise hidden lives.PROFESSIONALPHOTOGRAPHER.” he says. Surrey.” It’s an incendiary topic. unrepresented and even reviled. it seems. When we meet. it doesn’t come as a surprise to learn that he hasn’t yet been able to get it placed. when diagnosed with Parkinson’s disease in 2005. something about us all collectively. “It could be anyone’s neighbour – and 78 www.co. as a society. Making use of Megan’s Law. an ex-solicitor who. and an exhibition at the Lightbox Gallery in Woking. these houses with very green lawns. Pål is one of the 128 (and counting) photographers invited to document Andrews’s life and the progression of his disease through a series of photographs.CO. .professionalphotographer. For his latest self-initiated venture. we really are. American dream homes. ignored.Sculptor Antony Gormley. PP www. Pål went around Los Angeles and took portrait images of the houses where those people identified by the law lived. instituted in the USA to allow the public access to the names and addresses of convicted sex offenders.” The title of each picture is the name of the inhabitant’s offence. Through these thoughtful studies that reveal something of the experience of those who are outcast. “They are these very suburban American houses. he is about to become a father for the first time and is clearly preoccupied more than ever with the importance of having financial security. and although plenty of magazines have expressed interest in his story.

this is great. I’m going to have to do something about this.{ WORKING PRO} “I found a camera and started taking pictures here and there of army life and I thought. ‘Ah.’ ” Pål Hansen .

co. Penn and Avedon.professionalphotographer. DACS.is important and this is why. Self-portrait. 80 www.. LONDON. COLOGNE. 1928.uk ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. AUGUST SANDER He was an undoubted influence on Arbus. Robin Gillanders takes a backward look at the iconic German photographer whose influence is still strong nearly a century after he created his most important works. the inspiration for many Düsseldorf School portraitists today and a scourge of the Nazis. . Self-Portrait. LENT BY ANTHONY D'OFFAY 2010 © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV. Here. 1925.. 2011.

{ICON} Bricklayer. 1928. .

Leaving school at 14. occasionally exhibiting his work in international salons (small group exhibitions) and winning numerous prizes. This he would do by dividing his immense project into seven distinct sections: The Farmer. everybody. c 1940. The Woman. homeless and destitute). an extraordinary man. August worked at a local mining waste tip. in 1909.. . Sometimes we are told the name of his subject and other times merely their societal position: secretary. Besides the usual artists. no photographer had conceived a project of the scale and scope of Sander’s. In order to see truth we must be able to tolerate it. The City.. disadvantaged. working as a photographer’s assistant and doing various other photographic jobs. why should we be interested in him and what relevance does he have to us today? A specialising in portraiture. and in this respect. 82 www. middle-class families. His magnum opus was a typology according to the original meaning of the word – in that it is a process of cataloguing ‘types’. was accorded the same respect. nor were all the pictures published in his lifetime. But it was while engaged in the day-to-day activities of his studio that. war veterans. The Skilled Tradesman. he said this: “Nothing seemed more appropriate to me than to render through photography a picture of our times which is absolutely true to nature. Sander photographed professionals. nothing unusual and perhaps even today. So allow me to be honest and tell the truth about our age and its people. editors or art directors has the potential to be enervating. Although having relatively little formal education. He was born in 1876 and his father was a carpenter working in the mining industry. He was then employed to run a general commercial studio in Austria and then. and Nazis.. from 1897 to 1899. For some. nor did he denigrate them as Martin Parr sometimes appeared to do in the 1980s and 1990s. He was.” Sander’s work had no sponsors. his work may be termed ‘objective’. with quiet dignity. he had to endure the privations of recession during the 1920s and extreme hostility from the Nazis. LENT BY ANTHONY D'OFFAY 2010 © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV. whether aristocrat or beggar. circus artists. This astonishing project was entitled People of the Twentieth Century and would result in more than 600 photographs.. catalogue and photograph the entire German population by type and trade. There was no private wealth in the Sander family.{ICON} “I hate nothing more than sugary photographs with tricks. I met two friends.co. 2011.. farmers. where he became enthralled by a photographer working at the mine.professionalphotographer. They destroyed the printing plates of his book Face of Our Time. gallerists and glitterati who attend these events. DACS. So far then. Soldier. so they are depersonalised. and The Last People (which was to represent those on the fringes of society: the blind. much is made of Sander’s ‘objective’ approach. When his photographs were first displayed at the Cologne Art Union in 1927. He neither elevated his subjects. Classes and Professions. both highly respected professional photographers. however. it could not be termed a ‘photographic typology’ in the sense that we have come to understand the term from the more recent Düsseldorf School. whether it is in our favour or not. 1943. there to pay enthusiastic homage to this remarkable man whose most important work began a century ago. students. Political Prisoner. coal heaver etc.” August Sander few weeks ago I attended the opening of an exhibition of photographs by the German photographer August Sander at the Scottish National Gallery of Modern Art in Edinburgh. in around 1911.uk Many professional photographers like to set themselves personal projects. Sander’s future direction and career were established and he spent his two years of military service. many reading this will identify with Sander’s rather unremarkable early career progression. and which comprised 60 photographs from what was to be the final project. Sander immersed himself in literature and art. a studio in Cologne. he began to plan a major project that was to become his life’s work. Today. beggars. as Yousuf Karsh did in the 1950s. photography is in the blood – it’s a lifestyle and not just a career – and to produce work only to the requirements of clients.. and ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. academics. LONDON.. Germany. winding engines and so on. but who is August Sander. However. poses and effects. It was never completely finished. because they felt his ‘objective’ approach did not represent the German people as the master race that the Nazis were trying to promote. He allowed his subjects to ‘speak’ for themselves. However. This began with Bernd and Hilla Becher cataloguing gasometers. His plan was to document. The Artists. published in 1929. and quickly made friends and contacts within the cultural scene of Cologne. Sander’s origins were humble. In each photograph Sander had his subjects simply look into the lens of his plate camera. He didn’t impose an opinion.. COLOGNE.

.Pastrycook. 1928.

c 1913. .Farm Children.

{ICON} “By means of seeing. and as Keith Hartley pointed out. and a finely tuned humanist sensitivity. deadpan. we can capture world history. LENT BY ANTHONY D'OFFAY 2010 © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV. the implication is that Sander’s was one of the first conceptual photographic works. In public conversation with Keith Hartley..professionalphotographer. by means of the expressive potential of photography. to ‘snap a shot’ means reckoning with chance. observing and thinking.” What would Sander think now. 2011.. intelligence. anaesthetic head studies have had a remarkably enduring influence on artist photographers today. So why is it that despite huge advances in technology over the past century. COLOGNE. however. poses and effects.. of the huge impact of digital.uk 85 .. Here’s Sander again in a radio lecture in 1931: “One can snap a shot or take a photograph. the standard of picture making has not necessarily improved? It is so much easier to produce technically proficient images – anybody can do it now to a certain standard – and yet we still look in awe at the intensity... It’s logistically much easier to take pictures. www.. whose postmodern.. 47 years after his death.. by means of the expressive potential of photography. and Sander’s work is not about making beautiful photographs. we can capture world history. chief curator at the Scottish National Gallery of Modern Art. And stylistically if anyone influenced him it was Rembrandt for the lighting. DACS. where it is possible to take hundreds of images of one subject with the possibility that without serious prior ‘contemplation’ none of them will be any good? Surely it is better to take one image ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. or to bring an idea from a complex to a consummate composition.” August Sander was extended to portraiture by artists including Thomas Ruff and Rineke Dijkstra.” Sander worked with 5x4 and 5x7 cameras and most of his images were made on location rather than in the studio. Aren’t all projects initially the result of an idea – a concept? Having said that...” In other words. Sander’s subjects are placed serially against similar plain backgrounds and these images seem coldly dispassionate. In many cases. it’s about the idea. much as Paul Strand did in the USA in the 1920s. As Sander said himself: “I hate nothing more than sugary photographs with tricks. And yet the visual evidence of the work itself does not suggest this. Generally he made only one or two exposures of each subject – perhaps understandable given the weight of the glass plates that he used. it’s about documenting an idea. Sander’s grandson Gerd commented: “It’s not about photography. vision and beauty of some of these early photographers. Raoul Hausmann as Dancer. observing and thinking. Sander rejected pictorialist ‘fuzzygraphs’ and championed ‘straight’ photography. By means of seeing. a considerable proportion of his work demonstrates a subtlety and sophistication of picture-making.co. LONDON. but. 1929. and to ‘take a photograph’ means working with contemplation – that is to comprehend something....

1926-1932. .Girl in a Fairground Caravan.

Avedon’s In the American West and Arbus’s portraits of people on the margins of society.professionalphotographer. LONDON.CO. apparently effortlessly with hand casually on hip (so essential for the composition). c1926. focused and exposed. among many. it’s about documenting an idea. None of these projects.org To read our feature on the Düsseldorf School from the October issue go to the magazine section on www.PROFESSIONALPHOTOGRAPHER. had the scale and ambition of Sander’s. Most of Sander’s subjects appear to have an air of melancholy – and tension – as if they are presaging or reflecting on the tragedy of the German people in that period. LENT BY ANTHONY D'OFFAY 2010 © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV. were influenced by Sander.co. Avedon for example. Each of them worked commercially while following Sander’s example and engaged in ‘personal projects’ – for example. If Avedon and Arbus. www. DACS. especially since it was one of several of his pictures selected by Edward Steichen for the New York City Museum of Modern Art’s seminal.” Gerd Sander as a result of “seeing. Some. like my two friends at the Sander exhibition opening..nationalgalleries.. blockbuster show The Family of Man in 1955. PP ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE.professionalphotographer. And what about the portrait of Girl in a Fairground Caravan? If it wasn’t for the precision of the crop and composition. Richard Avedon and Diane Arbus. and Sander’s work is not about making beautiful photographs. Penn’s Small Trades. must have been aware of – and been influenced by – Sander’s portrait of Bricklayer. until 10 July 2011.uk FOR THE LATEST PHOTOGRAPHY EXHIBITIONS VISIT WWW. admission free. August Sander: People of the Twentieth Century is at the Scottish National Gallery of Modern Art. A portrait of dignity and strength. not least because one can only imagine the weight of those bricks as the bricklayer waited. Edinburgh. it could be an Arbus. COLOGNE. however. 2011. it’s about the idea. drew their inspiration directly from the instigator of it all.. while Sander composed.uk 87 . observing and thinking” than a hundred without..co.UK www. The conscious positioning of the girl’s hand on the key in the lock looks at first glance as if she is bleeding on to the door.{ICON} “It’s not about photography. Sander had an immense influence on most of the major portrait photographers of the last century. Painter’s Wife [Helene Abelen]. in turn each of these influenced countless later generations of photographers. especially photographers such as Irving Penn.

that “pays for life”. Max laughs: “Of course there are disagreements along the way. they started working together five years ago. “We weren’t a couple at college or afterwards for quite a while. their unity as photographers metamorphosing along the way. Having met on their first day at Camberwell College of Arts in London. both creatively and aesthetically. that the produce is all sourced from sustainable outlets and that volunteers 88 www. A couple both personally and professionally. by the people”. all a far cry. which has a varied client list. involving client commissions from engineers to government quangos. it sparked their interest just before opening last year.co. One person sees something and the other sees something else. the duo behind photography company Haarala Hamilton. one of which has been garnering a lot of attention lately.” Liz adds that working by yourself can be a lonely existence but in their experience it is a lot of fun. they worked independently but travelled together.uk HAARALA HAMILTON PHOTOGRAPHY . Liz and Max do what few achieve: to work and live together as a happily married couple. so it works really well for us to work together. Started by Arthur Potts Dawson. members pay an annual £25 membership fee and sign up to work a four-hour shift in the supermarket every four weeks.This gives them a say in key decisions involving the business and also a 10% discount on their shopping. “We graduated in 2000 so we’re going back a way. becoming part-owners in the process.SUPERMARKET SWEEP This image: Arthur Potts Dawson. Before that. Liz and Max. The People’s Supermarket. It just happened organically because we were both interested in the same things. began as a personal project and quickly developed into something far more commercial. have two very different lives as photographers. Then there are the personal projects they undertake. co-founder of The People’s Supermarket. We always went to the same places and got excited about the same things we saw. Their professional collaboration began before they became a couple and eventually married. but their really attention-grabbing work stems from personal projects. but we always worked together when we were printing and we also did a few projects together so knew we could work as a team. an eco-ethical co-op in Lamb’s Conduit Street in central London. far right) Kate. but if you have someone else there you have another set of eyes. Promoting itself as a grocery store “for the people. One exists on the commercial side. one of the players behind the capital’s eco-friendly restaurant Acorn House. one of the members. from the bread-and-butter work they refer to. Opposite page: Some of the facilities and produce on offer at the store and (below. is the latest focus of Liz and Max.professionalphotographer. What happens when a leisurely cycle ride through London turns into a personal project that becomes an international commercial campaign? Cass Chapman talks to photographer team Max and Liz Haarala Hamilton to find out.” Max tells me. as with all things. Haarala Hamilton Photography. The People’s Supermarket is a not-for-profit organisation. The idea is that shoppers have a choice beyond the large supermarket conglomerates.” Since then they have successfully established their own company.

” Max Hamilton ..{ WORKING PRO} “.we’d never heard of anything like it in the UK.. so it seemed like a unique thing at the time.

” The buzz around The People’s Supermarket will only increase with the television exposure and a book isn’t out of the question if the business increases in popularity and scope. honest portraits of a variety of characters and faces. aside from an obvious love of photography and a talent in that medium. “We don’t show our commercial work as much because it’s not as interesting to us as the personal work which definitely tends to generate further stuff.thepeoplessupermarket. we have to be interested in what we’re photographing. studying photography and agriculture. while giving something back to the local community by working on the premises for a few hours a month.“It would be lovely to do something with them when the time comes to do an exhibit. but a lot of their personal work is.com www. They’ve all got stories to tell and it’s been really enjoyable. We had a few magazines and editors in mind. a traditional Finnish knife-maker. It’s those personal projects that. As a result.” Max Hamilton www. the couple noticed the new development and peeked inside as the interior was being completed. We both graduated and just started working straight away. there was talk of some sort of exhibit at the shop. It built up from there. There is such a mixture of people: actors. “The way we work.professionalphotographer.” Their equipment of choice is “an old Linhof Color Monorail 5x4 and then for The People’s Supermarket project we used a Mamiya RB67. is a confidence with their equipment and courage when it comes to exploring new personal projects. Once widely seen.co. barristers. “but we’d never heard of anything like it in the UK. “We saw Arthur [Potts Dawson]. we seem to have become their official photographers. The People’s Supermarket project may have attracted great interest in this couple. as did The Guardian.{ WORKING PRO} have a say in how and where their food is sourced. and now successful commercial project. After graduating from Camberwell. using the shop “It was both the ethical cause and the commercial possibility that drew us in..” but admits to being “pretty much all self-taught. thinking it might be something that would fit in with what they publish. PP . Of course. stark. architects and others – obviously you need corporate work to pay for life. since starting in June last year.” Neither had any formal training in photography.” Liz likes the Mamiya 7II when they travel but the couple always take the Linhof as well when they are away. Such a unified approach to work makes this happy collaboration possible and results in innovative creative photography. we find. Liz and Max were impressed from the outset and contacted Potts Dawson about shooting portraits of the volunteers at work. Max and Liz agree virtually all the time about equipment and subject matter. though it would be nice to hang the portraits as an exhibition as well. Cycling around London. I imagine it must be hard to change hats in this way. people from the local estates. We just prefer it as a medium. This system of ethical shopping and supplying was such an inspiration that Channel 4 quickly came on board and started filming events within the premises for a television series that first aired in February. though we originally imagined it would be only a few days of shooting. it clearly comes easily. so it seemed like a unique thing at the time. everything flourished. It’s a different way of working because when we use a large format camera it’s obviously a much slower process and you have to think about composition and everything and for two people to work with large format cameras is actually easier than one of us having a digital camera. a ‘puukko mestari’ [champion]. “We do a lot of corporate work for engineers.” The philosophy behind The People’s Supermarket impressed Liz and Max who instantly recognised a fantastic concept. so if there is no personal interest. these knives are now used mainly for show and the practice of making them is dying out. Max worked in a studio. The Observer Food Monthly ran some of their shots alongside an article about the supermarket. from there. “It was more a sort of ‘theory behind the photography’ course. “Now the organisers at the supermarket know us and. chatting with Liz and Max..” What they share.” Interwoven with visits to Finland are the commercial projects that enable such private ventures to occur in the first place. a few years ago.” Max adds: “We also got interested in the people who supplied the supermarket. “doing retouching and a bit of assisting. but then we do other projects as well. “I think someone mentioned one in New York. as they often do together. This is a project on Matti Hesitance (Masa).haaralahamilton. but the cause itself was what drew them in and. indirectly. University of London. so we’ll work on a personal project always with the aim of having it published and used for something else. We saw it as an opportunity to go to some of the farms to shoot and do something different. They are starting a photographic series on female footballers. The puukko is a traditional Finnish knife originally crafted for hunters and everyday use.” That said. “and he explained the concept of the shop to us.” The resulting images are wonderful. but it is clear that there is far more to come. Liz and Max have other plans under way.” Liz did an MA at Goldsmiths. Liz admits they would “ideally like to get them in some sort of book for The People’s Supermarket.” says Max. take us on to something else.” explains Max.” she explains.” Not to mention worthwhile. still shot using film. Max mentions a project about Skype and they have been working in Finland on a project “about a traditional Finnish knife-maker which is going to be published into a book. I shot a lot and learnt from other people and learnt by accident. and no doubt the Channel 4 television series will encourage others to follow suit. “but that wasn’t technical photography as such.” As Liz notes. simple and honest but vivid as a collection. believing it was something that could grow.org 90 www. worthwhile. the personal relationships that have blossomed as a result have added a new layer to their involvement: “We meet so many people there to shoot portraits. they instantly recognised the commercial viability in shooting the project. Liz says they shoot with digital for commercial projects because they have to. The series looks at dying traditions. so once we’d done the original shoot we started talking with the people who worked there about their suppliers and they opened up a whole new area of interest for us. We thought it was a really interesting idea and that maybe we could start working on a little project or something. so we thought.” offers Liz. Aside from this unique. ‘Why don’t we start a project?’ The following week we went back and just did loads of photos. As Matt explains: “We either use medium format or large format. interestingly.uk HAARALA HAMILTON PHOTOGRAPHY itself as the exhibition space.” explains Liz. then why do it? It was both the ethical cause and the commercial possibility that drew us in – it is really interesting to us and it’s such a great concept. but. they have been photographing regularly on the premises.

Tom – a member of The People’s Supermarket. .

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Like a pop star who gets to Number One but soon finds himself replaced by the next best thing. and the manner of her death was almost an inevitable conclusion to a life devoted to creating images of such personal introspection. A sad end was almost preordained. distraught that her delicate. she stepped out of the window of her New York loft apartment. the subject matter that she photographed challenging to many and deeply personal to her. Three. historical context. Terry Donovan’s story is well known.uk 93 . and hepatitis.professionalphotographer. the photographer ended his life aged 60. That confusion led to him not being able to understand why he was no longer getting as many commissions as he had done in the past and why he was no longer able to achieve the level of fees which had previously funded the lifestyle he so enjoyed. Huge financial success through the 1960s and 1970s saw him living an enviable lifestyle. they all decided to end their own lives. thanks to an excellent agent who managed to make Donovan’s work seem more relevant to a younger market. For many years Diane Arbus was seen as the archetype of a tortured artist/photographer. it is hard to go from Number One to Two. Bob Carlos Clarke and now Penny Tweedie. and she had been receiving therapy for depression. Despite a late revival of fortune. She ended her life aged just 22 (Arbus was 48). Four or worse. which worsened the symptoms of her depression. But she also suffered from depression. The same could be said of the tragically short life and career of Francesca Woodman.PHOTOGRAPHY BLUES Over the past year we have tried to raise awareness of the pressures and stresses that professional photographers face. What do they all have in common? Well. Francesca Woodman. highly personal and ethereal images were not being given the commercial recognition she wanted and expected. PP Editor Grant Scott decided to re-visit the issues previously raised and attempt to put them into a photographic. who varied in age. When an important relationship ended and combined with the way in which she felt ignored by the photographic world. TALKIN’ www. a photographer whose work received critical acclaim after her death. Carlos Clarke and Tweedie were all travelling very different roads. With her sad demise came the photographic recognition she had so needed. However. They also span decades in the history of photography. getting involved with film making and counting both Margaret Thatcher and Princess Diana as friends. Diane Arbus. Donovan. But personal turmoil also haunted her work and life. Terence Donovan. Her life was complex. In retrospect her images are often explained and discussed in these terms and as visual representations of her delicate mental state. Both Arbus and Woodman were photographers on a personal photographic journey largely unconcerned with bending to commercial requirements when creating their images. through a series of articles in the magazine and online. with the recent sad death of photojournalist Penny Tweedie and the arrival of a reader’s email. work and approach. She didn’t choose to take photographs – she needed to take photographs.co. It is easy to romanticise such a life but the stark reality is that Arbus was a tortured soul who chose photography as a form of emotional communication. These are photographers whose names most of us know. But creatively he had become confused and found himself out of step with the times by the beginning of the 1990s with his celebrated work of the previous three decades largely forgotten (I wrote about my personal experience of this in Being There in the February issue of PP). apart from all being photographers who made their personal marks through the images they created. He was a photographer who had achieved celebrity status. as had her mother. Many of his images have gone on to become iconic statements of their time.

The main theme to all of the responses we have received has been one of thanks. post-production teams and marketing assistants. The response we have had to the articles we have run over the last year on the pressures professional photographers face has been both encouraging and enlightening. We have nothing to sell other than our personality and creativity. I first met Penny Tweedie in the late 1980s. He was 55. including assistants. Sometimes it is hard to step out from the crowd and make a stand. if budget and equipment were not an issue some of us really could “have done that. how the recession is affecting us and how we are enjoying things at the moment. one to change the bulb and 49 to say. make-up artists. except Carlos Clarke was obsessed with the female form and not the male.professionalphotographer. She was also a single mother and often took her son with her on assignments. It is an honest and touching account. In fact. After what she had seen and the lack of commercial recognition for her work. East Timor. we do sit in front of our computers staring at the screen wondering who to contact next looking for work and how. everything became too much for her. “I could have done that!” Sometimes. Tweedie was a serious photographer who took seriously her responsibilities to record man’s inhumanity to man. When we are asked how we are doing. We publish it in the spirit of sharing experiences and to show that we are willing to speak about the realities of the profession that we are passionate about. Like Donovan his work suffered from the vagaries of fashion and by 2006 his powerful women and sexual aesthetic defined the 1980s. After checking himself out he threw himself under a train – a terrible end for someone whose photographic life had been so obsessed with perfection. It is a hard act to maintain when in moments of ego and extreme self-belief you compare yourself to the truly successful in the world of photography and know. to show that we all have shared experiences (however successful we are) and to help photographers not to feel so alone or frightened to speak out. As photographers. Vietnam and Uganda. not the ‘new woman’ advertising that editorial clients were looking for. It’s good to talk. It requires a huge amount of determination. We do look at other photographers’ sites. I hope that any photographer reading this article will understand why we have published it and applaud Andy Craddock for getting in touch with us to share his story and feelings in the blog entry that follows. Finally. It was about the loneliness of being a freelance professional photographer. His work changed hands for high prices and was widely exhibited. we desperately want. stylists. which I hope you will find moving. It is a hard act to maintain when you see the success your peers are purportedly having. Thanks for speaking out about the subject and thanks for giving photographers the opportunity to speak about their experiences. appropriate for a magazine with the title Professional Photographer to feature. His approach to photography was singular and driven with a sexual edge similar to that of Robert Mapplethorpe’s. It may be hard but we think it’s the right thing to do. “I could have done that. Of course.uk Loneliness (Depression) and Photography by Andy Craddock I read an article written by Grant Scott in the August 2010 edition of Professional Photographer magazine. She was complaining even then about the difficulty of making a living as a photographer but she was a fighter and was not going to accept the reduction in fees as she saw it. where Dorothy Wilding was employed to photograph the Queen and wasn’t even in the . the real one and the public face that meets with the client and exudes success wherever and whenever one advertises. we lie. We do wonder why nobody replies to our emails. she chose to end her life aged 70. When either or both are rejected our self-belief takes a battering and the more it happens the more our self-belief declines dramatically. it is hard to find new clients and it is hard to remain creative and continue the daily slog of self-promotion. positive persona to persuade our prospective clients they are buying into a success story. self-belief and stamina to keep going. lighting assistants. the LaChapelles and the Leibovitzes of the industry are teams of other creatives. returns our telephone calls or rings us with the perfect job. That’s why I wanted to talk about these five photographers. The Priory. to give out a successful. Five very different stories about five very different photographers who all chose to end their own lives. Thus we lie. Few of us have anybody close to us that understands the pressures of being a professional photographer. what do they have that I have not?” Without the social elements of an office or studio full of people it is hard to get up every day and motivate yourself to create new reasons for people to come and see you. most importantly. But there was a dark side to Carlos Clarke’s life and photography.co. We try. She covered the plight of the Aboriginal people in Australia. He also suffered from clinical depression for many years. A similar tale could be told about the life and career of Bob Carlos Clarke. Carlos Clarke found himself checked into that last refuge for many celebrities.” Sometimes. Like Donovan he had achieved celebrity status through his photography.” There is a subtle difference to the paragraph above and the old joke about photographers: How many photographers does it take to change a light bulb? Fifty. At Work.{ YOUR COMMUNITY } The following blog entry was sent to us by a reader as a direct response to an article I wrote in the August 2010 issue of PP on the loneliness of being a professional photographer. those fees look like the golden days but the benefit of hindsight is a rare gift. but sadly didn’t stay for long. They are not freelancers working alone. honest and. the editors and creative directors that we as photographers are applying to for work forget that the Crewdsons. Tweedie had paid her dues as a photojournalist through the 1960s and 1970s shooting in Bangladesh. 94 www. Annie Leibovitz tells a story in her book. We try to juggle the truth. looking back. The same end but for many different reasons and that is my reason for looking behind the headlines. It is a hard act to maintain when you read the photographic press and see the success others are having. A photographer works in a profession that requires huge self-belief in one’s work and oneself. compare our work to theirs and wonder “why are they busy and I am not. the war in Lebanon and the devastation caused by the tsunami in the East Indian Ocean. He also lived a celebrity lifestyle hanging out on the Fulham Road with many of the celebrities he photographed and counted as friends. we create two versions of ourselves. Despite the strong market for his work within galleries.

It is charity and it is greed. It was written by Sally Brampton. When I need reminding why I do this I try to read the compliments on my website and take them on board. wondering who to contact next and how. I have spent hours on my plan. A plan that I know will work. have dreams to come true. Trying to maintain momentum and enthusiasm in the midst of a clinical depression is nigh on impossible. a hobbyist. Motivation and creativity are all but impossible when you’re this lonely and depressed. you can find a counsellor in your area by contacting the British Association for Counselling & Psychotherapy (BACP) on 01455 883300 or visiting http://www. For one moment in time. I do not see myself as anything but a professional and successful photographer.bacp. My counsellor is only words in my ear once a week. I sit here at the computer. often police. I have the weight of fear. lonely and depressed wondering who to contact next and how.uk You can read Andy’s blog at http://blog.uk 95 . the woman who launched the magazine ELLE and then suffered a clinical depression. At one time she employed around 37 people in her studio. It is my dream. even though I’d be loath to share my plans with peers. I want to be a PROFESSIONAL. Terence Donovan. My closest friends don’t have the experience to help me and as yet. I can truly understand why photographers and other creatives commit suicide.room when the photograph was taken! Apparently Wilding’s assistants. I’m going to refuse to lie. I will leave the last words on suicide to Kevin Carter. a position she was fired from due to ongoing depression. by losing her job as an editor of a mainstream magazine she felt that she’d failed at being herself. like Sally Brampton did. By being fired. photographer/artist.neolestat. Ken Oosterbroek) if I am that lucky. Who the hell do I turn to? PP We established The United States of Photography as a direct result of the response we received to Grant’s original article in Professional Photographer (now available on our website). it is self-serving in parts.uk To share your personal experiences of being a professional photographer.99 www. I am the one they often turn to for advice! So.co. which I would have were it not for a sentence spoken to me. Bob Carlos Clarke.uk Shoot the Damn Dog: A Memoir of Depression.co. neither am I a cook or a mechanic or a lorry driver.” Andy Craddock left? I cannot answer the question. lonely and depressed with a plan to turn everything around. often went out and took photographs for her. I sit here at the computer. I need someone to have belief in me when I fail to have belief in myself.co. If I cannot be a photographer then what do I. her sense of worth and her calling was that of a successful magazine editor. ARTISTIC. lonely and depressed. It is a wonderment and an abhorrence. procrastination and depression crushing me every day and I have no one to turn to for help. unlike the testament from Mrs Smith in Blackpool on how Union Meerkat Insurance provided her with the best service ever. if I am not a professional photographer then who am I? I know I am not a corporate slave.professionalphotographer. a Pulitzer Prize winner. I live to be a photographer. who were trained in her style. underneath. I can be a professional photographer. Maintaining a show of success where there is none is laborious and wearisome. I became a professional photographer because that was my dream job. WORKING.” Since I took up photography as a profession I have failed (by the definition of being a ‘professional’) and have therefore failed to be the essence of who I perceive myself to be. Pierre Molinier. Knowing that when I do know the right person to contact. It is a thank you and a fuck you. The real face is going public. myself. You can find out more about this free-to-join photographic help group by visiting our website www. it is my dreams come true. Yet. I sit here at the computer. by Sally Brampton. in times of clarity I know I have the talent. my current defeated self is cowering with fear. I can be a great professional photographer. So far I have failed and am crushed by depression wondering. the testaments on my website are real and verifiable. I am not a wedding photographer and neither am I a photographer that sells shoddy ‘portfolio’ photo-shoots to ill-informed want-to-be models for 30 quid a time. I have no answers. On page 62 Sally describes how she felt after being fired: She felt that her self. Warren Bolster. She recovered (or so she’d thought) and became the editor of Red magazine. It is life changing. Part of his suicide note read: “I am depressed… without phone… money for rent… money for child support… money for debts… money!!! I am haunted by the vivid memories of killings and corpses and anger and pain… of starving or wounded children. PUBLISHED. I did not know them or could ever purport to know what they were thinking at the time but I can sympathise with Diane Arbus. of self-discovery. It is biographical. anxiety.com If you recognise some of the points Andy raises and would like to speak to someone. Being a professional photographer would also pave the way for my other success when. in itself. If I am not a professional photographer then I am just a photographer. she wasn’t in the same country. I am not a member of the service industry. I don’t even have the peers with enough experience to help me. What did she have left if her self had been taken away and she had no way forward or way to regain that self? That struck a chord with me too… If I fail at being a photographer then what do I have left? I define myself as a photographer.co. In his Professional Photographer article. procrastination and depression. Within the past month I could have and was more than prepared to die.professionalphotographer. of trigger-happy madmen. If she was no longer fit to be an editor then what was her worth? By failing in the role of an editor she herself had failed. Francesca Woodman and the many other not-so-famous unnamed photographers who have committed suicide. I’ll have to put on my public face full of lies and stories of “Motivation and creativity are all but impossible when you’re this lonely and depressed. It is altruistic in parts. is published by Bloomsbury at £15. The public face is going to be the real face. It is a story. I need someone to help financially support my plan for the next three months. I’ve just finished reading the same book. of killer executioners… I have gone to join Ken (his recently deceased colleague. Grant Scott mentioned a book called Shoot the Damn Dog. please email us at feedback@professionalphotographer. coincidentally. But. Often. with a plan to turn everything around… I need encouragement when my motivation fails.

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Working the System .

ISO from 50 to 800. The quality of the images the CFV-50 delivered was exceptional but at that price I am afraid that I expected it to. Everything about it was right for me. re-learn to see with a DSLR and. And that’s the problem. Now as I sit at my desk and look at the pile of Hasselblad kit that has just been delivered for me to review I can’t help but feel the same as when you see an ex after years apart. a longest shutter speed of 64 seconds. I created my way of seeing with those cameras. Then everything changed. and you have been waiting for the moment to return to it or move finally into digital capture. I would love to make this my everyday camera solution for all of my commercial shoots and as I have the bodies and lenses already it would make sense for me to do so. of course. a bag of lenses. Of course. countless film backs and I started shooting. And therein lies the rub. and easily available. it clicks on to the body in the same way as a film back and suddenly I’m a Hasselblad photographer again. With the CFV-50 strapped on I was back and shooting square format 38-megapixel images – or 50-megapixel in full rectangular format. even though I love the cameras I now work with.professionalphotographer. What I think is more relevant is to consider what you are going to do with these images. With the advent of digital capture my head was turned by a new mistress and my Hasselblad marriage was over. and built a portfolio of images and clients. truth be told. I’ve always had a very soft spot for my first love. But before doing so I would have to seriously consider where that leaves the digital investment in my DSLR system over the past five years.uk 99 .” Grant Scott www. I was hooked. then the CFV-50 makes complete sense. writes on to a CF card and stores 60 images on average on to a 4GB card. The back has the same quality of build and familiar feel of a traditional film back. I could trawl the internet and eBay for rare and interesting lenses to add to my system and go back to being a Hasselblad photographer. plus. The square format worked for me. It just feels right in the palm of my hand and allows me to start taking pictures in the way I so loved back in the analogue days.co. as did holding the camera at waist level. In short the CFV-50 is a great piece of kit which answers many problems for current and lapsed Hasselblad photographers and possibly new members of the Swedish “The CFV-50 is designed to match the appearance and functionality of the Hasselblad V System and does it perfectly. here they are: it delivers 16-bit colour. There is a sense of what could have been. I bought four bodies.194 to do so. for large format printing. Which is all fine with me. Hasselblad seemed to have got everything right with the CFV-50. That’s all I wanted to do or know but if you want the headline specs and facts. If the Hasselblad format fits your way of seeing and defines the way in which you create images. The CFV-50 may bring all of your Hasselblad kit back into operation but it’s going to cost you £13. I picked up my first Hasselblad in 1998 and immediately fell in love. It’s exactly the solution I wanted six years ago and the right solution for me now. complicated set builds or if you need a large file for extensive post-production. won some awards. as PP Editor and longtime Hasselblad user Grant Scott discovers. The CFV-50 is designed to match the appearance and functionality of the Hasselblad V System and does it perfectly. but then we get to the price. choosing to make a commitment to the Hasselblad brand. I even had my work published in a square book so the images didn’t need to be cropped. going back to Hasselblad is all about asking yourself questions. then it also makes sense. the 50-megapixel digital back that is sitting tidily behind the oh-so-familiar traditional Hasselblad body of the 503CW. If Hasselblad had given me a realistic digital option in those early digital days would I have remained faithful? This feeling of regret leads me straight to the CFV-50. The build quality was impeccable. every pro needs a backup so I’m going to have to buy two and that’s now become a £26. How are they going to be reproduced and how? This is when we get down to the nitty-gritty of the CFV-50.388 investment. There is no doubt that it’s a great piece of kit but that kind of investment requires some serious thought. the lenses were beautiful. I had to start from the beginning again. ad campaigns.review Hasselblad’s latest system updates are specifically designed to tempt pros back to the Swedish brand but. the sense of tradition was unbeatable. If you’re shooting billboards. If I were starting from scratch my decision would be based on image usage and available budget as much as anything else.

400 and 800 I Longest shutter speed: 64sec I Image storage: CF card type II (write speed >20MB/sec) or tethered to Mac or PC I Colour management: Hasselblad Natural Colour Solution – one generic profile I Storage capacity: 4GB CF card holds 60 images on average I Battery type: Sony InfoLITHIUM L NP-F series I Colour display: 2. 80MB on average. Some earlier SWC models need slight modification for battery mounting reasons).132 x 8.7mm x 49.1 times I HV 90x: 90° eye-level viewfinder with diopter adjustment (-4 to +2.5D). This is the flagship model in the Hasselblad range and with a 60-megapixel 40mm x 54mm sensor it’s the mother of pro cameras. Centre Weighted and CentreSpot. CentreSpot: EV1 to 21 I Power supply: Rechargeable Li-ion battery (7.1 megapixels (8. Most DSLRs are equipped with a “But these are Hasselblads for photographers who don’t want waist-level viewing and a connection with the past. 200. 460. 2000 series cameras and 201F with C lenses only.956 x 6. CFE 250 Sa and CFE 350 Sa I Host connection type: FireWire 800 (IEEE-1394b) I Battery capacity: Sony InfoLITHIUM L. provides acoustic and visual feedback I File format: Lossless compressed Hasselblad 3F RAW I Software: Phocus for Mac and PC I 3FR files are also supported directly in Apple and Adobe environments I Camera support: Hasselblad V System cameras manufactured since 1957 (not recommended for critical work together with SWC models and ArcBody due to optical incompatibility. mounted on CCD sensor I Feedback: IAA – Instant Approval Architecture. 200. 203FE and 205FCC models need a minor camera modification to use F/FE lenses.Hasselblad H4D-60 TECH SPEC I Sensor size: Dalsa 60. 202FA. Centre Weighted: EV1 to 21. All of the H system cameras are built using solid stainless steel housings and a high-strength aluminium for the inner core. CFi 50 FLE.290g (complete camera with HC80mm lens.professionalphotographer. image magnification 2. Instant manual focus override. Metering range – Spot: EV2 to 21.uk Hasselblad CFV-50 TECH SPEC I Sensor size: 50 megapixels (6. TIFF 8-bit: 180MB I File format: Lossless compressed Hasselblad RAW 3FR I Lenses: Hasselblad HC/HCD lens line with integral central lens shutter I Shutter speed range: 32sec to 1/800sec I ISO speed range: ISO 50. image magnification 3.7mm I Image size: RAW 3FR capture.co.176 pixels) I Sensor dimensions: 36. so despite their ergonomic. up to eight hours of shooting capacity I Operating temperature: 0-45°C / 32-113°F I Dimensions: 91mm x 90mm x 61mm [W x H x D] I Weight: 530g (excluding battery and CF card) community. but it is an investment which comes with a lot of questions before a decision can be made – all of which are about you and your photography and not the CFV-50. these are very much for photographers wanting to step up to medium format quality from DSLRs. Based on the H3D platform the H4D system features Hasselblad’s True Focus Technology. CFi 150.708 pixels) I Sensor dimensions: 40. 24-bit colour I Histogram feedback I IR filter: Multi-coated. All other cameras with Hasselblad V interface I Digital lens correction supports the following lenses: CF/CFE 40 FLE.2 times I IR filter: Mounted on CCD sensor I Exposure metering. 400 and 800 I Colour definition: 16-bit I Colour management: Hasselblad Natural Colour Solution I Focusing: Autofocus metering with passive central cross-type sensor. smooth styling they are tough pieces of kit.100.” Grant Scott . Metering range EV 1 to 19 at ISO 100 I Viewfinder options: HVD 90x: 90° eye-level viewfinder with diopter adjustment (-5 to +3. Ultra focus digital feedback. The H4D-60 is less about heart and more about mind. So the CFV-50 claimed my heart but sitting next to it like a grey super-sleek intruder in the classic Hasselblad world is the H4D-60.5D).1) and 36.5) I Single shot I 16-bit colour I ISO 50. these are very much for photographers wanting to step up to medium format quality from DSLRs. 24-bit colour. image magnification 3.320 pixels I Histogram feedback: Yes I Software: Phocus for Mac and Windows I Host connection type: FireWire 800 (IEEE-1394b) I Operating temperature: 0-45˚C / 32-113˚F I Dimensions complete camera: with HC80mm lens: 153mm x 131mm x 213mm (W x H x D) I Weight: 2.7mm (lens factor 1. But these are Hasselblads for photographers who don’t want waist-level viewing and a connection with the past. Li-ion battery and CF card) 100 www.7mm x 36. metering options: Spot.7 times I HVM: Waist-level viewfinder. 31 captures per minute I Colour display: Yes.5in TFT type. CFi/CFE 120.4 seconds per capture.2mm x 53. CFE 40 IF.0mm (lens factor 1. CFi 250. 3in TFT type. CFi/CFE 80. CFE/CFE 180.2 VDC/1850 mAh) I Storage options: CF card type U-DMA or tethered to Mac or PC I Storage capacity: 8GB CF card holds 100 images on average I Capture rate: 1. 100.

If I were being commissioned to shoot the kind of work that requires Hasselblad’s quality I would invest in the H4D at whatever level I could afford.co.800) would be intimidating. but it is one of the easiest cameras to work out that I have used for some time. To set focus outside of this centre area. My way of testing this was to use it as I would on a shoot. handle. The APL processor logs camera movement during any recomposing. The H4D-60 I was sent came in a kind of kit form with a removable back. The menu system and controls are easy to use and obvious in their functionality. and particularly to the 60. and then shift the camera to reframe. To overcome this. which is the basis of Hasselblad’s True Focus. lens. not surprisingly. surprisingly so actually as it would be easy to think that a camera at this price (£31. Once together it’s a sturdy piece of kit which has a real weight about it. Hasselblad has used modern yaw rate sensor technology to measure angular velocity in an innovative way.co. The H4D range seems then to be a well-conceived and well-resolved option for those wanting to step up to medium format. battery and. two or three and start using my Hasselblad kit again. which gives you the option of an entry-level price of £10. which they did with ease. As neither of these things is currently true I will stick with my DSLRs because they do the job I need them to do.professionalphotographer. The only negative I found was with the overall aesthetic of the back screen area. the off-centre focus points that are offered are all clustered relatively close to the centre of the image. You’ve just got to decide if you are doing that job. So easy in fact that I challenged some of the PP team who had never been anywhere near a medium format camera to shoot with it. of which the less said the better. For many both of these Hasselblad options are going to overdeliver but if you need the quality. The APL processor computes the advanced positional algorithms and carries out the required focus corrections swiftly so that no shutter lag occurs. The H4D’s firmware then further corrects the focus using the precise data retrieval system found on all of the appropriate lenses. As professional photographers we need our kit to do a job. It’s still a lot of money but it may well be the right tool for the job and in conclusion that is where I think I find myself at the end of four days spent with well over £50. the photographer is still forced to focus first. they provide the solution.hasselblad. I love the CFV-50 and if funds allowed I would go out and buy myself one. and I found it responsive on focus and easy to manipulate to my own way of working on that basis. especially the H4D. I know this has nothing to do with how the camera performs but it didn’t have that Hasselblad touch of class I expect from this manufacturer. Due to the physics of an SLR camera. then uses these exact measurements to calculate the necessary focus adjustment. Of course. with the resulting loss of focus as a result. and there is no doubt that Hasselblad has now got a range of systems that do exactly that. features a 31-megapixel sensor).uk 101 .000 worth of Hasselblad photographic kit. That’s all a long way from my first experience of the H system with the H1 way back in 2001.review “It was just a shame that the battery charger and battery were third-party pieces of kit without Hasselblad’s customary attention to detail and build. PP www. It was just a shame that the battery charger and battery were third-party pieces of kit without Hasselblad’s customary attention to detail and build.794 with the H4D-31 (which. which is then focused correctly. all of which are easy to work out and put together (even without a manual!). The result is the new Absolute Position Lock (APL) processor. and issues the proper commands to the lens’s focus motor so it can compensate. the true test as to whether this is the camera for you is exactly the same as I outlined with the CFV-50: how are you going to use the images you create? For me the same rules apply to the H4D range.uk www.” Grant Scott multi-point AF sensor which allows the photographer to fix an off-centre focus point on an off-centre subject. of course. as I outlined earlier. not in a laboratory environment. which had the feel and look of an in-flight back-of-the-seat film console. Again I was impressed by how easily I found myself feeling completely at home with it. Image quality in general use was everything I would expect of a camera of this quality and cost.


For more details visit www. Twist-n-Lock legs and a spirit level on the pan head. at http://vimeo. it costs £10 for two replacement heads. G At a recent performance. if you can bear to. Available from April in the UK from Jessops and independent retailers.lowepro. To find out which Profoto Light Shaping Tools the ProDaylight 800 Air is compatible with visit www. The CompuDay Photo range has a messenger bag and backpack. to accommodate a laptop and a single camera.6in and other pieces of kit such as a portable hard drive.com LOWEPRO COMPUDAY PHOTO RANGE Lowepro’s latest range is designed for photographers on the move..com G Apple’s iPad2 is out. laptop up to 15. it’s a great ride to be on..99 (including VAT). RRP is £59.” HDSLR hero Philip Bloom on the growth of film making with DSLR cameras. The 360-degree rotating head allows panoramic shots while side-to-side tilting means you can get a unique take on the world.. The laureate of convergence might well be Romanian Cosmin Serban.stop press.95. Designed to remove those unsightly marks from the iPad’s supposedly fingerprint-resistant screen. who has recorded DSLR Song – a tribute to all the DSLR film makers out there.professionalphotographer. during a talk at the Convergence Festival held at the British Film Institute. Lady Gaga’s people issued a release form for photographers to sign stipulating not only where and how the image couldn’t appear but also demanding that the photographer transfer “all right. The 20mm-diameter legs provide support at 23 degrees. Listen. VANGUARD NIVELO TRIPOD Incredibly lightweight and compact. in London. tech pundits on the internet are underwhelmed due to the fact that screen resolution hasn’t improved and you still need the clunky white cable to connect it to your computer… G There’s a strange and mesmerising beauty to the image of a Pentax camera taken apart and in bits posted by camera-friendly website Photojojo on its Tumblr blog recently..lenspen..co. both of which will hold a DSLR.com “It’s fantastic. industry rumours and kit from around the world.. the Nivelo 204 has been designed specifically to accommodate the latest compact system cameras. We’re always keeping our eyes open and our ears to the ground to make sure we bring you the latest news. This month they were back at Focus on Imaging at Birmingham NEC with a nifty new product. The bag and backpack are aimed at photographers who need to get around and upload images on the go. ideal for pro HD video shooting as well as stills photography. bringing stability to this little tripod. bringing a sinking feeling in the stomachs of those who have yet to pay off their credit card bill for the first-generation version. Designed for use with some (but not all) of Profoto’s Light Shaping Tools. title and interest (including copyright) in and to the Photograph(s)” to the artist known for dressing in meat. in March.com/19327519 www. Built-in radio remote capability allows you to switch the unit on and off as well as increase and decrease light output from 50% through to 100%. www.. G Every revolution deserves a soundtrack and the HD video revolution is no different.uk 103 . see www. www. The SideKick comes with one replaceable cleaning head that lasts for 150 to 200 uses and costs £14. Now that’s hard to swallow… PROFOTO PRODAYLIGHT 800 The Profoto ProDaylight 800 Air is a new continuous light source aimed at photographers entering the world of DSLR film making.uk/ sp04. The Nivelo 204 is available in black and silver. LENSPEN SIDEKICK We first spotted the LensPen people at Photokina in Germany last September and featured their handy camera lens cleaning pens in our November 2010 issue. its substantial features include shock-absorbing rubber feet. the LensPen SideKick.profoto.professionalphotographer.vanguardworld. While it does contain cameras both back and front.co.. it uses the same carbon-based cleaning compound as the award-winning LensPen. the 800W metal halide base (HMI) lamp provides daylight colour temperature. Small enough to tuck into a rucksack.com LATELY WE’VE BEEN HEARING. from up to 300m.

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300 mm AFS VR £ 389 70 .200 f2.8 L IS MKII £ 1864 70 .4 Planar .150mm Lens £505 Mamiya 7 .400 f4.6 IS £1243 100 mm f 2.4 L II USM £ 1375 50mm f1.5 super angulon £1495 Minolta booster II £ 50 Leica winder M £ 99 Mini TT1 CE NIKON IN STOCK £199 FLEX TT5 CE NIKON IN STOCK £216 BUNDLE 1 x Mini 2 x Flex NIKON £549 Mini TT1 CE Canon IN STOCK £197 FLEX TT5 CE Canon IN STOCK £216 BUNDLE 1 x Mini 2 x Flex Canon £520 PLUS II TWIN Pack £249 POCKETWIZARD 2 Free sensor cleans worth £90 when you buy a Canon 5D II.dalephotographic. Maestro.5 Summarit M £1122 90mm f2.8 AFS VR £ 6999 500mm f4 AFS VR £ 6153 600mm f4 AFS VR £ 7433 60 mmf 2.6 EX DG£ 642 10mm f 2.5-5.200 mm f 2.24mm f4 DX £ 855 16 -85mm f 3.43mm Lens + finder £995 Mamiya 7 .6 £250 Canon EF 50mm f1.5-4. UK STOCK .16mm f 2.70 f2.5 Distagon .2 Kit £ 2552 Fresnel 200 £ 449 Pulsar twin pack £ 233 Pulsar Trigger Card £75 Pocket Wizard card £107 600D +18 -55 IS £ 749 600D Body £ 659 550D +18 -55 IS £ 619 550D Body £ 549 Powershot G12 £ 419 16 .5 AFS Micro £ 426 85mm f1.Nikon ZF.300mm Macro EOS £149 Sigma 105mm f2.8 OS £395 Canon EF 24-85 f3.8 Macro USM £299 Sigma 28 .4 USM £ 322 50mm f1.50mm Lens £ 350 Contax 645 Film back + Insert £ 195 Contax TVS £195 Pentax 645 .FROM CANON UK 7D Body £ 1189 7D + 18 .7 X Teleconverter £ 1139 GIL .uk 60-62 The Balcony.200 f 2.20 mm f 4 / 5.65mm Lens £709 Mamiya 7 .11 www.50mm Lens Ex Demo £995 Mamiya 7 .Nikon ZF.22 EFS USM £ 633 17 .8 Distagon .5mm DX Fisheye £395 Nikkor 17 .Nikon £229 Nikkor 24 . 1DS MkIII or 1D Mk4 EOS 1 D Mk4 EOS 1 DS Mk III SIGMA 8 .8 Distagon .31 + 80mm HC lens KIT special offer £ 9499 H4D .8 AFS Lens £ 6199 D 3X + 14-24mm f2.5 PS Lens £ 195 Bronica 65mm PS Lens £ 195 Bronica 150mm PS Lens £125 .8 ATXPro £ 621 100mm Macro f2.120mm f4G AFS VR £899 10 .4G AFS £ 307 70 .135mm IS £ 1479 7D + 15 .8 VRII £ 5248 D3X Body £ 5199 D 3X + 24-70mm f2.500mm Apo OS £ 795 50 .300mm AFS VR £ 779 PC-E 24mm f3.6 VR £ 1149 200 -400mm f4 AFS VR II £ 5199 200mm f2 AFS VR II £ 4432 300mm f 2. The Merrion Centre.2 £1006 50mm f2 Makro-Planar Canon ZE £ 982 85mm f1.35 mm f4G AFS VR £ 877 17 . rangefinder 6x6 / 6x7 folding camera.8 EX DC Fisheye £ 487 24 .2 L USM £1310 70 .2 £1415 100mm Makro-Planar .8 Macro £ 417 100mm f2.200mm f3.40 Body set £12877 H4D .5.2 £ 569 10 % DISCOUNT OFF LIST 50mm f1.4 EX DG HSM £669 70 .8 L II IS £8899 500mm f 4 L IS £ 5499 1.5 / 5.8 DC .4G AFS £ 1399 105mm f 2.50 Body set £19536 H4D.5 USM £139 Canon EF 20 .5 Tilt +Shift £1449 35mm f1.8 AFS VR II £ 4265 400mm f2.6 L £ 1149 400mm f 4 DO IS £ 5344 400mm f 2.300 f 4 5.Canon ZE £ 982 35mm f2 Distagon .NIKON UK D300S Body £ 999 D300S + MB-D10 Grip £ 1195 D300S + 17-55 f2.5 £ 250 Canon EF 28 . Leeds.60 Body KIT £27984 “Contact us to arrange a Demo” CFV .5 / 5.8 Elmarit asp M £2807 24mm f2.Latest type £295 Proshade 6093T + 060 adapter £150 Bronica RF645 + 65mm Lens £595 Bronica 40mm PE Lens £295 Bronica 40mm E Lens £195 Bronica 50mm PE Lens ETRS / i £ 250 Bronica 150mm E lens £ 125 Bronica 150mm MC Lens £125 Bronica 250mm E lens £ 195 Bronica 50mm f3.8L MK2 £ 2719 60D Body £ 839 60D + 17/85 IS Lens £1079 Gossen Sixtomat Digital Gossen Digi Pro F Gossen Starlite 2 Sekonic L 308S Sekonic L358 Sekonic L 758D Sekonic L758 DR Sekonic C 500 £ 188 £ 152 £ 458 £148 £ 224 £ 392 £ 432 £ 799 NIKON Professional Dealer ALL UK STOCK FROM .70mm f2.2 £ 1098 18mm f3.8 DX £1109 18 .Canon ZE PX600 Silvershade B+W £18.8 EFS £ 829 10 .85 IS £ 1672 5D MKII Body £ 1699 5D MKII Body + 24-105L IS £ 2344 5D MKII Body + 24-70 f2.8 ED AFD £695 Nikkor AFS 18-70mm G Lens £145 Nikkor 18 .8 AFS Lens £ 4899 D 3S + 70 .4 Planar .300mm f 4 / 5.6 DC £ 529 10 .8 Lens £350 Hasselblad 50mm C Chrome £ 350 Hasselblad 120mm CFE Macro £995 Hasselblad 150mm CT* Lens £ 195 Hasselblad 150mm CF Lens £450 Hasselblad 160mm CB Lens £595 Hasselblad A12 .Nikon ZF.40 + 35-90mm kit £17730 H4D .5-5.39 £ 9709 New CFV .8 Macro EOS £299 SEE OUR WEB SITE FOR LATEST USED LISTINGS 550 £434 445 £237 335 £220 225 £212 555 £268 307 £ 247 207 £229 107 £212 Canon UK Stock UK STOCK.8 VRII Lens £ 6649 D7000 + 18-105 VR II £ 1149 D7000 £ 969 14 .135mm IS £199 Canon EF 28 .NO GREY HERE 4.6G VR £325 Nikkor AFS 70 .8 Lens £ 179 Mamiya 645 210mm f4 Lens £ 105 Mamiya 645 210mm f4 Lens £195 Mamiya 645 300mm f5.8 EX DG £ 447 24 .PRICES INC VAT.8 ATX Pro DX £ 849 16 .GPS £ 523 Battery Grip 7.5 EX DC HSM £ 479 12 .2 £1006 28mm f2 Distagon .200 f 4 L USM £ 499 70.400 mm f 4.NIKON + CANON .Nikon ZF.55mm f2.Canon ZE £ 1395 25mm f2. £ 410 10 .4 Planar .85mm £250 Nikkor 14mm f2.8 USM £ 319 85mm f 1.85 EFS IS USM £ 385 18 .24mm f3.8 D £ 2099 D300S + 10 .Nikon ZF.105mm f 4L IS White Box £799 TSE 17mm f4L £1999 TSE 24 mm f 3.38 100mm Makro-Planar .5 ATX Pro £ 509 11 . TEL 0113 2454256 email LIGHT METERS UK STOCK PRICES INCLUDE VAT H4D .8 Distagon .2V £183 X1 Scanner £ 9499 X5 Scanner £ 15095 ColorMunki Photo X-Rite Eye 1 Display 2 X-Rite ColorChecker Passport Spyder 3 Pro dalephotographic@btconnect.4 Planar .8L £ 2575 5D MKII + 16-35 f2.6 DX VR £ 469 17 .8 Elmarit asp M £2573 35mm f2.2 £ 1395 21mm f2.24mm f2.28mm f2.40 f 4 L USM £ 609 17 .com (Prices subject to change) MORE LISTED ON OUR WEB SITE Nikon D200 body £399 Nikon MB-D200 Grip £75 Nikon D60 + 18-55 VR £329 Nikon D80 body £295 Nikon D2X body £599 Nikon F3HP Body £395 Nikon F3/T HP body £395 Nikon F5 body £449 Nikkor 10.8 AFS £ 3049 D700 + 24-120mm f4 VR £ 2599 D700 + 28-300mm AFS VR £ 2499 D3S Body £ 3599 D 3S + 24 .8G AFS £ 1282 New 24 .85mm f3.5 Summarit M £1153 50mm f2. 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VISA.8 L USM £987 24 .5 Distagon .35mm f3. with lens hood + case + film £1699 18mm f3.90 HCD £ 4962 50 .5/4.5/4.8 AF .400mm Apo DG OS £689 150 .24mm DX £ 1579 D300S + 18-200 VRII £ 1529 D300S + 16-85mm VR £ 1459 D700 Body £ 1699 D700 + 24 .8 L II IS £ 5999 400mm f 5.70mm f 2.200mm EFS IS USM £ 429 60 mm EFS Macro £ 347 24 .£195 Bronica 250mm PS Lens £ 195 Bronica S-36 Tube £ 75 Bronica E-42 Tube £ 125 Mamiya 645 AF 55-110mm New £ 695 Mamiya 645 AF Polaroid Back NEW £95 Mamiya 645 110mm f2.110 mm zoom HC £ 3191 50 mm MK II Lens HC £ 2910 80mm Lens HC £ 1711 100mm Lens HC £ 2370 120mm Macro Lens HC £ 2694 120mm Macro MK II HC £ 3310 150 mm Lens HCN Lens £ 2478 210 mm Lens HC £ 2586 300mm Lens HC £ 3083 HTS Tilt + Shift adapter £ 3774 1.Canon ZE 50mm f1.2 L II USM £ 1813 100 .5 DX £ 589 12 .4x EXTENDER III £ 499 2x EXTENDER III £ 499 580 EX MKII Speedlight £369 430 EX MK II Speedlight £199 BILLINGHAM STOCKIST NEW FUJI GF670 medium format.20mm f3.8D AFS £1581 24mm f1.8 DG OS £979 120 .24 mm f 4.70mm f2.5/ 5.70 mm f 2.8 £ 407 1 Free sensor cleans worth £45 when you buy a Canon 7D / 550D /600D/60D camera £ 3679 £ 5399 £299 £139 £79 £107 Leica M9 STEEL GREY BODY £4899 M9 BLACK BODY £4899 M9 demo in stock .5-5.8G AFS £675 Nikkor AFS 24.Nikon ZF.300mm VR £299 Nikkor 50mm f1.8 II £101 50 mm f 1.6 Lens £ 199 Mamiya 7 .8 AFS Lens £ 6299 D 3X + 70-200mm f2.4 USM £245 Canon EF 100mm f2.16mm f4 .2 £ 846 £ 846 WE STOCK LEE FILTERS WITH 35mm f2 Distagon .Canon ZE £1423 Zeiss Lenses .24mm f2.take a look ALL LENSES 6 BIT 21mm f2.6 IS £ 417 70.6 L IS £ 1199 85 mm f 1.3.8 ED AIS £595 PCE Micro Nikkor 45mm f2. 2 or 3 Year LEASING and PART EXCHANGE.8 AFS Micro £ 408 85mm f3.40 + 80mm £13933 H4D.5G IF £250 Sigma 28mm f1.500mm Apo OS £1197 TOKINA 10 -17mm f 3.5 / 5.35mm f2.38 85mm f1.8 EX DG HSM £610 85mm f1.150mm Lens + finder £695 Mamiya 7 .200mm DX VR II £ 539 NEW 28 .Canon ZE £ 550 Big Stopper £96 In Stock 50mm f2 Makro-Planar Nikon ZF.200mm f4 L IS £ 922 70 .200mm f2.8 G AFS DX £ 175 50mm f1.5/4.5 Summarit M £883 50mm f2 Summicron M £1347 75mm f2.8 Micro VR £ 639 SB 700 Speedlight £ 259 SB 900 Speedlight £ 342 SB-R1C1 Macro Flash kit £ 608 Nikon TC 14 EII / TC17 £ 323 USED EQUIPMENT Hasselblad 35mm HC Lens £1495 Hasselblad HM 16/32 Film back £ 295 Hasselblad HM 16/32 Film back £ 395 Hasselblad C 50mm f2.8 L £ 984 70 .8 ATX Pro £ 560 16 .Nikon £130 Nikkor AFS 24-120mm f3.200mm f2.5 L II £1749 24mmf1.8L MK2 £1122 17 .50mm f2.5-4.8 AFS £ 2960 D700 + 14 .6 VR £325 Canon EOS 1D MKIV body £1495 Canon EOS 60D + 18-55 IS £750 Canon BG-E4 Grip £99 Canon TSE-24mm £695 Canon TSE 45mm £ 695 Sigma EX DC 17-50mm f2. MASTERCARD.35mm Panoramic kit £78 Mamiya 120 back 645 Super £ 50 Mamiya RZ 180mm Lens £ 125 Mamiya RZ Polaroid back NEW £ 125 RB67 Pro SD + 50 + 90mm lenses £895 RB67 180mm PRO SD Lens NEW £195 Mamiya RB 67 210mm Sekor £ 150 Mamiya 6 .LUX 5 £645 BOWENS Lighting 500R/500R Kit £887 500/500 Classic kit £730 500/500C Pulsar Kit £820 500R/500R Travel Pak£1326 500R/500R/500R Kit £1299 500/500 PRO Kit £1075 500/500 PRO Travel £1541 500/500/500 PRO Kit £1741 750/750 PRO Kit £1291 750/750 PRO Travel £1719 750/750/750 PRO Kit £1994 1000/1000 PRO Kit £1517 1000/1000PRO Travel £1999 QuadX Studio Set £ 3298 QuadX 2400 kit £ 2532 Explorer 1500 .8G AFS £ 1367 16 .co.8 AFS VR II £ 1689 80 .8 £1099 Nikkor AFS 24-120mm f3.55 f 2.35 f 2.105mm f 4 L IS £ 899 24 .31 + CF Adapter £ 9499 H4D .8L IS Macro £ 749 300 mm f 4 IS USM £ 1195 300mm f 2.





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Hence the echoic power of his images. You might even say: It’s not a war until Nachtwey’s there. resonant image of it. It was virtually deserted.” I’ll pause him there. Like Capa. The invasion of Iraq. “I have been a witness. Then. VISIT WWW. Or. New York state. Kosovo. Back to 9/11. He decided to become a war photographer. In 1981. The idea. In particular. that the relationship between aid-giving rates and images of hacked-off limbs is all too often a mutual one. Inc. He kept photographing a medic who was treating the other injured. “I heard a sound that was out of the ordinary. His 1999 book. Never can be. and these pictures are my testimony. As he has said. But now. He doesn’t share other photographers’ admiration for front-line soldiers. he is powered by the urge to document. Chechnya. he set about exhausting us. By 1980.com Peter Silverton explores the career of the American photojournalist James Nachtwey. he went to Northern Ireland – the time of the IRA hunger strikes. a freelance photojournalist. I made my way there through the smoke. By the end of the following year. perhaps.PROFESSIONALPHOTOGRAPHER. running. he was driven to action by the Vietnam war. he was where he wanted to be: in New York. The scenes were very familiar. where a grenade attack smashed up his foot.” He was in New York the day the Twin Towers were hit and fell. I guess. The events I have recorded should not be forgotten and must not be repeated. Bosnia.jamesnachtwey. perhaps inexhaustibly.” New Hampshire. James Nachtwey was born March 14 1948. So it goes. and it seemed like a movie set from a science fiction film. he set about learning his trade. The thing about Nachtwey. As Robert Capa was to the middle of the 20th century. Victims of AIDS and drug-resistant TB. In 1976. though. He is the late 20th-century war photographer – outraged that. is nearly 500 pages long and weighs almost 5kg. and these pictures are my testimony. vividly. he and his generation were presented with a choice about what to think about the world. to find an aesthetic in them. ready. PP www.uk . He’s won the Robert Capa Gold Medal five times. war is still. an ever-present. Philip Jones Griffiths’s book. His is not a world of ironies or doubts. the destruction of war. willing and able to go to war. Even more particularly. Deliberately. The events I have recorded should not be forgotten and must not be repeated. it’s one of rage – an anger that has yet to be assuaged or diluted. Because that’s where Nachtwey’s tragic genius lies: his capacity for aestheticising conflict and destruction. Never will be. generally with sorrow – the anguish of the Adagietto in Mahler’s Fifth Symphony. The book is prefaced with a quote from hell’s own poet-in-residence. an unrelenting documentor of human tragedy for more than 30 years. by the images of that conflict. is when all around is death and horror and confusion and blood and pain. Rwanda. though. shockingly. Since then.co. I was underneath this avalanche of falling debris. There is rarely a name on a Nachtwey caption. “As I was photographing the destruction of the first tower.legend James Nachtwey 1948“I have been a witness. so that from the beginning it made me weep. to cover the aftermath of the 2004 Asian tsunami. even. Unable to exhaust himself. Very apocalyptic. after the Holocaust and Vietnam. there’s barely been a war or conflict he didn’t turn up for. he took a staff job on the Albuquerque Journal. Haiti earthquake.professionalphotographer. he was swept up and away by the radical tenor of the times. is to go beyond desensitisation. They could believe what they were told or they could attend to the evidence they saw in photographs. like Goya. All kinds of war photographers record. There is nothing romantic about his wars. Inferno. Romanian orphanages. Nick Ut’s picture of a naked. he can make a formally composed. He grew up in Massachusetts and went to Dartmouth. though. I went to the window and saw the tower burning. so Nachtwey was to its last decades.UK 114 www. Dante: “There sighs. I was in a state of disbelief. Very strange ambiance of the sunlight filtering through the dust and the destroyed wreckage of the buildings lying in the street. until he lost consciousness. Famine in Sudan. in Syracuse. uncoloured by cynicism.” That’s the opening statement on his website. He lived nearby. it was literally in my own backyard. Yet nor does he share the nagging doubts of the latest generation of war photographers – that their images can actually prolong and deepen wars. And I think that one thing that Americans are learning from this is that we are now part of the world in a way in which we never have been before. where he studied art history and political science. lamentations and loud wailings resounded through the starless air. the small Ivy League college in GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY. at least. Afghanistan. representatives of human tragedy – and therefore of us all.” So he goes. His subjects are not people but ‘people’. the second tower fell and I was standing right under it. napalmed Phan Thi Kim Phúc. seemingly inexhaustible. Vietnam. he was up and off east. to a place where we cannot not look. Not glamorous but aesthetically saturated.CO.

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