“I want my photography to be special. I don’t want you to have a free ride thinking it’s anything to do with art, and I don’t want you to turn away from it because it’s horrible. I want you to look at it, get some message out of it and then do as you will.” Don McCullin





JUNE 2011 ONLY £4.20

welcome june
The moment we put an image onto a website we become international. The minute we post on Facebook we are global and the second we tweet on Twitter we reach a worldwide audience. I always speak about Professional Photographer being an international magazine, but this month we decided to bring it all back home. Our Best of British is a celebration of those photographers from these shores that have defined history through their images. Of course, many spanned decades and so we chose to include them within those years in which they first made their photographic mark. You can find out who we chose to include from Page 54. Another great of British photography is Harry Benson, a legendary photographer and proud Scotsman who has taken on and captured the New World across the pond over the last 50 years. You can read about his incredible career in our exclusive interview on Page 80 in Can I Get A Witness? Coming very much back to the present day we speak to two photographers who are experiencing very different fortunes. Miles Ladin had a high-flying career shooting the life and times of the rich and famous in the 1990s, but now finds that his graphic work has gone out of favour. You can find out what he has to say about this in Reality Used to be a Friend of Mine on Page 72. Los Angeles-based Kevin Shahinian, however, has fully embraced film making, bringing Hollywood values and concepts to the world of weddings with great commercial and financial reward. You can read his story in Let Me Tell You a Story on Page 84.

This month we are also asking What is Fine Art Photography? and profiling photographer Bela Borsodi and his composite fashion images which are bringing his distinctly cheeky, sexy and often bizarre take to that world. A bit like us really – slightly naughty but well worth taking notice of!

Grant Scott, Editor

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to find out more... 70 Call it Whatever You Want but Don’t Call it Art! It’s an easy label to use but a difficult concept to define.. 49 Feedback Your thoughts. dreams.. The latest essential news. 28 Podcast Peter Silverton takes a look at the life and times of the photographic pioneer Roger Fenton. themes and photographic schemes. www. 88 Small but Perfectly Formed 80 Can I Get a Witness? EXCLUSIVE. KEEP IN TOUCH Check out our free photographic discussion for the masses. contents june 53 Exposure Our favourite image from the Sony World Photo Awards and a little insider gossip. gossip and kit from the pro world. NEED TO KNOW PP Editor Grant Scott remembers a shoot with Jarvis Cocker. and singer Alicia Keys. 101 Stop Press. 114 Legend Legendary Scottish photographer Harry Benson speaks exclusively to PP about his career. 51 Guess the Lighting 54 The Best of British Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. funny.professionalphotographer. We find out 23 Diary Check out our latest subscription offers so that you never miss an issue. This month you can save 33% when you subscribe by Direct Debit. Our pick of this month’s most exciting photographic exhibitions around the UK. PP Editor Grant Scott has a go. 44 The World of Convergence 47 Pause for Thought Film maker John Campbell’s regular news-packed take on the world of convergence. Every edition we record a podcast debating the issues affecting professional photographers. 84 Let Me Tell You a Story We speak to Kevin Shahinian about wedding videography as Hollywood blockbusters. but the industry is not as keen on his work as they once were.. Millennium Images. 25 Being There 30 Dispatches This month Clive is on location around London with a bunch of satin bunnies. PP Editor Grant Scott takes a moment to reflect on the death of Tim Hetherington and the rise in war photojournalism. MILES LADIN 14 Click 42 Subscribe 64 Material Boy He’s sexy. life and recording the history of the 20th century.NEW PHOTOGRAPHY 8 Portfolio The best of your work posted on to our online portfolio. Boutique picture libraries are a breath of fresh air. Above: Miles Ladin’s image of the grande dame of the fashion world and American Vogue.. your page. NEWS & REVIEWS This month’s line-up of the best news. talented and successful – we put the spotlight on fashion/still-life photographer Bela Borsodi. 72 Reality Used to be a Friend of Mine New York based party photographer Miles Ladin creates images which pull no punches. INTERVIEWS WITH. your opinions. 35 The Dench Diary The sometime working pro travels to Jamaica. Anna Wintour. We speak to the founder of 5 . Our pick of the photographers who have made their international mark.

Shoot wide open. X Z -1 . So sharp it hurts. 01242 265895 CLASSIFIED SALES EXECUTIVE Bianca Dufty bianca. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. but to really understand him you need to see his films. 01242 216054 SALES EXECUTIVE George Blandford Twitter: @prophotomag Printed by William Gibbons GROUP BRAND EDITOR Grant Scott grant. www. 86 Newman Oriel Road. Despite having been based in New York for many years Harry is still very much a proud Scotsman. If you are sending your entry by post. I The Editor’s decision is final and no correspondence will be entered into. Geoff You can read what he says in our interview with him on page 84.friends june Harry Benson Photographer Harry Benson is a legend and he returns to the magazine this month to share his experiences of recording some of the most momentous moments and people of the 20th century with Eleanor O’Kane and PP readers. Jonathan 01242 264751 MD SPECIALIST MAGAZINES Miller Hogg WHOLESALE AND RETAIL DISTRIBUTION If you have difficulty obtaining Professional Photographer. are not eligible to enter. I Employees of Archant Specialist. for HEAD OF DIRECT CUSTOMER MARKETING Fiona Penton-Voak SUBSCRIPTIONS MARKETING EXECUTIVE Lisa Flint-Elkins MANAGING EDITOR Simon Reynolds please tick the appropriate boxes on the entry form. Kevin Shahinian Film maker There are few photographers who can take a genre and make it new. competitions/giveaways are only open to UK We first came across him and his Hollywood/Bollywood approach to wedding videography at the Converge Festival in March and instantly knew he had to be in the FEATURES ASSISTANT Kelly Weech kelly.professionalphotographer. Archant House. the printers nor any distributor is responsible for errors or DEPUTY EDITOR Eleanor O’Kane \ 01242 264767 © Archant Specialist. 01242 264783 lucy. I While reasonable care is taken to ensure the accuracy of the information in Professional PUBLISHING PRODUCTION MANAGER Kevin Shelcott PRODUCTION TEAM LEADER Mikey Godden REPROGRAPHICS MANAGER Neil Puttnam With special thanks to Mandy Pellatt SUBSCRIPTIONS/BACK ISSUES CUSTOMER CARE 01858 438832 ORDER HOTLINE 01858 438840 VISIT www.386.flint-elkins@archant. Gloucestershire GL50 1BB www. All prices and data are accepted by us in good faith as being correct at the time of going to press. Eleanor O’Kane launched herself at the task of writing about The Best of British photographers on page 54 with her customary diligence and good humour. If you are sending your entry by text and do not wish to be contacted. Eleanor O’Kane Deputy Editor Despite her Irish background via north-west London. that information is obtained from a variety of sources and neither the publisher.reynolds@archant. Archant Specialist is part of Archant Ltd. 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Ian Berry Photographer This month friend of the magazine and award-winning Magnum photographer Ian Berry returns to the East End with the new Fujifilm FinePix X100 to record the same locations which he famously photographed for his exhibition This is Whitechapel in \ CONTRIBUTING EDITORS London: Suzanne EMAIL professionalphotographer@subscription. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the ART EDITOR Rebecca Shaw rebecca. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of David Eustace ADVERTISING DIRECTOR Eleanor Godwin and those professionally connected with the competition/ giveaway. A keen walker and user of social EDITORIAL ASSISTANT Jessica Lamb jessica. exciting and their own. The research and difficult decisions as to who to include did not phase her either. 7 . 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uk. so for your chance to appear in Professional Photographer.professionalphotographer. go online and start uploading your best images to . UK SARAH FALUGO. JAMES CALLAGHAN. UK NEAL Each month we share the best of the latest postings from our online portfolio with our magazine readers. go to their online profile to access their website details. UK 8 www. If you want to see more of any photographer’s work.

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The Strand. V&A/RIBA Architecture Gallery Room 128a at the V&A. we were delighted to see that the New York Times has released footage on its Facebook page of photojournalist João Silva walking after months of painful rehabilitation. Recording the New: The Architectural Photography of Bedford Lemere & Co. musicians and celebrities. charts his 20-year career through images of At a grim time for photojournalism. which features more than 250 photographs from the collection. themes and schemes. London. There is also an afterword from actress Julianne Moore. dreams. His new book. the firm’s archive comprises more than who has been photographed by Thompson. published by Damiani. edited by Eleanor O’Kane As part of the London Street Photography Festival 2011.vam. To accompany the exhibition. 4 June-30 October 2011. A former assistant to Irving Penn he is renowned for his flawless images and attention to 1907. 14 www. www. English Heritage and the Royal Institute of British Architects (RIBA).photofusion. The images featured in the book have been curated by photography critic Vince Aletti. ISBN: 978-8862081566. Inspiration comes from the everyday… On Street Photography: A Woman’s Perspective at Photofusion.000 prints dating from the 1880s to the Design for life A new display at the Victoria & Albert Museum from 4 June will showcase the photography of Bedford Lemere & Co. fashion and portrait photographers. the photographs were made from large format negatives and are taken from the archives of the V&A. The photographers of Bedford Lemere & Co were known for their superior technical ability. Portraits.professionalphotographer. The Photography of Bedford Lemere & Co. see the April 2011 issue.damianieditore. TIFFANY JONES the latest photographic news. London SW7 Quality street From the series Soho Nights. www. www. £45. For our exclusive interview with the Bedford Lemere & Co’s premises. English Heritage is publishing a book. American beauty Michael Thompson is one of the world’s greatest and most respected beauty. Michael Thompson ENGLISH HERITAGE .000 glass negatives and approximately 3. On Street Photography: A Woman’s Perspective features work by an international line-up including Polly Braden. 10 June22 July. Offering a glimpse into lavish late Victorian interiors. The Portuguese photographer lost both his legs below the knees when he stepped on a land mine while on assignment in Afghanistan in October 2010. a firm that pioneered architectural photography in the late 19th and early 20th centuries. the Brixton-based Photofusion gallery has curated an exhibition that brings together five female photographers who shoot on the street. who has contributed to publications such as Rolling Stone and the New Yorker as well as writing an appraisal of Thompson’s work.

2004. .MICHAEL THOMPSON Mischa Barton. New York City.

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The 2011 Kraszna-Krausz Book Awards have been announced. a fund has been established by his fiancée to assist aspiring photojournalists covering conflict zones. 1970.professionalphotographer. 1966. The Best Moving Image Book award went to Disappearing Tricks: Silent Film. with South African photographer David Goldblatt jointly winning the best photography book prize for TJ: Johannesburg Photographs 1948-2010 along with Ivan Vladislavic. Until the end of March 2012 you can see a collection of works by the influential American photographer who is known for capturing those on the fringes of society with compassion and skill. 17 . Crown Mines. and the New Magic of the 20th Century by Matthew Solomon. May 1967. New York The American photographer died in Misrata on 20 April in an attack by Libyan Government forces that also killed the British photographer Tim www. whose novel Double Negative describes the experience of living in the South African city. Houdini. DAVID GOLDBLATT Concession store interior. Following the death of award-winning Getty Images photographer Chris DIANE ARBUS Above: A young Brooklyn family going for a Sunday outing.The outsider The Tate Modern has added a collection of works by Diane Arbus to its Artist Rooms collection. New York City. Right: The king and queen of a senior citizens’ dance. while Gerhard Steidl picked up an award for Outstanding Contribution to Publishing.

ISBN: 978-3-8365-2728-6. Here. Its largely black population began arriving in the early 20th century and the area has remained predominantly African-American ever since.99. casting a gentle light on the McCartneys’ family life. Born Linda Eastman in New York. ISBN: 978-0-8478-3335-1. The images reflect the changing face of the . 1963. 1971. www. The book is available in both a limited edition in a clamshell box priced at £650 and in a modestly priced trade edition at £44.Left: Paul McCartney. £44. Gordon Parks and Leonard Freed. including greats such as Cornell Black Muslim rally.taschen. 18 www. £35. The book shows McCartney as a versatile and prolific photographer who was equally able to shoot music portraits and tender family Raised in Harlem The new book Harlem: A Century in Images sheds light on a historic district of Manhattan and features the work of 80 photographers. literature and social change. Linda McCartney: Life in Photographs. which started life as a Dutch village and was annexed to New York City only in 1873. published by Taschen. there and everywhere LINDA McCARTNEY GORDON PARKS Linda McCartney: Life in Photographs charts the career of one of the most famous rock and roll wives in history. Bruce Davidson. The book contains almost 200 images which tell the story of a New York neighbourhood that has been a hotbed for music. The book also features images shot in more private moments. Over the years Harlem has been defined by the economic where she met and subsequently married Beatle Paul McCartney. published by Rizzoli. www. Harlem: A Century in Images. she began to establish a music photography career after taking informal images of the Rolling Stones at a promotional event in 1966. witnessing waves of immigrants.99. Jamaica. The following year she came to London.rizzoliusa.

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www.The prize is presented for the “best published photographic reporting from abroad requiring exceptional courage and enterprise” and went to Dherbeys for her powerful images for the New York Times of violent anti-government demonstrations in Thailand. Figures and Fictions: Contemporary South African Photography. Bringing fashion. The book’s author is Tamar Garb. Steidl has published Figures & Fictions: Contemporary South African Photography. it’s a great place to see how other photographers are approaching editorial shoots. she began photographing well-known society figures and her images were soon appearing in Tatler and The Sketch. An exhibition at the PM Gallery & House in west London highlights her most famous work. photography and art together. the works of South African veterans David Goldblatt and Santu Mofokeng sit with the images of rising stars such as Zanele Muholi.000 THE DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 2011 IN NUMBERS Out of Africa To coincide with the exhibition at the Victoria & Albert Museum. sometimes. Fashion photography. Ealing. who was inspired by Madame Yevonde’s images. Setting up her own studio aged just 21. £40. until 3 July. In Role Play. It features more than 250 images by some of South Africa’s most exciting contemporary 21 .uk/pmgallery andhouse £ Walpole Park. www. she became a suffragette as a teenager but after realising she wasn’t cut out to be a leading light in women’s 15 The amount awarded to Jim Goldberg for his Open See exhibition about the experiences of immigrants. which presents mythological figures portrayed by 1930s socialites such as Lady Diana Mosley. ISBN: 978-3-86930-266-9.photonet. published by Steidl & A life in colour MADAME YEVONDE Mrs Edward Mayer as Madame Yevonde cut a dash on the British photography scene between the wars and was a pioneer of colour photography.000. This month we’ve been getting photographic inspiration from S Magazine. has been in existence. Throwing the spotlight on both established photographers and rising stars. www. professor in the history of art at University College London and co-curator of the V&A exhibition. www. showing people at home and in their communities. decided to pursue a career in photography. Pitzhanger Manor. Born Yevonde Cumbers into a liberal family. it seems. PM Gallery & House.If anyone asks: IT’S RESEARCH Lady Milbanke as 3 French photojournalist Agnes Dherbeys has received the Robert Capa Gold Medal award from the Overseas Press Club of America.steidlville. doesn’t have to involve any clothes at all.ealing. The number of years the Prize. In contrast to the general feeling in the industry she was greatly taken by the phenomenon and in 1932 staged her first exhibition to feature her colour photographs.opcofamerica. Queen of the the images are shown alongside portraits by contemporary photographer Neeta Madahar. www. The number of short-listed photographers who were each awarded £3. refugees and trafficked populations. Role Play – Madame Yevonde and Neeta Madahar. Goddesses. In the early 1930s she began to experiment with colour. which is organised by The Photographers’ Gallery.

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draw comparisons Kabul. London. 2010 . Park London SE1 9TG 020 7887 8888. By blending observation and wit with reason. about Britain’s involvement in the region over 150 years.tate. The images. Lisciandro’s images have rarely been seen by the public. cities and the inhabitants. Klein was the band’s first official photographer and created early publicity shots in California. Helmand. Camp Leatherneck. 2010. Burke was one of the first people to take photographs of Above: Afghan police receive Marlow’s photographs focus on less obvious subjects and ‘non-places’ that he has The Doors. The Horse Hospital. admission free British photographer Simon Norfolk and 19th-century Irish photographer John Burke are brought together in an exhibition at Tate Modern. The images by Frank Lisciandro and Bobby Klein create a candid photo journal taking us through the Doors’ career in the 1960s and 1970s. Stables Market. London SE1 9LR 020 7981 9851. Until 10 July 2011. Peter Marlow: Point of Interest The Wapping Project Bankside.professionalphotographer.thewappingprojectbankside. through this friendship he was able to 2000 Islington. admission free The Wapping Project is displaying a collection of Peter Marlow’s thought-provoking work this summer. war between 1878 and 1880 and capturing landscapes. admission free Proud Camden presents a photographic portrait of the Doors and their life on and off the stage. shown alongside each other. London. www. Bankside. He met Morrison in 1967 and they became good The Doors of Perception Proud Camden. For a full list of exhibitions and events visit 23 June-14 August 2011.proud. The Magnum photographer has developed a body of work over 20 years consisting of thousands of contemporary images and this exhibition displays 27 colourful examples. travelling there shooting training from US during the second Anglo-Afghan Marines. 65a Hopton Street. Chalk Farm The works prompted Norfolk to create a new series of photographs in 2010 by finding the same locations or modern equivalents. I want my work to generate a sense of the unexpected. NW1 8AH 020 7482 BXRi Kits from £744 RANGER RX inc vat Q UADRA SIMON NORFOLK Quadra Kits from £1143 inc vat .The D-Lite-it We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. BOBBY KLEIN capture the private life of the star. He says: “I go for photography that overlays and enhances.professionalphotographer. FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www. Level 2. www. the hidden and the seemingly spontaneous.” BXRi D-Lite-it Kits from £439 inc vat PETER MARLOW Burke + Norfolk: Photographs from the War in Afghanistan Tate Modern. The exhibition brings us an exclusive insight into the evolution and final years of the band and their charismatic front man Jim Until 2 July 2011. Combining work from both photographers makes this show a must for all Doors fans.


for goodness sake. Because I thought I knew! Anyway before the opportunity presented itself I had to concentrate on the main matter in hand and shooting Jarvis. in 2001 for the cover of The Guardian Weekend magazine.professionalphotographer. (It proved to be the band’s final album. He sang about it in his paean to posh girl love gone bad in Common People. although this was not known at the 25 GRANT SCOTT . muted colours. the album had been produced by a hero of both mine and Jarvis’s. This was how I wanted to shoot Jarvis. Jarvis Cocker photographed in Barnsbury close with lots of grain in deep. that’s where he caught my eye. The combination of this title and Scott Walker’s involvement led me directly to two concepts for the shoot. is an H&M store). was called The Trees. (Today the building. the legendary and reclusive Scott Walker. Pulp were just about to release We Love Life and the shoot was to promote the album. So when the chance came about to photograph Jarvis thanks to The Guardian Weekend magazine I saw it as the perfect opportunity not only to shoot Jarvis (of whom I was a fan) but also to ask about the identity of the girl who had ‘a thirst for knowledge’ and whose eye he had caught. But it was at this point that I broke my golden rule: ‘Never decide on the perfect shot before you start shooting or arrive at www.) To make the shoot even more exciting for me. but also asked the inevitable question: Who was that girl? It is a reasonably well-known fact that Jarvis Cocker studied film at Saint Martins College of Art in Covent Garden. The first single from the album. But a much lesser-known fact is that I also studied at the prestigious banana warehouse at the same time that Jarvis and ‘that girl’ were there. which I got to hear before its release. Islington. a former banana warehouse.We studied at Saint Martins College. When PP Editor Grant Scott was commissioned to shoot Jarvis Cocker for The Guardian Weekend magazine he not only broke his golden rule. The first was directly influenced by the original covers to Scott Walker’s albums of the 1960s on which he was photographed in a series of atmospheric close-ups.

So I grabbed a Hasselblad with a 50mm lens on. and the Greek girl? Well I asked the question and gave my suggestion but I didn’t get an answer. walking and snapping. Film processed and contact sheets edited. It was what I decided upon. reflective. I tried Hampstead Heath in north-west London and that was also refused and then I had an idea. Islington. That cover portrait of Jarvis went straight into my portfolio and received more comments than any other image I had taken.the location’. and I suggested to Jarvis that we went for a walk and just see what happened. He was intense but at the same time easy to photograph.. over-loose knitted jumper. In short he looked great and perfect for my Scott Walker homage. but there you go. the single and album were not the success Jarvis and Pulp had hoped for and they broke up shortly afterwards. I sent off my chosen frames to The Guardian and a few weeks later over Saturday breakfast I was able to see the fruits of my labour..UK 26 www. but I kept the first concept to myself. make-up or stylist. north London. high-grain. The Guardian wanted one of the images to be a cover so I roughly sketched my idea. I cannot tell you how many times people have said: “Oh. The afternoon of the shoot was dry with muted light just as I like it and Jarvis turned up on time wearing glasses. fringe and an oversized. fringe and an oversized. We both agreed that the shoot and our conversation were was a private and always locked garden/wood. Jarvis liked the look of both and our conversation soon turned to influences. over-loose knitted jumper in what can only be described as an autumnal tone. We must have spent well over an hour together sitting. I knew I had more than enough for the feature and the images had occurred naturally without artifice. The shoot was over. Jarvis is known for his heavy rimmed glasses (just like Eric Morecambe) and for his floppy fringe (just like the lead singer of 1980s band A Flock of Seagulls). As we walked and talked I snapped . I would shoot Jarvis from the nose up! The second concept was for the location and was a literal representation of the first single off the album. muted colour 35mm close-up ran across the first spread of the article. towards its upkeep saw me secure the location which finally met with approval. A few calls later and the promise of a cash donation A black cat provides an impromptu moment during the photo shoot with Pulp frontman Jarvis Cocker. An extreme.” Grant Scott approved by The Guardian’s photo editor and the record label. just someone from the record company. you took that picture!” Sadly. PP www. or have taken since. At one point a black cat walked across his path and he bent down to stroke it while I continued to shoot images as free-flowing and unplanned as our conversation. In those days (this was in 2001) I was shooting on film with Hasselblads and on a Nikon F. The location concept was “The afternoon of the shoot was dry with muted light just as I like it and Jarvis turned up on time wearing glasses. the second spread featured an image of Jarvis stroking the lucky black cat and the cover was the grabbed ‘nose up’ portrait.PROFESSIONALPHOTOGRAPHER. Now I had to find the right trees. cameras and all sorts of related stuff.professionalphotographer. As the time passed I completely forgot about my cover concept. interested in what I was doing but comfortable enough to let me just go about my business. VISIT WWW.CO. To me and many others. There was no hair. clever or unexpected. I put forward the idea of Wimbledon Common in south-west London and that was refused. In short he looked great and perfect for my Scott Walker homage. only a rueful look. I would shoot in a rural location and surround Jarvis with trees! Not original. In person he was serious. friendly and intense. shook hands and were in the process of saying our goodbyes when I remembered my ‘nose up’ cover concept.grantscott. It was these aspects that I knew had to be the picture. Just a few houses along from where I lived at the time in GRANT SCOTT GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY. film making. Oh. our time at Saint Martins. took a light reading with the other hand and shot one frame.

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January 2011 issue ICONS OF PHOTOGRAPHY Grant. Grant and Peter share their experiences and the team discuss the right way to make an exhibition of yourself. February 2011 Issue THE BUSINESS SPECIAL The regular podcast team talk tax. 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 discuss whether there are too many introspective projects.podcast ON YOUR WAVELENGTH Every month we record a free-to-download podcast in which we discuss. The team look at some of the great names of British photography through the . PP 28 www. THIS MONTH’S PODCAST June 2011 Issue THE BEST OF BRITISH PHOTOGRAPHY PP Editor Grant Scott and deputy editor Eleanor O’Kane are joined by regular columnist and photojournalist Peter Dench to discuss our Best of British list which starts on page 54. They talk about their personal favourites and explain why their choices deserve iconic status. discuss their own personal favourites and ask why some periods have seen a proliferation of great British photographers. debate and talk around a subject featured in the magazine. finance and marketing. such as narrative. April 2011 Issue GETTING YOUR WORK EXHIBITED The regular PP podcast team discuss the world of exhibitions. December 2010 Issue PHOTOGRAPHIC COMPETITIONS The regular podcast team discuss the world of competitions. Eleanor and Peter discuss the importance of learning from the masters. We also look at how stills photographers are reacting to this new world. sound and the editing process. So if you haven’t listened in yet it’s time to join us online. the contentious Taylor Wessing Photographic Portrait Prize and whether there is such a thing as a formula for winning.professionalphotographer. the team focus on areas that pose problems for some stills We post them on our website and you can subscribe for free and download them via iTunes. You can subscribe for free and download the podcasts from iTunes by typing professional photographer into the search tab or listen via www. They ponder whether possessing business and photography skills go hand in hand. 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. AND THOSE YOU MAY HAVE MISSED… May 2011 Issue CONVERGENCE AND THE FUTURE OF PHOTOGRAPHY The team discuss the impact of HD DSLR film making on the world of professional photography. March Issue 2011 THE PERSONAL PROJECT SPECIAL The team grapple with the importance of creating personal projects for sustaining and developing a photographer’s With many photographers now being asked to shoot video. and debate the point at which they believe a photographer becomes an icon. As curator and exhibitor


uk location manager. unexpected. He was on the phone attempting to explain a project for the global fashion brand H&M. complete with silk bow and £20 H&M Home voucher. H&M has grown into a multi-billion dollar global fashion brand with more than 2. juxtaposed with black satin post-modernist bunnies with fluffy white tails. Trusting this job to instinct I was drawing on my years as a graphic designer/art director first and photographer second. more sinister bunnies. two runners. Our initial reaction was concern as to the sheer number of locations and tightness of time involved in which to deliver quality pictures. 24mm f/1. Emporio Armani and Lancôme. among others. 35mm f/1. Nick Knight. unusually for me. Steven Klein and Sam Taylor-Wood. Waterloo Bridge opened up the shoot to slightly quirkier and. It’s possible that they may have mistaken this display of work for that of Gauguin’s friend Vincent van Gogh. The bunnies’ role was to create awareness of the launch of H&M’s new London Home store in Oxford Street. Then tragedy struck as first one bunny. Thursday 21 October: the light was great. two unit Above: A lone bunny quietly contemplates life. myself and my assistant Roger Richards. 85mm f/1. Alexander McQueen. not too bright and quite diffused. the unpredictability.4. 50mm f/1. Our team numbered 13 in total – four production. “You have two days to photograph more than 100 black satin bunnies with fluffy white tails in a total of 18 famous landmarks in and around central London. a 70-200mm f/2. women. jumped from the bridge. then another. Emmy award-winning and Bafta nominated production designer Joseph Bennett and location manager Richard Blackburn (Death at a Funeral and The Comic Strip Presents among others).” I was all ears. Whether they actually jumped or simply hopped off is still open to speculation. Hennes & Mauritz (H&M) is a Swedish retail clothing company.2. my agent Mark George.000 employees. film and drama. These pictures were to be published in the fashion press and posted on the H&M Facebook page for members of the public to try and figure out their whereabouts.professionalphotographer. a row all in shadow seen from the ascending stairway under the gaze of a security camera. Kate Moss for Top Shop. but I like to think that there’s now a thriving community of black satin bunnies out there somewhere in the London boroughs – or should that be the London ‘burrows’? The South Bank and the Tate Modern offered opportunities for impromptu bunnies relaxing in pairs on the Millennium Bridge and soaking up the sun. teenagers and children. Not my favourite location but there wasn’t time to spend contemplating the finer points of this 1951 Grade I listed modernist structure. The brief was simple: photograph them at various London landmarks using unusual angles. It took exactly 20 minutes to shoot the first two bunnies at the London Eye. the ever-present feeling of not knowing what’s just around the next corner – and neither of us could have predicted what was around this one.dispatches Clive Booth tales from the frontline of professional photography “And now for something completely different!” Not Monty Python but something equally British and eccentric. 135mm f/2L USM and. as Clive discovers. in some ways. including Sam Gainsbury. These concerns were very quickly dispelled by Anna Whiting of Gainsbury & Whiting. two art department. 30 www. Two sat outside the Tate and queued to see the Gauguin: Maker of Myth exhibition. whose creative production portfolio includes. then rush to find a bunny. hazy sun.2. known for its fast-fashion clothing for men. With all this collective experience I chose to jump in and just react to the locations and make very quick choices as to where the light would be most interesting while still giving the environmental and architectural clues required to help identify the locations. one This month: A commission to shoot scores of black satin bunnies in 18 different London locations requires teamwork and collective experience.8. Having never shot bunnies before (at least not with a camera) I’d deliberately kept the equipment as manageable as possible: one Canon EOS-1D MkIII and an EOS-1D MkIV complete with 14mm f/2. The call sheet reads like a Who’s Who of British fashion. Anna and Sam Gainsbury represent Ruth Hogben. depth of field and abstraction to give hints as to their location. One of the joys of our profession is not knowing what’s next. the absence of routine.8 L series telephoto zoom. Louis Vuitton. Established in 1947. and in excess of 80. hand in hand as the early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain. With the first bunnies in the bag (so to speak) we moved onto the Royal Festival Hall. then lining up for group shots in front of St Paul’s Cathedral. I couldn’t have wished for better.000 stores in 38 markets on four continents.4. and were eager to see his notable work Field with Two Rabbits – presumably members of the CLIVE BOOTH .

” Clive Booth Above: Two bunnies sit hand in hand. the absence of routine. the ever-present feeling of not knowing what’s just around the next corner. Left: A group of two-foot tourists form a line-up at Marble Arch. “It took exactly 20 minutes to shoot the first two bunnies at the London Eye. hand in hand as the early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain.” Clive Booth www. watching the sun rise over the London Eye.professionalphotographer. the 31 .“One of the joys of our profession is not knowing what’s next.

Richard’s encyclopaedic brain contains knowledge of all the places where a photographer or film maker can and can’t shoot in and around the capital – and quite possibly the rest of the world. Here we met our first major obstacle in the form of a dark suit. but as guns and bunnies don’t mix we didn’t linger.dispatches Top: Shadowy figures enjoy a high-rise view of St Paul’s dome.” A fairy godmother in a fleece with only a Moleskine to defend himself. but kept going until we reached the south embankment walk leading to Tower Bridge. Cards full. I have met many such obstacles while shooting in London but thanks to Gainsbury and Whiting. lots of comfortable seats. horn-rimmed glasses and a security pass. This long wheelbase Mercedes. or wherever you were whenever you needed it. With the laptop ever on and Aperture ready to gobble up the cards. The minutiae of Richard’s knowledge was astounding – “You can shoot on that blade of grass over there but not this paving slab here.professionalphotographer. he was our David to the Goliath of this suited institutional impediment. Shooting bursts of nearly 30 frames at a time I recorded the black. all the time making sure that recognisable landmarks were still in Our path now clear we moved onto capture probably one of the most spectacular moments of the two days as more than 50 bunnies took to the air – not towards the Thames this time but skyward. with the aid of the entire crew and the 10 frames per second motor drive of the Canon EOS-1D MkIV . fully loaded with HD Traffic. He was like the location finder’s equivalent of a TomTom. They must have been Tate Modern regulars as no one batted an eyelid at their presence in the queue. contemporary art. 32 www. we headed to the production and art department vehicle. I could edit and perform simple post-production with the help of the Wacom Intuos4 tablet and pen and CLIVE BOOTH .co. white and sky blue display as the bunnies reached incredible heights. this time we had an antidote in the form of location manager Richard Blackburn. Above: The bunnies stop at the South Bank to take in the sights at Battersea Power Station. For every question he had an answer. local Google search and speed camera alerts. Still on foot we headed to HMS Belfast. thought and discussion community ArtRabbit (dot com). complete with wardrobe room. privacy glass. was like some kind of Harry Potter-style office that was always around the next corner. a table and a mystical Wi-Fi connection.

They had become bookworms at the British Museum. PP To see more bunnies visit www. After 12 coffees and 50 carrot juices. and after hordes of our long-eared visitors had been photographed making a silent vigil outside the Love and Vogue magazine offices – and following a pleasant interlude with a bemused drunk in Soho Square – we headed to Hyde Park Corner. straight back to Gainsbury and Whiting – and in turn to H&M. the commuters and bunnies seemed to merge into each other with the barely recognisable form of Big Ben in the distance. the commuters and bunnies seem to merge into each other with the barely recognisable form of Big Ben in the distance. Left: The long-eared sightseers get in amongst it outside the National www.“As I shot with an 85mm lens at f/1.2 with an angle finder at foot level. with only the abstracted bright colours of the neon signs in the background to give the necessary clue as to their location.professionalphotographer. The Order of the Lagomorpha maybe? Day one finished at Piccadilly Circus. day two witnessed their complete transformation. satin-clad. day two started outside the National Gallery where tens of bunnies sat and patiently watched over Trafalgar Square while commuters walked among 33 . furry-tailed home gifts. Twenty-five two-foot tourists lined up to watch the sun set on Marble Arch. Back on the magic bus I uploaded the final gallery and we pored over the laptop smiling at the results from our fun-filled bunny bonanza. as Joseph Bennet – a modern-day Geppetto – and his assistant Sam Wise breathed not only life but personality into the long-eared. canoodled in Covent perused the Portobello Road and chatted on the Chelsea Embankment. via the Apple MobileMe Gallery.” Clive Booth Above: Only the abstracted neon signs offer a clue as to the whereabouts of these three weary bunnies.clivebooth. Back on the street. upload my images.2 with an angle finder at foot where three weary bunnies were photographed sitting on the steps of the Shaftesbury memorial fountain – in close-up. As I shot with an 85mm lens at f/1. taken taxis to Notting GO ONLINE FOR MORE DISPATCHES FROM CLIVE BOOTH If day one had seen the bunnies adopt certain human characteristics. looking like a still from some future Doctor Who episode.

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India. It’s all in a day’s work for our sometime working pro. The Twenty20 final was won by India and the Mumbai streets were rammed with crazed fans delaying my arrival at the airport to within a chapati of departure. I’m here for the One-Day Cricket World Cup final between India and Sri Lanka. Bollywood stars and fashionistas dancing in the lush 26-acre gardens. I was originally booked to stay at a more modest venue but was informed that no. I was on assignment for Telegraph magazine documenting the launch of Vogue India.professionalphotographer. This month award-winning photojournalist Peter Dench finds himself hustling for drinks on a flight to Jamaica. PETER DENCH Left: Sky Sports cameraman Dan Reston and Peter Dench enjoy a beer on Hellshire I was to stay at the palace itself. The 200 or so Indians wedged into the Red Lion are also going crazy after India’s triumph today. 2nd I’m standing behind the bar at the Red Lion Hotel in Southall. We are to shadow Newsnight presenter Mishal Husain for eight hours to run as a feature in Stylist magazine. I passed German fashion snapper Juergen Teller. She is correct. home of the current Maharaja. The match is being played in Mumbai. Rajasthan. I’d just flown back from Jodhpur and a remarkable night at the golden yellow. hosted at the Taj Umaid Bhawan Palace in 35 . On 24 September 2007 I was in a Mumbai hotel watching the World Twenty20 Cup final between India and Pakistan being played in Johannesburg.. where a man with a camera would be welcome. I’ve been photographing on and off in Southall for years and today was another opportunity to add to the project. Sitting in the lobby of BBC Television Centre I keep an eye on the revolving door for Tanya. watch the buzz of a newsroom develop and shoot Above: Specially-inscribed bottles of Moët are served by waiters who outnumber the guests at the Vogue India launch party. near the Jamaican capital of Kingston. 4th It’s 2pm. Tanya describes herself as blonde and wearing a striped red scarf. (He didn’t remember me from the two days cutting up and stacking contact sheets at his studio in 1997). I’m looking forward to the next eight hours – a chance to strike up a rapport with Mishal. www. treads the red carpet at the Sony World Photography Awards and brushes off his suit to shoot a very important wedding. Art Deco. West London.. Taj Umaid Bhawan Palace. En route to relocate. South Africa. I worked and partied hard under the Rajasthani night sky as the rhythmic sounds of superstar DJ Donna D’Cruz musically massaged the buttocks of the models. It’s not a change of career. I even got to drink for free.the dench diary Left: A bikini-clad woman drinks a Smirnoff Ice at Hellshire beach.


Bug spray – check. but I’ve been let down on a January invoice and only have £5. coffins are filled faster than they can be buried with the bodies of young men dragged from their homes and shot by police. ooh. trade in my cash for a large Tempranillo and a bag of Mini Cheddars.80 in my so we should go off and find something to occupy our time. just to see the girls at play. plays to the crowd at the launch of Vogue India on the lawns in front of the Taj Umaid Bhawan Palace in Jodhpur. “Oh Kingston Town. 7th Linen trousers – check.30pm. but they’re fading after dawn. I find myself back on a wind-whipped street in the Westfield Shopping Centre. They killed 382 Jamaicans last year alone. I would give it away. We’ve been advised that nothing much will happen until around 6pm. then I’m turned out to catch a late tube home. “There are wonders for everyone.80 in my pocket. and sip out the hours in a corner with the newspapers. it’s hard not to sing along with UB40’s Ali Campbell. After a few frames during a 10-minute interview and a few more during a coffee meeting. Upon boarding Above left to right: Superstar DJ Donna D'Cruz. A model in a striking pink. combat trousers – check. ooh.” Peter Dench a concise set of images. www. which would be nice.the dench diary “I was hoping to get fed and watered by the BBC PR so I’m unprepared. I make my excuses and head into The Defectors Weld. I’ve been told this is a simple blood test.” Tomorrow I fly out on assignment to Kingston for Telegraph magazine to shoot reportage at the premiere of Fire in Babylon. and the plan is to drink. The place I long to be. which would be nice. I was hoping to get fed and watered by the BBC PR so I’m unprepared.” (MailOnline). Sun cream – check. Tanya suggests a long lunch. There’s no photography to do when I land so I initiate a strategy that starts by changing my seat online to one right at the back of the plane. Plug adapter – check.professionalphotographer. PETER DENCH Left: The Fire in Babylon premiere and party at the Courtleigh Auditorium in Kingston. but I’ve been let down on a January invoice and only have £5. a documentary on how the West Indies cricket team triumphed over its colonial masters through the achievements of one of the most gifted teams in sporting history. Tanya suggests a long lunch.. The back usually has empty rows and is nearest the bar. “In a holiday idyll. Ah. If I had the whole world. voted one of America's 50 most beautiful people. tight-fitting dress dances to the sounds of Donna D'Cruz. Ooh. Non-slip running shoes – check.. 8th Flying Economy on a nine-and-a-half-hour flight needs a plan. I have been grossly 37 . There is magic in Kingston Town. The stars shine so bright.” Packing for Jamaica. I look forward to receiving my share of the “…wonders for everyone” and tap a quick search for Kingston into Google. 6th This morning I’m booked in for a prostate cancer check. Back at the BBC I shoot for several minutes in hair and make-up and six on set at rehearsals before the show airs live at 10.

uk PETER DENCH . I’ll miss you Tim. it would. She chooses Green Eggs and Ham by Dr Seuss for a bedtime story. after one effective tantrum from Simon. watermelon. In the evening I give Grace a bath and wash her hair. We paddle in the At some point during the day a mortar fired in Misrata. A reflector is unfolded. I’m dressed reasonably smartly and show that I’m reading TIME magazine. room service. It didn’t arrive.” Back in my room I dial.” “Four Heineken please. spend pennies in the arcade. so I stutter a soft request for a few cans before they start service. Cool cut receptionist Stephanie informs me. basil and spiced peanut crumb salad. One does a star jump. Eavesdropping on eager ‘man’ conversations I discover that they all appear to share the same name – ‘Hello I’vegotaboyfriend’. then ask for two drinks with my dinner and anyone not drinking nearby to request a red wine in return for my pudding. then practises yoga. which are required the day I land back in the UK. but a gorgeous beach where we feast on freshly-caught fried lobster and watch the locals ride horses and deal with wayward freshwater crocodiles. I retreat to the comfort of Tom’s Kitchen and the sun terrace. she slowly fades to sleep. where I cleanse my palate with some Prosecco and munch my way through a crayfish tail. We are both horrified to discover that we’re booked to share a room.the dench diary I say hello to the stewardesses. I return to the hotel to work on the digital files. There’s a knock at Right: A photography workshop at the World Photography Festival at Somerset House in London.” “Would that conclude your order?” “Yes Stephanie. The line arcs to a halt in front of the magnificent fountains at Somerset House. The ladies stretch and bounce. Perhaps the PR company organising the trip read the MailOnline article and thought we’d be safer together. 27th A line of snappers snake past me – some are smirking. Tonight is the Sony World Photography Awards presentation at the Odeon cinema. Thirteen hours after leaving the hotel and a last stop at Club 38. I’m not Above: The gorgeous Digicel promo girls at the Fire in Babylon premiere and party. Dan has befriended a couple of locals who are willing to take us out for the day. The disadvantage of sitting at the back is that you’re served last. Libya. a glance at the 30°C sunshine. Exhausted and content. 38 www. row in a boat and hook for crabs. cellar while watching The King’s Speech and The Fighter. It’s Sky Sports cameraman Dan Reston.” 20th I’m in my home town of Weymouth on an Easter break with my six-and-a-half-year-old daughter Grace. I give Grace an extra cuddle and turn off the light. 9th The day is spent at Kingston Cricket Club photographing West Indies legends Michael Holding and Colin Croft before attending pre-premiere evening drinks where I’m seeing red – lots of red. It’s a glorious day. A ticket was promised by post for tonight. Hesitation. At the front of the line are two women in gym wear – one is carrying a Frisbee. I’m keen to see how successful the relocation to London has been. seminars. As the two aisle trolleys back unevenly towards me I shuffle across a row to the one arriving first. During the flight I meet Telegraph sportswriter Simon Briggs for the first time. Leicester Square. 10th After a morning portrait for the Daily Telegraph of Sadiki Bolt (Usain’s brother) at the Melbourne Cricket Club. First stop Hellshire – not a county inhabited solely by Daily Mail readers. Job done I assess the haul and embark on a kind of Gulliver’s Travels through the mini the door. Assessing the scene I suspect I’m in the middle of an iRob photo workshop. I find myself staring at the ceiling from the queen-size bed in a room of my own. and that was one that I had worked with on many occasions and with whom I had become friends. The PR has assured me it will be available for collection at the Odeon. Checking in at the hotel. “Hello. It is. Stephanie speaking. ride on Sparky the donkey. In my 13-year career I’ve only had to share a room with a writer once. then back to the other to double my quota. talks and workshops. where I’m keen for a nightcap. It looks promising so I join the end. as he was of many. I’m at the new home of the 2011 World Photography Festival which is bustling with portfolio reviews. “The bar’s closed you’ll have to order room service. Scarlet drops of pure Jamaican beauty pulse through the bodies of the Digicel promo girls. The evening passes in a throb of Caribbean colour and cocktails before heading off to Club Fiction to party alongside sprinter Usain Bolt and former West Indies cricket captain Chris Gayle. ended the life of photojournalist Tim Hetherington – a friend of mine. The snapping is frenzied. and reflect that my last act of intimacy was with the index finger of my GP. a quick raid of the fridge and I’m swinging my man bag into the back of our ride. also in Kingston reporting on the premiere. Having placed second in the advertising category 2010 and treated myself to an eyewitness trip to Cannes.

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however. Korean spiced beef tartar and steak bitok. 52. After an intense and surreal time shooting eclectic characters camped along the wedding route I meet Simon Roberts for drinks. rolled sirloin with asparagus and fresh horseradish You can hear Peter in person each month on the Professional Photographer podcast. Also at the table are photographer Steve Pyke. Dissatisfied. today this photographer is going to shine. As we catch up. if little cramped. “Tonight Mathew. They have been in town trying on wedding dresses and. have had a few drinks along the way. 26. Arriving at the InterContinental the hungry and thirsty Jerome Weatherald scans the table plan for the 500-plus guests and checks the company at his allocated number. I pop a cashew in my mouth and we say cheerio. What shall I wear? In the dawn light I peer blearily into the mirror. today this photographer is going to shine. Simon is tickled with peacock feathers. available on iTunes or on our website at Below: Ben Fowler (left). on such a dappled evening I decide against sitting through a ceremony where I’ve won nothing and reverse up the red carpet towards the Moon Under Water J D Wetherspoon pub.professionalphotographer. WWW. Astrid Meget from the World Photography Organisation and other luminaries.CO. Ding dench diary Right: A man reads his copy of The Sun on the day of the Royal Wedding.PROFESSIONALPHOTOGRAPHER. and William Fox-Staeton. 30th OMG!!!!!!! It’s finally here. honouring Bruce Davidson. It’s been a culinary day. Jerome Weatherald. His fee is a pass to the festival PETER DENCH . Monica Allende and Patrick Llewellyn from the Sunday Times. picnic in Parliament Square on the day of the Royal Wedding. remove my grimace and button my Paul Smith suit. I suspect. Simon is also contributing to the Telegraph’s Royal Wedding souvenir special. 27.. Looking round the table it’s a jolly. remove my grimace and button my Paul Smith suit. two girls from the suburbs join us at our table. We sip and chat while the Brent Carpet Company Ltd rolls up the red. which is still warm from the soles of world photography’s VVIPs. Park Lane. the big day. “I peer blearily into the mirror. affair. but ask to attend anyway.. I have a mug of salted cashews tipped on my head. PP www. Ding dong. We elbow clack into plates of Cotswold beef. Chris has been drafted in to ‘fake pap’ the guests..UK 40 www. Jon Jones. 29th I begin shooting a two-day assignment for the Telegraph magazine – reportage on the Royal Wedding. The PR must be impressed with the man I’m standing with and presents me with a ticket for a guest who’s dropped out. his son. It’s been that kind of day. I’m going to be producer of Radio 4’s Front Row show. journalist Sean O’Hagan. “Hey Mr Dench!” I turn and pose for the pap.peterdench. It’s photography student and Dench Diary reader Chris Butchart. he opts instead for table 40 and wedges in for the evening between renowned photojournalist Tom Stoddart and image producer Caroline Cortizo. Settling down with a white wine spritzer I’m joined by photography double act Palmer and Pawel who have placed third in the sports category – and are also of the opinion that a bit of alfresco drinking is preferable..” My congratulations to the winners.” Peter Dench VIP enough to qualify for the after-gala dinner at the InterContinental hotel.

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com The Bicycle City. I can’t wait to see the finished film. an explanatory short detailing a project to get Palestinian youths who are refugees in Lebanon and Jordan involved in DJing and rapping. The Bicycle City. with the 170 resigned to capturing audio and shooting B-roll. www.vimeo. John Campbell brings you the latest news. so here goes. with a great deal of attention paid to symmetry. BOXED MAN Merlyn Haycraft’s film Boxed Man is a high-concept short piece revolving around the theme of humanity boxing itself in through technology and its man-made environments. as well as packaging taking over our personal space. ONES TO WATCH THE BICYCLE CITY The Bicycle City is one of my most exciting finds this month. giving them new skills.[ THE WORLD OF CONVERGENCE ] To make sure you don’t get left behind in the rapidly changing world of DSLR film The DSLR soon became the primary camera.. Greg and his crew were armed with a Panasonic AG-HPX170 (a solid state video camera) and a Canon EOS Revel T2i EF-S (a DSLR). as he definitely has what it . Spending two months in Rivas. technically this film is very well put together. as well as the ability to capture stills while shooting. Shot on DSLRs. the T2i had the added bonus of being able to change lenses and shoot high-resolution video. The film tells the story of how non-profit Pedals for Progress has transformed lives in a war-ravaged Nicaraguan city. Its maker wants people to spread the word about the film and the project. The Bicycle City really is a heartwarming story about the people of Rivas and the DSLR. the most exciting films and the best kit from this brave new world that is transforming our industry. a window on the wider world and a chance to express themselves. The film has some great time-lapse sequences too. The overall look is perfect. This is definitely one to watch! Keep an eye out for this David Lynch-inspired film with evidently much effort having gone into the grading. Check it out for yourself at www.vimeo. so I have a real appreciation for what Simon Weyhe has done in making Turntables in the Camps. Although the AG-HPX170 had all the benefits of a camcorder.professionalphotographer. This is a trailer of an up-and-coming feature documentary by director Greg Sucharew. The cutting style adds to the ‘boxed world’ feel. 44 www. such as office blocks and tenements.thebicyclecityfilm. www.. It’s good to see that this short has focused a lot on TURNTABLES IN THE CAMPS Much of my work is in community film making.

www.000. I have set this track up in less than two minutes. the Wally Dolly allows for spontaneous setups – great for documentaries. Excellent for low shots.dslrnewsshooter.375 but you can also add a Digidolly stand-on plate and push bar. which allows you to be pushed along the system by an assistant.5kg it is light and www. whose job it is to make repeat offending no-shows and reschedulers see the error of their ways.’ To see his full explanation. so as to facilitate easy transit from location to location. this kit is extremely quick to set up and break down and has always performed well. it is uncomfortable looking at the ruins of people’s lives. there’s sure to be an explosion of DSLR film making in TV and movies this year. you can create small movements that will really push your production values up at very little cost.HAGUE CSLID CAM-SLIDE The B. Wally Dolly was first introduced by PROKIT in 2001. Dan has hit back in an open letter to his or you can mount the camera directly to it. The basic kit has quickly become a standard for a lot of cameramen shooting solo or with a very small crew. one with 17 years’ experience in filming travel shows and DIGIDOLLY For a more traditional tracking system the Digidolly is a great lightweight portable track dolly. but if you prefer you can use the one from your own tripod. making it great for moving from location to location and at only £203 is worth every penny. the system was designed by a cameraman. making for smooth fluid movement along its tracks. Like the Wally Dolly. explaining his standpoint for creating real topical www. a T-frame dolly and a soft padded bag. this dolly is tops. Although it only weighs 8kg it is really robust. which take a lot more time and thought to put together. It’s one thing I’ve found hardest to do in video and to judge from some of the YO06cUKk#at=11 WHO’S SHOOTING ON DSLRS? There’s so much going on in the world of convergence that it’s worth doing a quick round-up of all the latest exciting news on who is using DSLRs to shoot mainstream projects.professionalphotographer. the bonus is that this system can be mounted on any sturdy tripod or (and here it does beat conventional tracking systems) you can have it resting on a table or lie it in a doorway (the latter generally requires a special tracking system called a doorway dolly). Since then debate has been raging on the internet about the value of his film and the presentation of disasters in the media. DAN CHUNG’S RESPONSE TO JAPANESE TSUNAMI Last month I highlighted Guardian photographer and videographer Dan Chung’s recent film work from Japan following the earthquake and tsunami. thus alleviating bumps in transit as the dolly crosses the small-screen sensation Jamie Oliver’s Jamie’s 30-Minute Meals and HBO vampire show True Blood have all adopted DSLRs for certain situations and shots. while the station idents on 5USA were shot entirely on Canon EOS 5Ds. I have been covering news for a long time and it frustrates me that people do not respond to it. If a disaster doesn’t make you feel uncomfortable then you are not human… Some of the commenters seem to think I am using news as an opportunity to make art. But depending on what you are trying to track. or that I need to be in and out of somewhere fast.professionalphotographer. Ideal for documentaries and corporate film making. there is a wide variety of systems out there. and a lesson for any company in how to harness the accessible and cheap powers of DSLRs and the internet for far-reaching communications. I am trying to use cinematic techniques to make people connect to and care about news. The bonus of this system is that you can make the track as long as you need it by just adding further /////////WHAT’S NEW BITE-SIZED FILM A five-minute viral ad shot on the Canon EOS 5D MkII made by American dental practice software company Dentrix has proved a hit on YouTube and a smart publicity move. He needed a dolly system that was robust.professionalphotographer. This package comes with three metres of track. Coming in at around £2. giving you complete control over focus and camera www. As this system weighs only 1. Filming a smooth tracking movement cannot be done using handheld techniques. “The whole piece is honestly the closest I could bring you to what it felt like standing in that place. B. go to www. The basic kit costs £1. The one-metre lengths of track connect seamlessly. perhaps I have not succeeded. Fanboy fave Doctor Who. Unlike aluminium tracks. It is the opposite. With all the new gear and technology coming out of the recent NAB Show in the 45 WALLY DOLLY Invented by Australian cameraman Wayne . The system is supplied with a ball levelling quick to set up yet lightweight. www. Although you can’t make long fluid tracking motions due to the fact that the rail is only 1m long. Over the top in all the best ways.Hague CSLID Cam-Slide linear camera tracking system has a very simple and quick setup – ideal if you have to be in several locations in a short space of time. Yes. Its design allows you to mount your camera and tripod onto the dolly. not using news as an opportunity to make cinematic pieces. This quasi-comedy focuses on the assassin-like methods of the Dental Enforcer.professionalphotographer.KIT & SOFTWARE A stable tracking system is essential for achieving fluid motion shots. Both 1/4in and 3/8in threaded heads can be attached to the carriage. I am not seeking to manipulate the viewer or to tell them how to feel – I am trying to convey how it feels to be there. This is usually my ‘go to’ dolly if I know I’m going to be in several locations on the same day.

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War was shown as it was. When Jon Levy posted on the Foto8 website about Tim’s death the headline he chose was ‘The news we don’t want to report’. globally and www. War was now technological. The cry was that photojournalism was dead. new ways of engaging an audience. It was with the invasion of Iraq in 2003 that Gil Scott-Heron’s belief that “the revolution will not be televised” was proven to be an invalid prophecy. bear in mind that as well as that Oscar nomination he won four World Press Photo prizes. dehumanised bodies by and in burnt-out vehicles along the road to Basra. Tim wanted to look deeper and yet he lost his life under fire – a photojournalist among his kind sheltering against a wall as mortar fire came in. After Tim Hetherington’s sad death in Libya PP Editor Grant Scott reflects not only on Tim but also on the growth of this most dangerous area of photographic storytelling. but above all he was a storyteller. as was clearly seen in his Oscar-nominated film Restrepo. Different times for photojournalism. questioning. His life and work came to define that of the war zone photojournalist. it was being recorded as the photographers and film makers broke loose across Iraq. Instead they looked to Kevin Carter and Tim Hetherington. a man who lived life to the full and who died when he stepped on a landmine in 1954. That was just seven months ago. If you only know him from this and not through his photographic images. The message from Jon said: “Horrible news from Libya today. who are working in Libya. Revolution was not only televised. in Great Portland Street. in the West End. Big Brother was making sure that we only saw what he wanted us to see. not much more.. a close friend of Tim’s. When Tim had rented that room back in 2001 the internet was in its infancy. These new photojournalists had their own new heroes. These were dangerous places to be armed only with a camera and a few rolls of film. Tim was rarely there. Read The Bang-Bang Club. of burnt. Now those once-attractive ways to make money seemed shallow and filled with compromise to those with a more serious moral intent informed by the images they were seeing. it was clean. He was open to new ways of communicating. They are quietly powerful. As I said. It had been a cover line and now Tim’s name had become a lead news story. they cross boundaries and categories. And yet conflicts such as those in Nicaragua.” It was one of those moments that stops you in your tracks. He studied literature at Oxford. For Guy Martin. Afghanistan and the other war zones of the world without contracts or To leave condolences for Tim. They were different times: photographically. watch Shooting Robert King and look at the images created by Susan Meiselas in Nicaragua to see the proof. I went online and tapped ‘Tim Hetherington’ into Google. via a text from Jon Levy. exposing injustice. an old friend of mine and founder of Foto8 magazine. PP Tim Hetherington 1970-2011 www. a cameraman. Tim was on location.. For Chris Hondros. digital capture was some way off and film making with SLR cameras had yet to be discovered. decisive and did not need to be photographed. a director. Tim Hetherington reported killed. We were shown horrifying and startling images of burning oil wells in satanic landscapes.timhetherington. Syria. Tim was committed to storytelling. men at war. It contained a desk and a couch. Tim’s death is news and it should be. The Falklands conflict and the first Gulf War saw the world’s photojournalists kept at arm’s length from the action. they no longer looked towards Capa.” So said Robert Capa. For every photographer leaving college this year with a desire to create images in danger zones. He was considered. The world of the war zone photojournalist had been reduced and contained. the British photographer wounded in the same attack. the American photographer killed alongside Tim. The commercial worlds of fashion and celebrity had previously been the genres that attracted young photographers like moths to a flame. including the World Press Photo of the Year 2007. Words perfectly chosen. I knew of Jon’s friendship with Tim. He had paid his dues working in West Africa for eight years. Tim was a photographer. Photojournalism is alive and kicking. His death is a terrible waste of a life but I also feel for all those photographers who have not won They had recently spoken for this magazine about their sense of male camaraderie and photographic experience. explosions kind of a photographer. W. and it was neither clean nor sanitised. Tim paid his dues. not of Vietnam or the beaches of Dunkirk. His images of soldiers sleeping are portraits of war. The freedom which photographers had enjoyed to report and create images had become a distant memory. inquisitive.timhetherington. Chechnya and South Africa were producing Pulitzer Prize winning images. The world sat and watched as the monolithic statue of Saddam Hussein in Baghdad was pulled down and beaten with shoes. Back in 2001 Jon and I had worked in an office not much wider than a corridor. Eugene Smith and Don McCullin.professionalphotographer. whose work has not appeared in Vanity Fair.{PAUSE FOR THOUGHT} “I hope to stay unemployed as a war photographer till the end of my life. to go out and tell stories. The news was not good and as the evening developed it became clear that the initial reports had been accurate. These were images of our times. please visit www. new platforms. I just hope the photojournalists are as well. I fear for their 47 . Tim was born in Liverpool. and photographers were paying the price for their bravery. I first heard the news as I walked home from the office. We were trying to produce Foto8 and Tim rented the tiny room off of ours. Tim was not a blood and guts. and the Rory Peck Award for Features in 2008. They connected with people and I believe that they fanned the dormant fires of photojournalism and created a new passion among young photographers looking to make their mark.

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I loved the podcast [April 2011] about exhibiting your work. Archiving has never been my strong point. Ben Woodall. “I must have known you three years and I didn’t even know you were a photographer. I’m back in the ‘panic room’. many couples hoped that their wedding images could be salvaged from the ‘wreckage’. I felt compelled to contact you to say thank you for the piece on the required differences between personal projects and introspection and the requirement to earn a living [ 49 editorials. without wanting to be either corporate slave or photography whore. Michel Momy is an inspirational photographer and I loved reading about his ‘way’ and his inability to compromise his beliefs. that could so easily promote and further these attitudes. When I was more optimistic about my future as a professional . via email PP www. contacts – anyone and everyone in every shape or form of PR. After he died. We also give our photographers a chance to rent the frames. What’s worse than having no work? Someone actually giving me some and me getting found out. The exhibition basically needs to be seen as a reason to get in touch with the press. And therein lies the real fear for me. weddings etc. One of the main things we concentrate on is helping photographers get the most out of an exhibition. I am currently considering making the change from full-time corporate employment to setting up my own photography business specialising in portrait work. but when you add in the price of frames and printing.. I know something those women don’t – that those images could have been better. sit in front of my computer and. as they give an insight into a world we all love.tell us what you think at feedback@professionalphotographer. However. We charge £250 for the space. The paradox that as a photographer he must have sat editing the record he’d made of the happiest day of a couple’s life. April 2011 issue]. a figure of between £800 and £1. Dear Professional Photographer. via email Dear Professional Photographer. You’ll never get an image that I like. I was struck by his lucid and candid account of his recurring state of mind. then gone home that evening and ended his life. because as many of us know. It would be great to combine the stories with some visual representations too. via email feedback. A better name and gaining more exposure can lead to many more paid jobs. because a gallery can only do so much. “You’ll never do it. Duane Barrett. It’s a real joint effort and this mentality is important to understand. photographer I went to view a new studio. Dear Professional Photographer. via email [Editor’s reply] Me too Duane! Unfortunately over time I have lost the printed reference to most of these shoots. Then there’s the drinks and opening party to think about. is breaking even the ultimate goal? I am a firm believer that direct sales from an exhibition are just a small part of the financial outcome. It’s a fear that I know others share. An inspiring piece at exactly the right time. And then I go home. once again. But I could cross process this with some of my own experiences. speak out against them. because I may never pull it off Photographers do need to pull their weight when it comes to advertising. Rhubarb and Custard.” I find myself wondering if I really am and what dreams will come when I eventually shake off this ‘commercial coil’. Name and address supplied. friends. The landlord told me that the previous photographer had committed suicide.” on their literature. website etc. As the owner of a photography gallery in Eton I can relate to everything you said. One of my overriding fears is the proliferation of an attitude that this area of commercial photography is almost to be sneered at and is some kind of second tier. I have to say I loved the ‘Lost in France’ editorial piece [Being There. Reading Andy Craddock’s blog entry in the April 2011 issue [Talkin’ Photography Blues].000 is quite realistic. you can become paralysed by your own lack of self-esteem. Myself and” Of course I always do.professionalphotographer. stating “as exhibited at. what will I be? A mother who recently bought a set of images from me said. then as Andy said. March 2011 issue]. which works out about 60% cheaper than buying outright. If there’s one thing I would like to see accompanying these editorials (where possible) it would be a few of the images taken on these shoots. We have a checklist of all the different ways to promote it and ideas about sponsorship and funding. haunted me. and I now need make no apology for the reasons for my progression. And well after the exhibition a photographer can play on the event through keeping cuttings for their portfolio. But I know that unless I keep going. emails. It doesn’t matter what the feedback is. so it is refreshing to see the editor of a magazine. That’s what makes him the photographer he is and someone I think we can all learn from. even if it means waiting tables to feed the kids. The snippets are superb and it’s always fascinating to read about how other photographers work and think. however. I have made many images of women who have come to me and Dear Professional Photographer. as I do all the I am like any woman who constantly compares herself to the airbrushed model. Having an exhibition is an expensive luxury. The type of business I want to create will be commercial and I doubt that there will be any time for many introspection or personal projects.. Halid Izzet. Plus of course.


petite lap giraffe. TED’S THEORY ON HOW THE SHOOT WENT: Lara was slightly jet-lagged. where she had picked up a newborn. The wee giraffe quickly made itself comfortable on set and huddled against Mario’s trouser leg while he worked with Lara. It also marked the first time the magazine had been published with a choice of three different covers.guessthelighting. This month he brings his lighting experience and limited drawing skills to Mario Testino’s Royal Wedding inspired shoot with Lara Stone. with highlights taking the place of shadow. be taken with the proverbial grain of salt. professional photographer Ted Sabarese tries to work out how other photographers have lit their images and offers his theory on the way the shoot went. There is a lot of guesswork in guessing – Ted Sabarese www. BRITISH VOGUE. drinking or pondering while creating the shots are not necessarily subject to any reality other than my own. Russia. Any guesses as to what the featured photographers were wearing. grip. A 2500W fresnel with barn doors at f/11 (+2 stops) is set behind the wall to camera left and aimed at the background. all lighting. Mario shot Freja Beha Erichsen. set on a tripod 12ft back. which helps to even out Lara’s hair.6. Another 2500W fresnel (shot through a silk) at f/11 (+2 stops) is placed to camera right. but extremely excited on the shoot day. This creates the angelic glow around her head. Therefore. shutter speed etc information may not hold up in a court of disease or any other contributing factors should. just off to camera left. MARIO TESTINO/LARA STONE. MAY 2011 In the Vogue May issue paying homage to the Royal Wedding. A 2500W fresnel at f/5. hangovers. likewise. Suggestions of marital problems. f/5. camera. Lara Stone and Natalia Vodianova in some of the season’s loveliest wedding gowns. soft glow on the rear of her face and neck. LIGHTING: The overall lighting is somewhat flat. lens. An ARRI 1200W fresnel (shot through a silk) with tight barn doors at f/4 ½ (-½ stop) sits at head level. A 2500W fresnel (shot MARIO TESTINO / VOGUE through a silk) at f/11 (+2 stops) rests 10ft behind her to camera right and creates the hot. This silk-soft cover shot of Lara was created with five lights. slightly behind her.GUESSLIGHTING THE In his blog.professionalphotographer.6 is bounced off an overhead 6 x 6 framed silk from camera right. f-stop. ISO 51 . jet lag. CAMERA: Hasselblad H2 with 150mm lens and Phase One IQ140 digital back. PP www. Natalia was smitten. this is called ‘Guess’ the Lighting. Shot at 1/125sec. She had just returned that morning from Remember.

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uk 53 . The Sony World Photography Awards were staged in London this year and what a red carpet. geometric approach to the world of fashion.worldphoto.professionalphotographer. black PP From the series Human Idealisation – Definition of Space.. the images on the silver screen more than made up for the brevity of the words. This is one image from a series by German photographer Paul Gisbrecht which caught our eye with its scientific. The Odeon Leicester Square was filled with the great and the good from the world of photography and although the acceptance speeches were rarely more than an embarrassed ‘thank you’ (including the short. perhaps. glamorous photographic event it was.. sweet and to-the-point responses by both Gerhard Steidl and Bruce Davidson). PAUL GISBRECHT www. talking and debating.exposure Images that have us thinking. A touch of Muybridge for the modern To see more of the short-listed and winning images visit www.

BRITISH Over the past year we have celebrated the bad boys and the bad girls of photography in different issues and you have let us know who you think we have missed out and should have been THE OF BEST . This month we’re hoping that will be no different as we ‘doff’ our caps and lay down our photographic capes to the greats of British photography from the past 150 years. We hope that you enjoy seeing who we decided to include.professionalphotographer. but we also know that you will want to add to our 54 Don’t hold back – get in touch at feedback@professionalphotographer.

which produced a negative image. Under pressure he waived licences for amateur photographers. the sartorially elegant Beaton was first introduced to photography by his nanny. After the war he continued to photograph the new world of celebrity. Although his contemporaries such as Louis Daguerre were also developing photographic processes. despite suffering a stroke in 1974 which forced him to work with an adapted camera. Cameron acquired a camera at the age of 48 and began obsessively recording her world. Fox Talbot’s invention. of which he was a member despite his background in trade. A late bloomer. Fox Talbot was a pioneer in the development of photography and the inventor of the calotype process. From there he went on to shoot sophisticated fashion images at Vanity Fair and Vogue and even served in the Ministry of Information during the Second World War. photographically speaking. but continued to charge professionals to use his process. As holder of the calotype process patent. www. his pictures appearing in Tatler and The Sketch. and film sets during his career. After the Second World War he reopened his studio and continued to shoot the great and the glamorous. Cameron has since influenced generations of photographers with her closely cropped portraits. www. With access to Victorian A-listers due to her high social standing. Cameron abandoned photography after just 12 foxtalbot JULIA MARGARET CAMERON 1815-1879 Mocked in her day for creating out-of-focus and smudged pictures. she left behind a huge collection of contemporary www. Beaton famously documented the Bright Young Things. he was widely criticised for selling licences to photographers. He retired in 1965 and donated prints and later his collection of negatives to the National Portrait Gallery. a group of hedonistic socialites of the 1920s and 1930s. He recorded his extraordinary life in diaries that revealed his thoughts on the high society world in which he was always something of an outsider. and went on to assist him before opening his first studio in Kensington in 1925 as “London’s youngest portrait photographer”.BRITISH pre1920s THE OF BEST 1920s WILLIAM FOX TALBOT 1800-1877 A Harrow and Cambridge educated gentleman. Moving to Ceylon. although he had spent thousands of pounds of his own money developing the invention. A creative force and born aesthete. www. Broadway theatre and stage where she found it difficult to obtain the proper 55 .co. was the basis for photographic milestones in both the 19th and 20th centuries. After graduating from Cambridge he lasted just one week in the family timber business before setting up his own photographic studio and starting to build a reputation for flattering society portraits. Her desire to create art meant that Cameron employed unconventional techniques such as leaving the lens out of focus and working with cracked negatives. PAUL TANQUERAY 1905-1991 Tanqueray attended the same school as society and portrait photographer Hugh he designed book fabrics. With a love for the theatre. Success came quickly and within a few years he had moved to a studio around the corner from the Ritz Hotel. Tanqueray captured the leading actors and actresses of the period and shot regularly for Theatre tanqueray “What is focus and who has the right to say what focus is the legitimate focus?” Julia Margaret Cameron 1930s CECIL BEATON 1904-1980 Born to a wealthy London family.

whom he went on to capture throughout her career. posed fashion shoots that had gone before.magnumphotos. a shade better. he opened his own studio just three years later and began to make a name for himself shooting portraits. This proved a career-defining moment for Rodger. McBean was known for his surreal outlook. With his links to the theatre he began to photograph stage productions. she brought her witty. Robertson is considered a legend in British reportage.1930s NORMAN PARKINSON 1913-1990 Parkinson remains one of Britain’s most pre-eminent fashion and portrait photographers. His images of the Blitz landed him a war correspondent’s role at LIFE magazine and in 1945 he became the first photographer to enter the Bergen-Belsen concentration camp in Germany. In those days. Apprenticed to society photographers Speight and Sons in 1931. He is possibly the only fashion photographer to launch his own range of sausages. He spent the rest of his career travelling and documenting people and places.” Grace Robertson .co. she acquired her first camera. and certainly the only one in our Best of British list to do so. from a Welsh farming community to a group of Battersea women on a pub day trip. writer and pioneering television presenter Fyfe Robertson. a second-hand GRACE ROBERTSON 1930-present The daughter of Picture Post picture editor. He once said: “A photographer without a magazine behind him is like a farmer without fields” and he worked for Harper’s Bazaar. His shocking images of corpses piled high and the few skeletal surviving inmates. you could do teaching. brought the horrors of the Nazi regime into public view. and within three years achieved the dream of seeing her images in print. Bringing his models out of the studio. intimate take to a variety of subjects. and famous portraits include the head of Spike Milligan in a jar and actress Audrey Hepburn rising from the earth dwarfing everything around her. A regular contributor to Picture Post as well as LIFE magazine. Vogue and Queen during a career that spanned 50 years. and with luck.professionalphotographer. “I lost friends when I took up photography. Please Please Me. “I like to make people look as good as they’d like to 56 www. Unable to get his prose ANGUS McBEAN 1904-1990 Welsh-born McBean adored the magic of photography and after spells making masks and theatrical props he became an assistant to photographer Hugh Cecil in Edinburgh where he practised by night and subsequently set up his own studio.normanparkinson. in her early career Robertson took on a male persona – calling herself Dick Muir – partly to make her own way without relying on the family name and partly because she thought being female would work against her. nursing or be a secretary on your way to finding a husband.” Norman Parkinson 1940s GEORGE RODGER 1908-1995 One of the founders of Magnum. who was haunted by the fact he had spent his time in Bergen-Belsen framing the piles of corpses into aesthetically-pleasing compositions. www. published in TIME and LIFE magazines. At the age of 16. in London. shooting the actress and rising star Vivien Leigh. Rodger first experimented with photography while in the Merchant Navy as a way to illustrate his travel writing. his energetic fashion images were a contrast to the static. the photojournalist Thurston Hopkins. which featured on the cover of the band’s first album. he found work as a photographer on The Listener magazine and at the outbreak of the Second World War set off to record the conflict. One of his most celebrated images is of the Beatles leaning over the balcony of the EMI building. www. notably Africa. if you were middle class. as is her husband. away from war and conflict.




Talented but ever doubtful of his capabilities, Deakin originally wanted to be a painter but picked up an abandoned camera at a party and began to take pictures in 1939. As a member of a carousing Soho set that included artists Francis Bacon and Lucian Freud, he frequently photographed his fellow revellers. Bacon, who greatly admired the photographer, based many of his paintings on Deakin’s work. His stark, simple portraits were as uncompromising as his own behaviour, which was often affected adversely by alcohol. Despite a dislike for fashion photography, he worked for Vogue and was sacked twice by the same editorial team for being drunk and difficult. As well as shooting celebrity and fashion portraits he captured the man in the street, wandering the capitals of Europe to photograph everyday occurrences. He stashed his photographic work under his bed and it was only after his death, due to heart failure brought on by a drinking binge, that it was rediscovered, much of it damaged. Other work stored in the Vogue archive has been brought to light by curator, writer and archivist Robin Muir.

“Being fatally drawn to the human race, what I want to do when I take a photograph is make a revelation about it. So my sitters turn into my victims.” John Deakin

Hardy was the oldest of seven children, born to a carpenter in Blackfriars, London. His first brush with photography came at the age of 14 after he left school and got a job as a messenger boy at a photography lab, collecting film from and delivering prints to West End chemists. Eager to have a go, he spent 10 shillings (50p) on his first camera and set about learning how to use it. A stroke of luck occurred when King George V and Queen Mary rode through Blackfriars in a carriage. Resting his camera on his sister’s head he captured the royal couple and sold 200 prints to friends and neighbours. He worked for Picture Post during the 1930s and 1940s, and was its chief photographer for several years. As a war photographer, Hardy was present at the D-Day landings and liberation of Paris, and was one of the first to capture the atrocities of Bergen-Belsen concentration camp.

A gentle, diminutive woman with a steely eye and an ever-present bag of Olympus OM-1s, Jane Bown took a stand for women in photography by being contracted by The Observer newspaper (or The Obs as she fondly describes her employer of more than 60 years). Born in Dorset she studied photography at Guildford College and began her career as a child portrait photographer. But when in 1949 a picture editor at The Observer sent Bown a telegram asking her to photograph the philosopher Bertrand Russell her career as a portrait photographer and her relationship with the newspaper were launched. Over the following decades she photographed everyone from the Beatles to Orson Welles, from Richard Nixon to Margaret Thatcher, from Henri Cartier-Bresson to The Queen. Her list of subjects is almost endless. Her way of shooting in black and white, taking light readings from the edge of her hand and working with her trusty OM-1s has never changed and despite her advancing years she remains today as vital, determined and passionate about photography and The Obs as she was all of those years ago.

He is one of the most overlooked fashion photographers of the 1940s and 1950s, but French’s strong silhouettes and beautifully lit images defined post-war fashion photography, especially in newspapers. Born in London, he trained as a commercial artist before becoming a photographic director in an advertising studio before the Second World War. After the war, during which he served in the Grenadier Guards, he set up his own studio, where his assistants included David Bailey and Terence Donovan. After his death, French’s archive was given to the Victoria & Albert Museum by his widow.

“I’d always take more than one, but I was always looking for that one shot.” Jane Bown 57

One of the most iconic album covers of all time was shot by one of the forgotten photographers of a vibrant decade in British photography. Despite shooting the Beatles’ cover for Sgt Pepper’s Lonely Hearts Club Band, Cooper is best remembered for his intimate images of the Rolling Stones. He lived the 1960s lifestyle to the full and documented it with an almost laconic approach to reportage, creating photographs which capture the full spirit of the time from an insider’s perspective. He died of a drugs overdose in 1973, but his images live on as testament to his talent.

Born Anthony Armstrong-Jones, the photographer gained the title the First Earl of Snowdon when he married Princess Margaret in 1960. Free-spirited and Eton and Cambridge educated, he was the winning cox in the 1950 Oxford and Cambridge Boat Race. Notable for his portraits, he shot the official pictures of the Queen and Duke of Edinburgh for their 1957 tour of Canada and went on to take many more official portraits of the monarch. His marriage to Princess Margaret was a tempestuous one, despite them being one of the most glamorous couples of the 1960s and both stars in their own right. It’s said that the Princess was disappointed that her husband hadn’t been prepared to give up his career on marrying. They divorced in 1978 amid stories of the drink, drugs and infidelity that had plagued their marriage. The National Portrait Gallery holds more than 100 of Snowdon’s pictures.

One of the key players in London’s 1960s cultural scene, Bailey was one-third of a band of celebrity photographers named the Black Trinity by Norman Parkinson. Bailey, Duffy and Terence Donovan led lives as glamorous as those of their subjects. Born in the East End, as a child Bailey would be taken to the cinema several times a week by his parents as a cheaper alternative to heating the family home. Dyslexic, he left school at 15 and bought his first Rolleiflex while on military service, soon setting his sights on a career in photography. After spells assisting in photographic studios he joined Vogue, a move which sealed his stellar trajectory. In demand by editors as well as models who would vie to sit for him, Bailey counts actress Catherine Deneuve and model Marie Helvin among his former wives. A new BBC

film charting his relationship with 1960s supermodel Jean Shrimpton is scheduled to be broadcast later this year.

“I never cared for fashion much, amusing little seams and witty little pleats: it was the girls I liked.” David Bailey
and at 15 left to become a photographer’s assistant. He spent a year in the studio of fashion photographer John French and opened his own studio aged just 22. With Bailey and Duffy he was one of the ‘Black Trinity’ whose behaviour inspired the lead character in the 1966 film Blow-Up. He hung out with models and celebrities and was an integral part of London’s Swinging Sixties scene. Unlike his fellow photographers in the Black Trinity, Donovan’s stellar career did not endure. In the 1970s and 1980s he shot advertising and worked for magazines but was largely forgotten by the industry that had propelled him to fame. He committed suicide, aged 60.

An East-End boy, Donovan entered the London School of Photo-Engraving aged 11




The image of McCullin’s bruised and battered Nikon F, which took a bullet meant for the photographer when he was on assignment in Cambodia, is known to every budding photojournalist. McCullin developed the armour necessary for his chosen path early on in life; born in the tough London neighbourhood of Finsbury Park, he was sent to the north of England as an evacuee and beaten and neglected by those who were supposed to be sheltering him. During the 1960s and 1970s he worked in some the most strife-ridden and calamitous places on the planet –Vietnam, the Congo, Northern Ireland, Biafra – relentlessly recording war, disease and famine for the Sunday Times Magazine. He has received a World Press Photo Award, the Cornell Capa Award and a CBE for his work. He now lives in rural Somerset and shoots landscapes, which he says helps him to put to one side his memories of conflict.

“I don’t go to war with armfuls of penicillin, bandages and morphine. I go to war with a camera.” Don McCullin

As a child during the war, the young Duffy (he was rarely called Brian, his first name) played in abandoned, bombed-out houses and was moved to a new school every time he got into trouble. Landing at an institution that took wayward youths on cultural excursions he was introduced to a world of art galleries and opera, and went on to study dress design at Saint Martins School of Art. While freelancing at Harper’s Bazaar his interest in photography grew and he set about applying for assisting roles before shooting his first fashion story for the Sunday Times. With David Bailey and Terence Donovan, he captured the spirit of 1960s London and shot for fashion magazines in London, New York and Paris. One of his most famous creations is the 1973 image for David Bowie’s Aladdin Sane album. The iconic image of the rock star with a lightning bolt flash across his face was inspired by the design on a Panasonic rice cooker. Despite working in advertising in the late 1970s, by the end of the decade he had become disillusioned with photography and set fire to most of his negatives. Thirty years later, just before Duffy’s death, his son found some had survived and staged a retrospective.

The 1979 image of the Clash is iconic and in rock circles Pennie Smith holds a similar position. Smith was at the heart of the 1970s music scene from her start shooting Led Zeppelin on tour in the early 1970s. In a world of rock machismo she created images of the Who, the Rolling Stones, U2 and everyone else who warranted the cover of the NME. Despite her work appearing on countless album sleeves and in book form, Smith has kept a low profile, happy for only those in the know to speak her name in reverential tones. 59

“I wanted to make women look good. That really intrigued me. To make a model look as though she owned the clothes.” Duffy

tessatraeger. It’s about where you take it. She studied photography at Guildford School of Art and has worked at her studio in Chelsea since the 1960s. Making it his business to know every celebrity. which sparked his interest in photography.” Richard Young “The equipment is important but it’s not about the “My aim with every picture is to bring some joy. Through a mutual friend he was asked to take pictures of the recently released kidnapping victim John Paul Getty III. Young left school at 15 to work in a King’s Road boutique. Traeger has been commissioned by the National Portrait Gallery.” Albert Watson large format camera that led to a 16-year collaboration with British Vogue. Sister of the architect Nicholas Grimshaw and wife of fashion photographer Ronald Traeger. she combines respect for her subject matter with a fine-art edge.professionalphotographer. Moving to the United States in 1970 he took up photography mostly as a hobby and caught the attention of an art director for cosmetic company Max Factor who gave him a test session and subsequently bought two of his TESSA TRAEGER c1940-present An outstanding still-life photographer and often-forgotten master.1970s RICHARD YOUNG 1947-present The definitive paparazzo. ALBERT WATSON 1942-present One of the most prolific British photographers over the past four decades. the first true gossip magazine. www. Blind in one eye from birth. that’s really what it’s about. Watson studied photography as part of a course in graphic design. but admits that he is a fan of celebrity. Influenced by the American tradition and photographers such as Edward Steichen and Irving Penn. Traeger has photographed a rural community in Ardèche in France and last year published an award-winning book of the work. Traeger has a talent for creating flawless food images with a 60 www. For the past two decades. In 1975 he won a Grammy for an image he shot for an album cover. he has been criticised for becoming too friendly with his subjects and blurring the lines between paparazzo and prey. he gained access to every party in town. In 2006 The Times named him as one of the most important photographers of the 20th which he sold to the Evening Standard. Watson has shot more than 100 Vogue covers as well as countless advertising campaigns on both sides of the Atlantic. graphic images have been used in major advertising campaigns for brands such as Levis and Chanel. His response is that his work is all about respect and courtesy. doorman and bouncer on the circuit. his strong. He is not only an editorial photographer. From there he began to shoot for US and European fashion magazines. In 1974 he was given a camera and asked to take pictures to illustrate a book by novelist and essayist John Cowper Powys.albertwatson. www.richardyoungonline. Through the 1990s his style of portraiture helped to define influential magazines such as The Face and Arena. she remains a touchstone for many still-life photographers. through her skill and vision. and her work is displayed in the Victoria & Albert Museum and in galleries worldwide. who subsequently offered him a job as a social . Working for David Bailey’s now-defunct Ritz.

uk “For me photography is about mortality. a website that brings together artists from all mediums to create new and innovative projects. Knight published his first book. His vision for designer Yohji Yamamoto’s 1986 catalogue was unlike any previously seen in THE OF BEST 1980s KEVIN CUMMINS 1953-present No images sum up the Manchester music scene like those by Salford-born “I don’t want to reflect social change – I want to cause social change. Skinheads. he began photographing the music scene he inhabited. When he received his MBE in 2004. sending his pictures to NME in the hope that they would use more than one frame per roll of film. When he showed his portfolio of 12 images to someone working at The Face he was commissioned to shoot John Lydon for the 61 .com/kevin_cummins www.” Steve Pyke NICK KNIGHT 1958-present Knight is one of the world’s most influential photographers. Cummins is seen as a cultural ambassador for the Britpop movement as well as for Manchester itself. He has shot film sparingly using a Rolleiflex he has owned for years. those images are still being discussed and celebrated today. Rather than tread the conventional path. in order for him to make a profit. Lifting the lid on the often arcane world of fashion through SHOWstudio. www. He stayed at NME for a quarter of a century. Instantly hooked. while still a student and as a result was commissioned by i-D editor Terry Jones to shoot portraits for the pop culture magazine. Knight continues to be a trailblazer. Knight has always sought inspiration from the fringes and continues to promote non-conventional forms of beauty.pyke-eye. He went on to shoot the band throughout their brief lifespan.nickknight. Ten years ago he set up SHOWstudio.myspace. After studying photography he began to document emerging bands in and around Manchester. He left school at 16 and after a stint racing motorbikes formed a band. whom Cummins captured at their first gig (when they were known as Warsaw).com. he put it into a Jiffy Bag and sent it to his STEVE PYKE 1957-present Stepping into the shoes of Richard and his distinctive black-and-white portraits have earned him an international reputation. www. Leicester-born Pyke became a staff photographer at the New Yorker in 2004. his first assignment. A founding contributor to The Face magazine. film and broadcasting from the very beginning.” Nick Knight www. Technically brilliant. Among his earliest subjects were members of the band Joy Division. not just of the person you are photographing but your own as well.kevincummins. for 10 of those years he was its chief photographer and during his career has captured portraits of many of the world’s greatest musicians. but tired of it and picked up a camera. shooting bands such as the Clash. and his innovative approach has seen him continually push the boundaries in photography.professionalphotographer.

His career took off while he shared a flat with fashion photographer Mario Sorrenti and Kate Moss. Before studying photography at university. brought a new feel to fashion editorial with their stripped-back aesthetic and rejection of glamour. Even within the often surreal world of fashion. a model in a cable jumper surveys the scene of a crash where two knitted old cars have collided. Never one to take the easy path. she was friends with Moss – they shared a flat for three years – and went on to photograph her continually throughout an all-too-short career. yet-to-be-famous Kate Moss. really.artpartner.elaineconstantine. and his images are in the permanent collections of the Victoria & Albert Museum and the National Portrait Gallery. Day.corinneday. Sims and Luchford definitely summed up the death of the supermodel and the misleading but often-used term ‘grunge fashion’. In her 2000 photobook. In the early 1990s. www. His filmic approach to creating images which were fiercely narrative saw him quickly snapped up to shoot Prada campaigns. Sims. with the intensity of movement which she so loved in Northern Soul dance halls. fun and as 2000s TIM WALKER 1970-present A former assistant to Richard Avedon. Both were shot in Brighton and both summed up Constantine’s work: bright. The first is of a gap-toothed girl having her chips stolen by a vast Donovan and Duffy summed up the 1960s in London fashion photography. Walker got his first fashion commission for UK Vogue in his 20s and has been shooting for the UK. Diary.timwalkerphotography.professionalphotographer. Sims shoots for an almost endless list of the world’s biggest brands as well as magazines on both sides of the Atlantic. US and Italian editions of the magazine for more than a decade. that first put Day in the spotlight. the fashion designer and ex-Vogue fashion editor Luella Bartley. working on its Cecil Beaton archives. creating the ‘waif ’ look which led to accusations that she was glamorising what came to be known as ‘heroin chic’. Day chose underweight. with whom he has three children. www. where he had briefly trained as a hairdresser. A former model CORINNE DAY 1962-2010 It was an eight-page fashion story in The Face in 1990. Diary remains one of the few important photobooks. While being feted by the fashion elite he could often be seen cycling around Notting Hill in a woolly Today she has moved into film directing as well as continuing to work as a photographer.artpartner. www. Day bravely included pictures shot by her partner of her collapse and the subsequent diagnosis of a brain tumour. He is seen as one of the greatest British fashion photographers working today. along with photographers such as Corinne Day and Glen “It’s all about freedom. This perhaps shaped his predilection for re-creating a dreamlike England of yesterday – a trademark Walker style. featuring a skinny 16-year-old. www. He began his career assisting the US fashion photographer Robert Erdmann and Norman Watson (son of Albert Watson).1990s DAVID SIMS c1967-present An international fashion photographer. But those images for The Face were defining. in her edit of dark yet tender images. urchin-like subjects. Despite many imitators. and being proud of the holes in your jumper. the second is of a group of girls screaming as they race downhill on out-of-control bikes in hyper-colour. Sims lives in Cornwall with his partner. to London with a desire to be a photographer. In three separate years he has signed exclusive one-year contracts with US Harper’s Bazaar. from which she died several years ELAINE CONSTANTINE 1965-present You may not recognise the name but you may well know Constantine from two particular images that summed up a period when models became real and girls were shown in The Face ‘having it large’. not a fashion game player. she created an unflinching portrayal of her inner circle of friends. Luchford went from Brighton. Day was a documentary photographer 62 GLEN LUCHFORD 1968-present If Bailey. Eschewing the super-glamorous models of the era. Walker’s shoots are magical: the polka dots from a dress seem to slip off and litter the floor of an old house. Her fashion images were unconventional for the time. he did a 12-month internship in Condé Nast’s library.” Corinne Day .




Born in Liverpool, Hetherington studied literature at Oxford University before returning to education at the age of 26 to study photojournalism. An innovative and fearless storyteller, he chose a variety of outlets for his work, from films and multi-screen installations to posters as well as traditional still images. Documenting conflict and despair on the fringes of society for news organisations, human rights societies and magazines such as Vanity Fair, he defined the new wave of photojournalism. An experienced film maker, having worked on several films in Africa, he was nominated for an Oscar in 2010 for his directorial debut Restrepo. The film, shot on DSLR cameras, about a platoon of US soldiers in the Korengal Valley in Afghanistan, won him wide acclaim. As a photographer he explored conflict from the view of both the soldier and civilian. In April this year he was wounded on assignment in the besieged city of Misrata in Libya and subsequently died from his injuries, aged 40.

Coming out of the Covent Garden creative hothouse that was Saint Martins School of Art before going on to the Royal College of Art, Platon was taking portraits for many of the London style magazines in the early 1990s when he was picked by John F Kennedy Jr to shoot for his newly-launched magazine George. Platon loved working in the United States and stayed on, developing a signature portrait style shooting from a low angle with a wide lens and cool colour palette. His image of a smiling Bill Clinton, legs spread confidently apart, opened the door to his current position as the photographer of choice when it comes to shooting the world’s leaders, from Vladimir Putin to Barack Obama, from Gordon Brown to Colonel Gaddafi. Platon is well on his way to becoming the Yousuf Karsh of his time.

Norfolk’s pictures ask the viewer to see beyond the face value of what is presented to them. Addressing traditional photojournalism themes such as war and genocide, Norfolk pushes further to explore how these events affect our cities, landscapes and societies. A far cry from bloody, frenzied images of conflict, Norfolk’s calm, composed pictures do not always shock on first viewing, but if you probe below the surface a terrible truth awaits: a strangely beautiful abstract image of ice is actually a frozen-over mass grave in Bosnia; a graphically-pleasing picture of a stark, sanitised room containing the world’s largest supercomputer is home to the ‘brain’ that designs America’s nuclear weapons. Norfolk, who studied photojournalism but has described himself as a landscape photographer since 1994, sees his projects as successive chapters in an unceasing body of work that attempts to make sense of conflict and how it has changed our world. PP 63

You can find exclusive interviews with the following photographers from our Best of British list on the Professional Photographer website: Jane Bown; Don McCullin; David Bailey; Duffy; Albert Watson; Steve Pyke; Simon Norfolk and Tim Hetherington. Visit




Bela Borsodi might believe that a shoe has its own vanities and a bag its own ego, but by drawing on the apparent psychologies of objects he manages to photograph them in an entirely unique way. Alannah Sparks gets a little psychology lesson of her own.

Aus dem schatten getreten, Stern, Germany 2006. 65

you know? I think very psychologically about objects. Most of the time we don’t think about this deeply passionate relationship at all – the lusting after a pair of shoes. to bring out the psychologies of them or put them into a different context. There was money in graphic design. involving trash from the streets which he painstakingly arranged into elaborate and evocative tableaux. “I don’t take objects for granted. Russian Tatler 2010. when we meet over Skype (Borsodi is based in New York). Then again. I can bring it all together. surrealistic shadow hands. handbags pose haughtily on red carpets.{ WORKING PRO} Forward motion. Everything that BELA BORSODI . He reckons he became obsessed with objects the moment he touched the surface of the planet. “I try to challenge them. His unique brand of still-life photography brings objects to life in an almost unnerving way.” According to Marx.professionalphotographer. I try to challenge corsets 66 www. All my life I was constructing. but Borsodi sees things through a different lens. but the whole starving artist thing never appealed to him.” Of course. are untied by sneaking. So this whole thing of using my hands was a natural thing to me. Bela Borsodi is more familiar with the meaning of a fetish than most. The catalyst for his move into still-life photography was an all-consuming project for Swiss company Migros. and there was money in photography. Details. “I don’t take objects for granted. Opposite page: Separation. Woolly jumpers sing to us. not many people would know how to ‘stress out’ an object. to bring out the psychologies of them or to put them into a different context. which he duly became very skilled at.” Borsodi explains. he was as familiar with scissors and glue by the age of three as most babies are with a bottle. romanticise them. the rapturous description of a meal or a piece of furniture.” Borsodi followed the route of his parents and went to art school in Vienna to study fine art and graphic design. personify them. USA 2006. a car. most of the time we don’t question anything until somebody else raises the question for us. to build things. reportage and fashion editorials. men develop feverish relationships with objects. Things familiar to us are placed out of context and suddenly they appear new: they enthral us in an entirely different way. a birthright. “A commodity is a mysterious thing. “I was always encouraged to do things. Born in Vienna to artist parents. ‘My God.” Bela Borsodi What is a fetish? German socialist revolutionary Karl Marx wrote in Das Kapital that. “Suddenly I thought. which he realised as soon as he moved to New York with a small portfolio of portraits. consume them. making. Stress them out.


Denmark 2008.professionalphotographer. 68 .Above: Cat USA 2010. Opposite page: V loves New York. S-Magazine. V Magazine.

Borsodi views the moment at which he clicks the shutter on the camera as the least important point in his whole working process. it can be a very painstaking process.’ I basically had a free field of opportunity. The picture you see. What they lacked in humans they made up for in irony. instigating a very interesting dialogue. I can do that. It pushes the ass up. Borsodi firmly believes in the power of desire. petitions were signed to boycott the shoe designer.” PP www. he assures me. He is emphatic on this point. Nike and Bloomingdales – all commissioned still-life advertising campaigns from him. A brightly-patterned scarf became the downcast mouth of a silken Hermès face. doesn’t look quite right. In terms of what Borsodi’s imagination is capable of. it became apparent to Borsodi that any fashion editor or designer who sells this style of sexualising shoe or clothing is more guilty of objectifying women than he was. a shoe. “I didn’t make the shoe and I didn’t photograph the girls. and how you go about actually creating an image that will provoke thought. and football boots formed a giant ‘E’ in the Nike billboard. I just put the two things together. rather than a commercial photographer. He keeps post-production to an absolute minimum. everything that has fascinated me since I was a child – building things. Those who deny it are basically betraying being human.professionalphotographer. and by listening and taking on the responsibility to stick to a brief. V and AnOther magazines gives Borsodi’s wild imagination carte blanche. and that’s much more interesting.” Borsodi is liberal with his use of the female form in his work.belaborsodi. That’s what I mean by a different context. you have to do a double take – and that’s when Borsodi knows he’s got it.” This is key to Borsodi’s work. taunting him till he finds them a place in his work.” Because he is an illustrator. whether it’s a silhouette. “Of course I’m a trouble maker. with objects whirling round constantly in his mind. exploring different contexts until something jars. a photograph or an animation. anything goes.” When Borsodi took images of mutilated female bodies – glossy and shiny and posed as only pornographic images can be – and placed them inside designer shoes for a V Magazine editorial. and for him the difference is simple. saying “Eroticism is within everything we do. Shoe Fetish evoked a fury from the public that the photographer could never have anticipated. Photography is the process. As many photographers will agree. So it was really doing something. on the other hand. the drawing out of an idea – happens long before the shutter clicks. pasting things. on how he reacted to the deluge of vitriol. after all. It’s where he comes into his own as an artist. That’s what photography is. a painter and a sculptor. humour and total originality. I am inspired by what I can do with that shoe. He simply recontextualised them. An artist. It pushes the ass up. using it purely as an aid to wipe out the odd wire or possibly to adjust contrasts. it’s how he can project real life on to those objects. putting things together – and nobody’s doing it. Hermès. You don’t have to create the whole world. you just misplace things.PROFESSIONALPHOTOGRAPHER.” he says. He has a craftsman’s approach that is rare in the world of fashion photography. From sapphire rings perching on a cartoon-like rhinoceros horn.UK BELA BORSODI www. “But as it was provoking outrage it was also provoking thought. the coaxing. cut out with a pair of scissors and placed by hand into their new homes. it gets her attention. “It’s not all about the image. working with publications such as Glamour.” Bela Borsodi I know about art. whether it’s a girl dressed in slippery nothings of Agent Provocateur lingerie being pursued by an animated cat in his Cat Flaps series. And only through living a normal life do the ideas for what to do with a shoe come to FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW. but he’s perfectly aware that navigating the red tape that comes with commercial work is how he makes his dollars. The editorial had to be taken down from the website and Borsodi had to write a letter explaining himself. Feminist groups were up in arms. The dreaming up of ideas and the creation and arrangement of his dramatic tableaux means he often has to be cheap with his time. Any idea he has on how to capture the ‘personality’ of an object may take weeks for him to carry out and. Hours are spent moving and misplacing objects. to silk ties necking Grey Goose vodka. Sexual attention.” Although he may have been cast as the villain of the piece. But Borsodi insists it’s not the objects themselves that inspire him.CO. Swarovski. it’s pretty tame stuff. or a candelabra draped in bondage wear. a representation of the photographic mind. it raised a lot of questions. not the picture. printed on glossy paper. bringing something very new to billboards across the world. and suddenly there were all these blogs having lively debates and exploring the idea of sex and feminism and art and fashion. all the magic – the It’s easy to imagine a Fantasia-like scene in his brain. it’s a representation of the process that went before it. it makes her stand differently. Eroticism is a big part of his work. When it comes to editorial though. “I’m not inspired by a shoe because a shoe is. “A commercial photographer sells things. a graphic artist. Otherwise the product doesn’t make sense. raises questions. It’s what happens in order to create such an image. Borsodi was even described on one forum as “a serial rapist on acid”. “What does a high heel do? It shapes the woman’s body. having simply “maximised this idea of sexual proportions”.” It wasn’t long before the big players started rolling in to play on Borsodi’s field.{ WORKING PRO} “What does a high heel do? It shapes the woman’s body. it makes her stand differently. a cut-out. it gets her 69 .” But it’s important to him as an artist that people realise that not all of these sexy girly images were directly created or photographed by him. The glossy bodies inhabiting the shoes in Shoe Fetish were images that he found on Google.

secured the lasting reputations of Walker Evans. after all.” Grant Scott . I agree. He introduced the work of Diane Arbus. commercial images created not for the gallery wall but for the world of publishing and commerce. encourager. It has not always been so for photography however. necessary for us to turn towards it as the art of our time”). If we travel back in time to the beginning of the last century the line drawn in sepia-smudged tones between photography and art was far clearer. and all the merits. and are an art form in themselves). was busy creating 70 www. It was only in their second post-published lives that a lot of them were seen as art images. The re-creation of recognised ‘art’ in photographic form was a simple standpoint to adopt but it took photography nowhere and resulted in mawkish. meanwhile. supporter and promoter of photography and photographers – convinced that its rightful place was on the gallery wall. But which is art? The Düsseldorfs created as part of personal investigations and documentations.. The commercial photographer. They used the photographic process to re-create the same scenes with the same aesthetic. a commercial art at best and self-expression came from those who saw it as a hobby. free from the need to imitate to be recognised as art. Yet it wasn’t art. including The Photographer’s Eye in 1966 and Looking at Photographs in 1973. I can’t believe I’m doing this but I feel a 1970s pop-rock behemoth 10cc moment coming on: “Art for art’s sake. A few issues back I wrote an article putting forward the argument that the Düsseldorf School of Photography had killed photography. the unique voices. Edward Steichen. To those who took photography seriously this was not art. Edward Weston. dome-breasted power women with dominatrix expressions sell for big money in white-walled galleries and auction houses around the world for figures upwards of $25. He helped photography to break through the divide between art and commerce but it is what has followed his pioneering work that I have my doubts about. Lee Friedlander. When he started at MOMA no gallery in New York would exhibit photography and he set about changing that with the most prestigious gallery in town and perhaps the world at his disposal. and it is the art for art’s sake that seems to me where the problem lies. Here he says why. He made good money from selling his prints. you may step up and point out Mr Newton’s possible double standards are to be listened to but the imitators are and always will be exactly that. They were commissioned. which to them meant that what they were doing was ‘art’. This is what he said about his photography and art: “Some people's photography is an art.” Helmut. But before you do. of course. Photography became its own voice. The art photographers of the time looked towards the romantic landscapes and idyllic pastoral scenes created by the popular Victorian chocolate box painters and they emulated them. the Surrealists such as Man Ray and pictorialists including Cartier-Bresson. Helmut Newton’s images of high-heeled. take into account the fact that a majority of these images were created for editorial and advertising clients. Szarkowski was a friend. and rediscovered the forgotten French master Eugene Atget. money for God’s sake”. The work of the Düsseldorf masters sells for big bucks in the same auction houses and galleries which profit from the sales of Helmut Newton’s nudes. the Victorian and Edwardian version of the Facebook profile pic. or at least the use of the word. Now here I am finding myself once again challenging the emperor’s new clothes of ‘art’ photography. a commercial art at best and self-expression came from those who saw it as a hobby. it was a trade. With the arrival of the handheld camera and the film cartridge format this ‘art’ photography was blown apart by new and challenging art movements that embraced the machine and experimentation. it was trade (today. “Photography has all the rights.. exemplified by photographers such as Alexander Rodchenko (who said. many of these are highly collected and valued. All this fine art crap is killing it. or the Newtons created to sell frocks and stuff? “Photography became its own voice.professionalphotographer. Not mine. separate from the world of art. Yet it wasn’t images for cartes de visite. it was a trade.Call it whatever you Can photography be seen as art? And when does it become fine art? And for that matter when does it become contemporary art? PP Editor Grant Scott hates the word ‘arty’ and indulgent conceptual images. Art is a dirty word in photography. a weekend pastime. It wasn’t until John Szarkowski’s arrival at New York’s Museum of Modern Art in 1962 (he was chosen by one of the grandfathers of 20th-century photography. Of course. free from the need to imitate to be recognised as art. to be his successor) that photography started to make its first confident strides towards the world of art. writing several books now considered to be classics. he swiftly became the most influential photography critic and curator of his time. Movements such as the Russian Constructivist approach to image creating and communication. Garry Winogrand and William Eggleston to the general public and art world. The response was incredible and unanimously in support of my theory (you can find out if you agree for yourself by reading the article on our website) that the originators. Moreover.000 each. separate from the world of art. overly-informed images which ignored the creative possibilities that photography allowed. Ansel Adams and André Kertész.

not technical artifice. They are the sort who use ‘arty’ (a term that makes my skin crawl) to describe anything they do not understand. as if ordinary art were beneath them. unlike me. I just take pictures. Degas or any other romantic artist. you may feel that I am being too harsh on both areas of work and on the use of the word ‘art’ in relation to photography. or wanting to sell. I also include in this category any bad pastiche of a well-known painting. including work by Richard Avedon. as many photographers I meet and speak to choose to do.000 and rose to $350.. is thriving. For me this labelling of photography as art falls into two distinct categories. images – but in the process suffocating them with a cloak of serious intent. Art photography. finer calling. When it is.” Grant Scott direct descendants of the Victorian chocolate box art photographers. These works and photographers are the “Pre-sale estimates started at $1. overly altered colour palettes and the soft-focus travesties trying to invoke the spirit of Constable. Even worse are those who describe themselves as ‘fine art’ photographers. if you use the term ‘art’ to describe your work. The photographer who chooses to raise expectations of their work by placing it in the art world cannot and should not be surprised when they find their work judged against the masters and the greats within the world they have chosen.” PP www. At these prices it’s easy to see why photographers are keen to have their work existing within this high-profile and high-value environment. that’s ART! why they are artists. Their work is about personal expression. badly-lit videos without plot. are you? You’re artists.CO. Under this you can file anything that references Andy Warhol.SOAPBOX want but don’t call it Over the past few weeks both Sotheby’s and Christie’s auction houses in New York have held auctions of photography.UK . shuns the term fine art and the cheap. that’s why it is ‘art’. It is outwardly contemptuous of the commercial. Category two. then you have to expect a little more investigation and criticism than the photographer happy to exist in the commercial world. Monet. After all. Also all the photographers I have just mentioned have at times during their careers been happy to accept the commissioned. instant gratification of photo effects but. you’re not photographers. they embrace the introspection of contemporary art. Now. I have always understood his point of view (have you ever found yourself in a gallery staring at scratchy. Robert Mapplethorpe and Robert Frank.000. or at least photographs sold within the art world. that the photographers who Szarkowski promoted and broke into the market more than 45 years ago are the same ones headlining the gallery world today. it sings out. contemporary art is about not selling. William Eggleston. HDR. I think. For them the word ‘fine’ speaks of the past but ‘contemporary’ speaks of the ‘now’. it is too often dull and pointless. commercial hand of payment in return for their 71 LET US KNOW WHAT YOU THINK BY EMAILING FEEDBACK@PROFESSIONALPHOTOGRAPHER. like me. imaginative or the result of a unique eye. Where ‘fine art’ is about selling unimaginative images under a cloak of serious intent. However. dialogue or reason and wondered just what the title Untitled meant?) and it’s one that has a direct correlation with I’m not an intellectual. At these prices it’s easy to see why photographers are keen to have their work existing within this high-profile and high-value environment. looking to art clichés to define them as artists. of working to a brief. But then again if you sell your work does that not make you as commercial as any other photographer? I know what my answer to that question is but maybe rather than give you my answer I’ll just give the last words to Helmut: “Look.000 and rose to $350. Either way the work in both categories is rarely new. Category one is the use of appalling post-production ‘art’ effects to create hideous imitations of popular and easily recognisable art. of compromise.professionalphotographer.000. But where does that leave the hundreds and thousands of images created for art’s sake and art’s sake only? Where does that leave the photographer whose work is defined by the success of their most recent Arts Council grant application? I have a friend who makes films for the CNN news network who has always seen video art/installations as bad film making dressed up as art. but just like the Düsseldorf inspired work that dominates this scene. Pre-sale estimates started at $1. But it’s interesting. The combined number of images across both auctions was 384. that because they are referencing recognised artists their work has a higher. and you may be right..

72 www.Reality used to From 1995. fashion designers Domenico Dolce and Victor . writer and model Hervé Le Bihan. and model Linda Evangelista at the 7th on Sale benefit. model Amber Valletta. fashion designer John Galliano. actress Michele Hicks. New York.professionalphotographer. photographer Steven Meisel.

MILES LADIN . In the 1990s his inventive black-and-white society images were an eye-catching feature on the newspaper and magazine landscape. In a conversation with Sean Samuels he discusses the industry challenges he faces today.{ WORKING PRO} be a friend of mine The phone no longer rings as it once did for New York photographer Miles Ladin. .co.74 www.

” Miles Ladin work brings the viewer into that moment. it’s this sort of very posed shot. the celebrity is protecting that image. I basically photographed every week for the New York Times. reportage or an illustration or a photo story from a young photographer.. she wasn’t directly my editor. to get the bone. I was shocked by it. but they are not real. which I kind of get. celebrities and their PRs don’t want to see printed.” It’s that you are at this amazing party and here’s this A-list celebrity and perhaps they are having an off-moment. Annie Leibovitz in my estimation is providing images as the subject would want to be perceived. as a journalist I am providing them with free publicity. which is fine. It had been escalating. “They want garbage.. let’s say. which doesn’t make these people seem human. I hope my MILES LADIN “I started going to the exclusive galas and parties where there were celebrities. searching for the original angle or story. there is no story because the public has worked itself up into frenzy about this. People say the public wants colour. but I just don’t think that should be as big a deal. So even if it is a picture of Britney Spears that may not be the greatest thing ever. It’s creating this idea that you’ll never be this fabulous and that you can’t relate. Editor-in-Chief of US Vogue. a really diverse crowd of glitterati. It used to be that there was an obligation to show something unique to the public. because she thought maybe we’d use them for something. SS: That sounds more interesting to me. I try to go in without any preconceptions and just react to what is in front of me. but I have not seen as much of your work recently. to my mind. at the Alexander Wang fashion show. but there was a time when shooting celebrity portraits I would have to sign a form saying any picture I ever wanted to use from the shoot had to have approval. in that picture the security guard is falling on top of me and somehow that’s included. Now. colour sells and this is based on surveys we’ve done. like a dog gets the bone. but the pinnacle was when Bonnie Fuller of Us Weekly magazine. Am I successful in getting the types of pictures that are always wanted? I don’t know. not just. but a lot of times I think about these things and wonder why my phone isn’t ringing like it used to and I can’t quite come up with it. Miles: I think what’s happened is that the industry feels the public wants a certain kind of image and that they lack a certain kind of sophistication. as a photographer. we’re going to give them garbage. but does this image of reality conflict with what is wanted? ML: Maybe. “Here’s a velvet rope and I’m behind with you as a voyeur looking at someone on the other side. They had the budgets and they were not bowing to the lowest common denominator. Okay. but sometimes the client is going to have to run a picture because I have only that one image of Britney Spears as her security people were pushing everyone away. I haven’t had this experience for a while. which was great. 2011. something like 24 literary parties in a year. Sometimes I am. SS: I wonder if some commissioners today confuse the look of your work with the sort of images that news agencies. A lot of the time now if there is no celebrity. it goes in two different ways. Opposite page: Singer Alicia Keys and Anna Wintour. but I don’t care how famous the person is. One thing is the whole black-and-white issue. you had a lot of magazines and editors that would take risks and run interesting pictures.{ WORKING PRO} Sean: You had a very successful career in the 1990s. said. It’s either a kind of smile. but under her auspices I did tonnes of assignments. In the 1990s. say-cheese paparazzi colour shot where the subject is looking at the camera or it’s this type of portraiture that’s very influenced by Philip-Lorca diCorcia. 2000. SS: Do you feel that the people commissioning then were searching for something original as opposed to now? ML: I think in the 1990s a lot of the things that made front-page news were more common sense. SS: What would you say is a Miles Ladin? ML: When I go to an event or I am meeting somebody. whether it was black-and-white social commentary.” In the 1990s when I worked with Tina Brown at the New Yorker. perhaps there is something interesting I can observe or say about them. New York. but it’s why in the end I am hired really. ML: Perhaps it’s naivety. but also a very New York meritocracy. I had situations where the celebrity was being really crazily difficult and we just wouldn’t give them any coverage. It used to be journalistic – we’ll use the word loosely – integrity to create something and not be worried about having to get it rubber-stamped. I don’t think. these art photographers who have trickled into editorial. . It’s not a Miles Ladin perhaps. I am Right: Socialite Anne Slater at the NYC Opera thrift shop gala. .professionalphotographer.76 www.

Douglas Coupland had a book called Generation X. according to the media anyway. How much do you think that affects the type of work being commissioned and printed? ML: There’s a photographer in New York who is quite famous at doing party pictures and he is Mr Kissy-face. I am definitely interested in glamour. 2011.{ WORKING PRO} trying to make pictures that show something interesting about the subject. so I can feel like a part of the scene and that includes having a drink or talking to 2008. You didn’t have to pretend like you were a blue blood or anything like that. That’s not to say I disdain talent. but I think idolisation of this unreality can be very harmful to society. They had a very different set of values and possible trajectories. So [in response to your question] I would have to say absolutely. I don’t think the celebrities ever hire him per se. but I certainly went into Park Avenue apartments all the time and knew what New York was about. I still do this today. www. but that’s just not in my nature. with whom I studied. With a lot of photographers it is about them and the subject. I don’t believe his work is that interesting. it’s almost like you are invisible. Throughout my career I have been lucky to have a certain kind of access to special events and I think my pictures are about that. whether photographing celebrities or something like the project I am doing at the moment about bathing culture at exclusive resorts in Miami and Los Angeles. but you had to dress appropriately so you could blend in. I was studying with Nan Goldin and developing a diarist way of making pictures when I started getting very exciting commercial work. I wasn’t really part of any kind of rich and famous A-list scene or going to these kinds of events with my friends. but also a very New York meritocracy. which the media jumped on wondering what these kids were doing. I basically photographed every week for the New York Times working with the writer Bob Morris on a nightlife column. but you had to dress appropriately so you could blend in.” Miles Ladin look like I was part of the scene. He was an influence as a teacher. I am happier when it’s a group of people and they are talking together because then I am there and I can riff off of other energy.professionalphotographer. The one Above: A spread from In the Flash. I do have a certain amount of disdain for celebrity culture. SS: Are you seeing work that is interesting to you? ML: I look up to the painters Francis Bacon. we were all in our 20s around the time of the whole generation X hoopla. Opposite page: Model and singer Karen Elson at the amfAR NY Gala. I am not sure if they consider him their friend. You didn’t have to pretend like you were a blue blood or anything like that. I was told early on I had to get a suit and “I was told early on I had to get a suit and look like I was part of the scene. “How did you get that shot. so I would just hang out with friends. maybe they just didn’t care. SS: Many photographers are friends with celebrities today. I’m a friendly person and interested in people. If I can reveal something that brings the viewer into what I perceive is the reality then I think it’s a successful image. it was photography. At 23. In the beginning my interest wasn’t celebrities. but I think a culture that makes these people into Greek gods is to me going in the wrong direction. Half the time we would do downtown edgy things and half the time we would do these more celebrity and socialite things.” and I don’t like that because I am not trying to be. Anselm Kiefer and Barkley Hendricks. although I have 77 MILES LADIN . I started going to the exclusive galas and parties where there were celebrities. SS: Is it fair to say your experience of growing up in New York gave you the ability to fit easily into the worlds of luxury and celebrity? ML: I do try to blend in. SS: How did you develop your style of image and way of working? ML: At the time I was working on a graduate thesis of pictures of my friends. When I started working a lot of photographers would show up at these events in blue jeans for whatever reason. whether it is something downtown or uptown in terms of personal style. but it just hasn’t been my experience. It’s not like I want to be invisible or anything. in WWD Collections magazine. a really diverse crowd of glitterati. He is a friend to a number of celebrities. but I am sure he knows them all by their first names and he kisses them and he is financially very successful. I think it is the apparatus. I try to connect in a different way when taking pictures. I’m not so interested in that interplay between the subject and me.

milesladin. He really is a very sweet person. which I haven’t figured out just yet. Some aren’t. PP www. whatever.UK 78 www. It’s like a social thing. He has this book called frenchkiss.CO. Publishers want the whole thing mocked up so you have to lay it To watch a video shot by Miles backstage at New York Fashion Week visit the short films section on our website. I suppose. but for the most part they are ‘whatever’ and that’s really the word. but as I progress and get older. SS: And so what is the next step for you? ML: At the moment. MILES LADIN FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW. before meeting a publisher. SS: How is your current project on bathing culture progressing? ML: I had hoped to get three-quarters of the images done. I also see books that are being published and I just don’t know.{ WORKING PRO} Fashion designer Donatella Versace (left page). He came to New York for a gallery opening and I made it a point to meet him. but I have learned this is unrealistic now. I am concentrating on the book. ML: I’ll let you know the details as soon as I can. SS: I look forward to seeing the new site and recent video work. but I am looking to relaunch my website with all the images I’ve been making over the years. He influenced Nan Goldin. SS: Thanks Miles. photographer I am enamoured with is Anders Petersen. I do want to push my vision to that point where one is not influenced. Over the years I would travel to London to meet with galleries. 2011. but I have stopped doing that and in New York galleries just won’t look at the work.PROFESSIONALPHOTOGRAPHER. but was not even on my radar until I saw a show at The Photographers’ Gallery in London. model Stephanie Seymour and publisher Peter Brant (right page) in W . although we are always influenced. which is sublime. Although I’m sure if you’re Nan Goldin that’s not the case. there are so many on celebrities which photographers have published and you look at the pictures and they are so ubiquitous in a certain way. It’s not like I want to make his pictures and I don’t want to say take better pictures than his. then brainstorm with them about how the whole thing should look and then go back into the field and shoot whatever was missing or whatever I felt I needed for a book. which I hope will reveal some things about luxury and celebrity.


‘I’m in complete control of this’.” he remembers. which could take place at 5 o’clock in the morning. however. before he was even a press photographer “I was doing weddings. who worked at Glasgow’s now-closed Calderpark Zoo. the tension of the Civil Rights movement. “I always got close to my cameras as a boy.” For him the philosophy was simple: “Basically all I had to do was take a good photograph. During his time there. During this time I tried to get a job in Glasgow but couldn’t. If you work hard on a story it’s going to break and then there will be a photograph. documented the resignation of Richard Nixon. even though he left the UK more than 45 years ago.’” This seemingly straightforward outlook. instinct and sheer hard slog. photography was something he could figure out. Talking from his New York home. and every day you went out to take a picture. so although basically it was a hellish time I was learning. This is the man who was standing by Robert Kennedy the night he was murdered. o be at the heart of the action and to get the image that the world will remember is every photojournalist’s aim. the funeral of Martin Luther King and the fall of the Berlin Wall. I like it/I don’t like it. belies the fact that the key to Benson’s success is a great deal of skill. His father. which he shares with his wife It was simple for me. dabbled in photography and introduced the young Benson to a world in which he felt confident. and then I began doing more weddings for an agency near Loch Lomond. He has also captured every US president since Eisenhower.” The determined Benson finally landed a press photographer’s job at the Hamilton Advertiser. to thank Canon for. Catholic early mass weddings. I was living in Glasgow so it meant two hours travelling each way. ‘That’s a good picture/that’s a bad one. that was the aim. he takes me right back to the early days of his first paid assignments. I wish I still had the pictures. Then I got a summer job as a photographer in a Butlins holiday camp. I’ve got a lot to thank Kodak for. just outside Glasgow. “I’d sit up in bed and go through the .professionalphotographer. but a photograph. Harry Benson’s accent is still faithful to his Glasgow roots. not necessarily a great photograph. In a way it wasn’t bad – neither were the weddings when I think about it.CAN I GETA It’s a long way from shooting Catholic weddings in Glasgow at 5am to recording some of the most important political events of the 20th century but Harry Benson’s approach has always remained the same. What was interesting WITNESS? T about these jobs was that you learned how to speak to people. Eleanor O’Kane talks to the man who has been an eyewitness to history. I was not that good at school but with a camera I thought. he would take the overnight train to London to 80 www. and Harry Benson has got more than a fair few of those vital images during a career that has spanned six decades. they never let me down. Good-humoured and gracious about his extraordinary life. It was like magic to me.” Although he didn’t thrive academically. “I’ve always found that if you work hard you’re inclined to get lucky.

“The night the Beatles arrived in Paris. however.” Benson explains that a handful of press photographers followed them to the outskirts of the capital. In Fleet Street the attitude was. which he says was a tremendous honour “because no one out of Scotland ever won anything”. I comment that when many would have frozen in such situations.” It wasn’t long before he got his wish. he missed the keen sense of rivalry from the Fleet Street days that had driven him. I’d go everywhere with my big plate camera. About five minutes later I received another call with a message from the editor to tell me I was going to Paris with the Beatles. That was how I got started as a serious photographer. capturing the seminal image of that night in 1968: a panic-stricken Ethel Kennedy in the moments after her husband was fatally wounded in a Los Angeles hotel. Benson travelled with the Beatles to New York where their appearance on the Ed Sullivan Show on 9 February 1964 caused a sensation and that was the beginning of his new life across the Atlantic.” The job that gave him a foothold in Fleet Street was covering Scotland for the newspaper. the rise and fall of political borders and presidential careers – it’s clear that he has always felt a deep responsibility to come www. “I thought he was going to throw me out but he offered me a job.professionalphotographer.’” Being mindful of getting the best image marked him out of the press pack and also meant he was striving to be in the ideal place to get the best shot. “I came to America with the Beatles but I never went back.” It turned out to be the right occasion to do as he was told. travelling back on the next overnight service. mess up tomorrow. If you work hard on a story it’s going to break and then there will be a photograph. In those days that ethos really helped me.’” – he bursts into a melodic rendition of the opening of All My Loving – “and I knew I was on the right story. ‘I’ve got to get the best picture today.’” he 81 “I’ve always found that if you work hard you’re inclined to get lucky. except to sort out a few things. ‘Sir Max Aitken wants to meet you.” he recalls. Benson loved it. ‘I’m a serious journalist now. This desire to distance himself from the pack and to get his own take on events led to Benson being in some key positions.. the owner of the Daily Express. A few days later he telephoned and offered me a job. “I had to go out to my car to get a piece of equipment and when I walked back in they were starting up ‘Close your eyes and I’ll kiss you. not necessarily a great photograph. which they initially weren’t keen to do. he was standing by presidential candidate Robert Kennedy when he was shot. This is who wants to cover a rock group?’ I talked them out of it and hung up. “Someone came over and said. Talking about the Kennedy assassination.. and in 1970 he was contracted to work for LIFE.” Talking to Benson about the turning points in history that he has witnessed – the civil rights demonstrations. an arrangement that lasted 30 years. I would work for anyone. who wants to cover a rock group?’ ” Harry Benson show his work to the Fleet Street picture editors.” Harry Benson . I wanted to do the opposite. “I got to know my own country. but a photograph. I wanted to move away from newspapers although I worked a lot for them.” It was as an Express photographer that he got the assignment that would change the course of his career. After the other photographers had left the room he suggested they re-create the fight. it didn’t take long for Benson to realise he was witnessing something really special. Benson sprang into action.” Benson’s initiative and drive began to get him noticed and he came second in a magazine photographer of the year competition. It made him insist that the Sketch bring him to London. “I did this about eight times and on the final visit I was leaving the Daily Sketch and the picture editor gave me a nod and a wink. sealed Benson’s reputation. When I got to New York. He offers a simple explanation: “In situations like that I’m saying to myself: don’t mess up today.” The resulting images from that trip. ‘I’m a serious journalist now. But then again. but after a while John initiated another pillow fight and with a spontaneous swipe at Paul McCartney history was recorded yet again. It was while gate-crashing a party that he met Sir Max Aitken. Although he found himself at the heart of key moments in history. “Whatever the boys did. I got a contract with the Express which was fine but I really wanted to work for LIFE magazine. travelled the length and breadth. The shots came about after the ever sharpwitted Benson heard John Lennon mention a pillow fight they’d had a couple of days before and it struck him that would make a good shot. “I got a call one night in 1964 from the paper. where he gained a reputation as one of Fleet Street’s finest photographers due to his commitment and ability to outwit his rivals to get the best picture. “I loved my days on Fleet Street and I missed the competitiveness. A lot of photographers. they did a warm-up gig outside the city near Fontainebleau. Although the Liverpool band had yet to become a global phenomenon and had just started to become known in the United States. notably the famous pillow fight images. they wanted me to go to Paris with a band called the Beatles but I didn’t want to because I was going to Africa to do a serious story on independence and I thought. Famously. they wanted me to go to Paris with a band called the Beatles but I didn’t want to because I was going to Africa to do a serious story on independence and I thought. they move up and up and then become very grand but I would do anything.{ THE INTERVIEW} “I got a call one night in 1964 from the paper. I was never particular about what job I was given. Professional Photobook design and printing The highest quality at unbeatable prices Easy online ordering and online proofing ** Special Offer For Pro Photographer Readers ** Free Pocket Book with your first order. just email us quoting promo code PP8 The Photographic Trade Show For All Professionals Register now for your free tickets or call 01634 296 001 SPONSORED BY: 24th April 2012 MANCHESTER Man Utd Football Stadium 15th May 2012 Follow us on Twitter .uk Trade show 11am-6pm FREE Entry FREE Seminars Camera Clinic Product Demonstrations Digital Advice WINDSOR Royal Windsor Racecourse 29th June 2011 BRISTOL Ashton Gate Stadium 19th July 2011 DUBLIN Croke Park Stadium 6th September 2011 KENT Brands Hatch Circuit 18th October 2011 LONDON NEXT EVENT Royal Horticultural Halls Coventry Ricoh Arena 15th November 2011 EDINBURGH Royal Highland Centre 14th June 2011 27th March 2012 HERTFORDSHIRE Sopwell House For more info about your local show and to register for your free tickets go to www.Premium Photobooks Not premium prices www.

ISBN: 978-0517544495 Once There Was a Way: Photographs of the Beatles. I venture? “Not yet. published by powerHouse. Benson spoke up on screen for Galella. It’s no different to the news I was covering. I wonder if there’s anyone left he’d like to photograph.powerhousebooks.” He attributes some of his lightning reaction at the Robert Kennedy shooting to lessons learned from the assassination of President John F Kennedy five years earlier. Bobby Fischer by Harry Benson. the Russian. This person is my new best friend. I remember when Elizabeth Taylor and Richard Burton were spotted in Rome together but were married to different people.” I wonder if this sense of ease with his camera contributes to his effortless style. why there were no pictures. If it wasn’t news they wouldn’t be putting these people on the front page. “Just one. to watch the whole environment. All she had to do was turn and say. dubbed ‘the Godfather of the US paparazzi culture’ by Time and Vanity Fair magazines. 2008. Abrams. like a society 2008. In 2009 he was made a CBE. “I understand that I am in a privileged position. While his work might be very different now he still feels solidarity with today’s newspaper photographers. ISBN: 978-1576875810.” he says tantalisingly. The Pope came out and condemned it. well. published by powerHouse Books. I’m honoured but I wish I’d got it when I was 17. This is it.” In a 2010 documentary called Smash His Camera.’ all of a sudden I’ve got a problem. there are so many minutes and seconds in the day. published by Harmony. Because he’s interesting. “I feel for a lot of the paparazzi. That comes with being outside in the cold for so many years. who spent a lot of time chasing Jackie Kennedy. or a precious fashion photographer who moves in all kinds of circles. but what is happening here is going to be over in seconds so you’ve got to move in for that time. “That event was so close to [what happened in] Dallas.” he says casually but when Harry Benson is behind the lens it feels like anything is possible. just because I think I can do better.” Regardless of whether he is photographing celebrities or hard news.” he admits. If an actor gets drunk and beats up his wife. “When there’s a horde of photographers they are called paparazzi and the term is used to degrade them. now that’s a news “I understand that I am in a privileged position. If I am photographing someone and they ask me to have dinner afterwards. the famous American paparazzo. 2003. but he says his Fleet Street instincts haven’t left him: “There’s always a pressure on myself.” Harry Benson ESSENTIAL READING: Harry Benson on Photojournalism.’ The memories of Dallas were very much with me. the newspaper background was a big motivator. The Pope came out and condemned it. “That one would be Putin.” Now contracted to Vanity Fair. ‘Please don’t use this picture or that 83 .” His work is mainly in less tension-fuelled environments nowadays. Mr Galella!’ Can you imagine Margaret Thatcher running “I remember when Elizabeth Taylor and Richard Burton were spotted in Rome together but were married to different people. PP www. www. He still loves going back to Scotland and he picked up a Lifetime Achievement Award in 2006 from the Scottish Press Photographers’ Association. but it really is getting to know your equipment and not to be too burdened by it. 1982. I could say I’ve missed quite a few shots in my career.” Harry Benson away? Can you imagine Pat Nixon running away? Jackie Kennedy made photographs for him.99. ISBN: 978-0810946432 Harry Benson's Glasgow. £28. “You’ve got to be mobile.” he says. ‘Good morning. to be able to move. that’s a news story. “Yes. and you know he’s a hidden persuader. who pursued Jacqueline Kennedy-Onassis relentlessly.harrybenson. “I don’t get close to people. the newspaper background was a big motivator. Benson is still busy and our conversation was sandwiched between a couple of jobs at his home. The images of the man Harry Benson called “The most complicated and most fascinating person I have ever photographed” were shot during the historic World Chess Championship in 1972. He’s a very powerful man. “I was proud to get it. even though they aren’t my best friend.professionalphotographer. which seems to have come as a surprise. When something happens. published by Harry N. a lot of what they do is actually news. ISBN: 978-1845022365 RFK: A Photographer's www. ISBN: 978-1576874508 A new book of Harry Benson’s portraits of the reclusive chess genius Bobby Fischer is being published by powerHouse Books in July. If it wasn’t news they wouldn’t be putting these people on the front page. so I’d have liked some of my school mates to have seen me get it!” It’s been a wonderful career and it’s not over yet. published by Black & White Publishing.” he says. And here was something that landed in my lap.” Are there any plans for a portrait shoot. It’s no different to the news I was covering. that sounds nice but during dinner – and this has happened – the subject suddenly says. because I wasn’t the cleverest boy in school. “Take Ron Galella. now that’s a news story. probably. Benson says he has remained detached from his subjects and leaves once the job is done.{ THE INTERVIEW} back with the image that defines the situation. “It’s not as if I was that type of photographer. That comes with being outside in the cold for so many years. which took place in Iceland. I thought ‘Don’t fail now.

which I can. was it the proposal or some moment after? Was there ever anything in doubt or in question in the relationship. talk me through the creative process behind a production. Kevin: First and foremost.Let me tell you a story Film maker Kevin Shahinian is breaking new ground. in a tasteful way. I’ll do a follow-up call and tell them what the story is. If they are serious we sign a basic contract to agree what they are going to get. Sean: You have a storytelling background. maybe one is a right fit for us. what genre it is and ask them what they think. offering couples the chance to star in their very own movie. I’ll find out what the point of view is going to be – which of these two characters has more to lose in the story and make them the lead character. Then comes the first round of interviews where I speak to the bride and groom together. I would say for every 10 enquiries I get. blow up into a dramatised movie? I’ll find out what the story is going to be about. Sean Samuels spoke to him about his work and how he creates the narrative that makes every piece unique. I want to figure out what was the most intense emotional point of their relationship: was it when they first met. This is to determine the moment in their past that is worthy of the big screen. Having studied film at university. he now brings a Hollywood blockbuster approach to shooting wedding videos. . and then individually. before I do any work I make sure the client is serious because there is quite a bit of work to be done before we move forward with a project. Then I will come up with a pitch before I even write the script.

There is a developing approach in pre-production and shooting for the edit in ways that serve the story. do you face much opposition when you ask for the couple’s personal stories? KS: It’s interesting. It was that initial idea and looking at traditional documentaries and wedding videos and seeing that the creators were obviously extracting the story in the editing room. we want it to look like this. there’s a limitless number of ways to tell that story. which is a documentary basically. I do get requests to do parodies. which is counter to what documentary film makers have been doing. a large part of the process is about educating the couples and gaining their trust and implicit faith. SS: When considering the narrative hook. SS: What was the revealing fact about the couple’s relationship in your Swedish piece Snow. a lot of this is about the experience as much as the final product. A lot of people say. It’s a drama which ends as a romance. I am doing this as a film maker wanting to stretch my directorial legs and do different things each time. that would keep it Above and opposite page: Kevin Shahinian shooting City of Lakes in India. We can only do two or three a year because of the time it takes and the clients aren’t abundant because of the cost. “This is a suspense film. because people have been making short films for a long time. SS: Do your clients easily accept your tight level of creative control over their films? KS: I would say 50% of the enquiries are what I have just described. SS: Do you work with anybody else on the conceptual process behind each production? KS: I work completely alone. It is an objective thing whereas the subjective worlds of fiction and Hollywood are much more emotional and leads to more of a call-to-action in the story. then there’s probably nothing else I would be as interested in doing. KEVIN SHAHINIAN / AMISH SOLANKI www. a couple saying. It is a fresh spin on doing a live event. I’m going to get burnt out and I am not going to be as passionate about the project. The ultimate client is the one who completely appreciates and sees the value in my having control. At film school I was thinking about the ways narrative fiction and traditional three-act storytelling could enhance the documentary and create a more immersive experience. we want to run and dance in the flowers” and I don’t do that sort of painting-by-numbers thing. Even if there were only one story that could ever be told by anybody. So I wanted to bring this approach to documentaries and develop the approach in pre-production. and scenes from his new action film Flawless. from alternative points of view to a non-linear style. I said.” Kevin Shahinian SS: Do you think there are only so many stories to tell? KS: I don’t know if there is a finite number of stories to tell.{ WORKING PRO} We have already discussed budgets beforehand and so the conceptual process is trying to fit into that budget that we have already discussed. Documentary traditionally just feels like facts and figures. “This is what we want. which is the twist. coming up with a style that serves the story and making a film with real people about a real event. “This is what we want” and I have to turn those away. I want to direct major mainstream films so this is more my comfort zone. He was waiting at the end with a ring. because if I am doing the same thing every time. on which you hung the story? KS: The groom was in the Swedish Air Force and he sneaked off the base every night to see his girlfriend. how in love you must be to do that and when he knew he was going to propose he gave her a treasure hunt through the town. They want to have the experience of being in a film. For the couples. I like to think about big ideas. but if you go out of that world there is nothing new in narrative 85 . The first meeting is almost an audition so I can make sure they are right for us as we are for them. SS: Where did the idea come from for your Hollywood approach to shooting weddings? KS: As more of a philosophical person. Everything I do is original so I am not really spoofing I thought that was brilliant.professionalphotographer. I let them know what it is that I would like to do and if they are not interested in the idea. No one has said no yet. For me I am charging big money so they should let me do my thing because I am the expert. There is definitely an infinite number of ways to tell a story. but that’s not really where my sensibilities lie.” “At film school I was thinking about the ways narrative fiction and traditional three-act storytelling could enhance the documentary and create a more immersive experience.

It’s all about communication. The action of the film happens in one day. who was amazing. At the time I was very upset and to this day I feel they imposed a lot of limitations. That doesn’t help an actor. It can be more of an immersive experience. This may mean minimising their screen presence or whatever else I need to do to make a great film for them. but I was young and persistent. if they are more of a traditional actor you can give them thoughts or action to help elicit that emotion. There was the number of days we were shooting and how to make the live event fit into our story. but it’s like anything – the more you work with actors the more you understand what is required. as you did for your City of Lakes film (shot in India). so what do you do to complete the project? KS: The biggest limitation is having non-professional. I like to do new things each project so I don’t know for how much longer I can keep the passion going. that’s for sure. so if I had not gone to film school I would be sitting here feeling very frustrated wondering what film school would have been like. so as long as there are clients who want to do new things and have faith in me.” Kevin Shahinian interesting for all time. it really taught me that this whole process was about overcoming limitations. I take it you can’t just walk away. I have had clients who are really dedicated to the process and they have put in the time and they have rehearsed with me. which .co. With TV and cinema. It was very tough for me. In the next 10 to 15 years it is a medium that is going to be in direct competition with TV. Fortunately. understand it and filter 86 www. This is a great lifestyle and I don’t take it for granted – I have full control of the project and great budgets. SS: I like the idea of rehearsing with the couples. SS: Professional photographers must also know how to direct people. Can you learn this or do you think it is an innate ability? KS: You can definitely learn. For great actors the theme is that once you have the material down and the lines memorised. SS: What do you think is the worst thing you can say to a subject when filming? KS: You never give an actor the result.“Every wedding video you see is the same – solely about the bride and groom – but for me it’s how would Hollywood approach this? In the case of the India piece we cast actors so we would have control over the other days of shooting that might not have the actual wedding ceremony as part of the story. I would love to explore that as the next genre. but I think the client has trusted me to make this thing to the best of my it through their process and get to the emotion you want. but there’s no backing out. there are directors who are craftsmen. I think you are going to see more major Hollywood players putting content online and it will fail unless it offers something that TV does not. That aside. for example. I also took a critical studies degree as well as a production degree so a lot of my time was spent studying directors and the history of film making.professionalphotographer. I’m the kind of person who needs to know everything about a subject. it helps. These days are controlled. non-actors in those brides and grooms. They have invested in it. if I get the chance to do a feature that would be good too. but really if you are going to help them get to that place you work with them... It can be more immersive and make you feel as if you are participating in the story. but then when I finally got in I found it was very limiting in what I could do in terms of production and the budgets were laughable. how do you ensure everything stays on schedule? KS: It’s very tricky. So hearing this helped me to understand how to make adjustments if I wanted the material delivered in a different way. which helped. SS: If you are basing a production around a live event. Every wedding video you see is the same – solely about the bride and groom – but for me it’s how would Hollywood approach this? In the case of the India piece we cast actors so we would have control over the other days of shooting that might not have the actual wedding ceremony as part of the story and then bring on a local producer to make sure everything happens and when locations fall through we can get a backup and keep moving forward. SS: What was the biggest problem you found with filming in India? KS: I think it was the scope of the production. I am not comfortable if I feel like I have missed something. Not speaking the language meant we could not easily face the spontaneous challenges that arose. which makes it such an interesting experiment because you are mixing this completely controlled shoot with something that is completely uncontrolled and trying to make it look seamless. and then there are directors who are great theatre directors such as Sam Mendes. KS: It’s important. A great actor will take that. There are a lot of huge directors who just say. so I enjoyed that a lot. SS: You studied film making at USC [University of Southern California] for four years. the emotion. This part really opened my eyes because we don’t often get a chance to see some of the films that were before our time and understand why they were important and what they did historically. She was really nervous about it so we rehearsed quite a bit. the bride is the main character and she had to do a lot of emotional scenes with some professional actors. although TV is not going anywhere. they will have a website and different web content and it’s branded. where there is tension. so if you are good at that already. If I am incorporating the wedding into the script then it’s about how do I tell this story from an alternative point of view. With Snow. Do you think this is the best route for people to learn how to tell a story? KS: I had a mixed experience because I was rejected six times at the start. they are cameramen. however. just her and me. SS: What happens if you get halfway through the process and it’s really not working. SS: Tell me more about your web series idea – do you think this is the future for all image makers? KS: I think the internet is the way for people to interact with content. I’ll continue. those words should just be coming out. I’d love to do more mainstream work and perhaps a web series where I can maintain control. It was like a perfect storm of challenges. Movies and TV shows do this now. “be sad”. you just turn off and surrender to the experience whereas the internet offers the opportunity for an exchange between the viewer and the content. They really are actors’ directors and you will see great performances then. your concentration should not be on the material. I took acting classes just to learn their thought processes because there are certain things you can say to an actor that they don’t necessarily want to hear. “be sad”. where there is conflict and mystery and all the ingredients that make a great film. saying something to them to get them to adjust and not just giving them the result of what I wanted. but it doesn’t necessarily have to be blatant promotional stuff. but we hired a local producer.

Everyone we had on board was used to doing a lot and very familiar with the workflow of the Canon EOS 5D MkII. shaky. With DSLRs there’s firstly the light sensitivity. being able to go on location and not getting hassled over kit is good.professionalphotographer. including that the sun is in the right www. for example. we had to have stunt drivers. I suggest getting a permit because the worst thing that could happen is getting shut down halfway through your shoot. It’s a good and bad thing. SS: Do you think DSLRs make the production process easier? KS: I’m not like a camera gear person. so that’s kind of what draws me in. it’s a drama between this little boy and this guy but underneath that is this supernatural conceit happening. Secondly. I have worked on films where there is a person for every single job and that can be a hindrance if they are not really good at their job. The Sixth Sense. Take. so out of necessity it’s more of an actual is going to do the job well and help me to make a film on budget and I’m going to use it. PP www. a stunt coordinator. but when you add this element. poorly-lit location footage because people think they can go on location and shoot and not get hassled by the police. producer. you can save money and get things done the way you want to. but you have to be careful with that. the action film Flawless. but then there’s a flipside because I have seen really bad. but to a certain degree it makes things move faster. SS: Is it true you work with a very small crew on your productions? KS: It is difficult having to wear a million hats and to do everything.{ WORKING PRO} is really hard because of continuity. you should always light your subjects. Even if you are doing something small. you have a scene that starts in the morning and you have six days to shoot it. That’s what I would like to make. second unit director.pacificpictures. I’m a film maker. You have to make sure all that happens in the morning. assistant 87 KEVIN SHAHINIAN / AMISH SOLANKI . give me a camera that Above: Kevin Shahinian (foreground) and second unit director Joe Simon on location in India shooting City of Lakes. they become great high-concept movies. If you can do it faster. SS: Finally. I love dramas that would be great dramas without the conceit. is there a type of movie ultimately you’d like to make? KS: I enjoy watching really good dramas and stories with a high-concept conceit underlying that drama. but the fact you can shoot on location and not have to worry about a tonne of light is amazing. On this new piece.

Small but perfectly formed .

But sadly my Kodachromes are still in their plan chest. It wasn’t until years later. the seeds of Millennium were sown. Jason Shenai was a professional photographer with a stockpile of pictures stored in unorganised. is In this accidental way. unloved – I’m better at organising other people. www. So. “I got together with four friends who were photographers and basically asked them if they wanted to contribute some pictures.” Shenai says. we put them in a filing cabinet and I got my assistant to number them. it’s because we haven’t found the right place for it. on the hunt for arresting album cover images but without the budget to make a commission. unarchived Kodachrome boxes when a request came through that would change his career. Paris. the principle is simple. contacted Jason and asked him if he had anything “a bit different” stashed away that would fit the bill. We only take on good work which is going to be saleable somewhere.professionalphotographer. though challenging – commercialising photography that is not inherently commercial. every now and again an idiotic request like ‘Do you have something different?’ would come along. towards the end of the 1990s. Julia Molony speaks to photographer Jason Shenai to find out how Millennium Images is selling work that is often deemed uncommercial by the big boys. To begin with we had maybe 30 or 40 pictures from each of them. “We now have 700 photographers. In its earliest form. Millennium came from Shenai’s attempt to organise a catalogue out of his own pictures and those of a hand-picked group of photographer 89 CANDICE MILON / INDRE SERPYTYTE / CHRISTINE MATHIEU / MILLENNIUM IMAGES . And if we haven’t sold it. “We reckon that anything good. top to bottom: Telephone with the cord wrapped over it. that the fully formed structure and ethos of the company were firmly established. it’s good to see a boutique image library thriving. Girl with a sheer white curtain. There was no marketing or anything like that. They were all numbered and that was a start. Millennium is a high-end picture library. Opposite page: Portrait of a young woman. Right. and that was the extent of it. unnumbered.{THE BUSINESS} In a world of global domination by the large picture agencies.” he says. EMI Records. if you find the right place for it.” Shenai says. and he would be able to consult his library to find something appropriate.

” There is a rule of thumb. sometimes they have been working for a year or two. And the answer is really you should go and find what you want to photograph. Besides the fine-art ethos then.milim. something that goes beyond the purely aesthetic. Those allies. We look at people’s CVs and make a judgment as to whether they are likely to submit more than once to us. citing the example of a recent visit he made to his local bookstore. became indispensable when Millennium took he thinks. are often more concerned with that GRANT DELIN / JAMIE PARSLOW / HANNAH LAYCOCK / LUKE HAYES / MARCUS BASTEL / MILLENNIUM IMAGES branching out by launching a competition for emerging photographers.. there must be an opportunity for a picture library with interesting pictures. the other was an exhibition devoted to one particular photographer. “This rule is an approximate assessment rather than a precise one. “We look at people’s CVs and make a judgment as to whether they are likely to submit more than once to us. This year. brighter. as well as at festivals. “picture libraries were known for the poorness of quality. which helps. he has developed a photography project at Wandsworth Prison in south-west London and started lecturing in photography at the University of Westminster. Works of fiction.” he says. what are the specifics Shenai is looking for when hunting for photographers to join the Millennium stable? “I think we are looking for complexity. Through these ventures he “began to make allies” within the industry. The professionalism definitely counts as well as the quality of the imagery. but maybe also with an intuitive feeling about what the general public or the picture-buying public are going to find acceptable and interesting. the rest of Millennium’s sales tend to go to editorial and advertising clients.” PP . Michael Ormerod.” The freedom from the commercial imperative that students enjoy while at college is another factor which puts a stamp on the work they produce.” Shenai says. “They tend to produce work that is more critically informed and not so driven by a visual aesthetic. is partly because of how an academic approach informs a photographer’s work. rather than [the motivation being that] ‘a particular client wants me to photograph this – and therefore I’m going to do it. That’s the sort of work that we really want to take on. he says. advertising wants a more positive.” he stresses.” It makes sense that the world of publishing would provide a more natural home for high-art images than advertising. Wake left by a boat in foggy seas. “When we get good advertising sales it’s fantastic. we supply all our distributors with 50MB files.” Shenai says of Millennium’s first days. Millennium takes on about 60-70 new photographers “I think we are looking for complexity. perhaps. top to bottom: A molecular model of silicon atoms. though it has recently launched a sideline in print sales. Just recently they've counted covers for Solar by Ian McEwan. Go into any bookstore and you are sure to come across pictures handled by Millennium. Though this is true for fewer than half our images. an emphasis on the challenging and the conceptual. But there is another reason why he finds recent graduates provide a rich seam of the work which suits his remit.. So I thought.. simpler interpretation of life. It was where people went if they really didn’t mind what the images were like and if they didn’t have any money. but they do often tend to be young photographers.” A lot of the photographers Shenai represents come straight out of university and he has firm and long-standing relationships with a lot of the colleges. literary things. because you can make five-figure sales for one picture.professionalphotographer. We don’t brief people like that. “but photographers who are this mythical ‘art-photographer’ type are often 90 www. where on a table of bestselling paperbacks “seven of them had a picture of someone walking away from the camera. something that goes beyond the purely aesthetic. to explain why images handled by Millennium find more natural homes in literary arenas than in purely commercial ones.” Shenai says.. “It’s a relatively new venture for us. who is one of our bestselling photographers” he says. rather than the purely aesthetic. though if something is originated on film that’s fine. It comes from inside. because it always comes out better if it’s come from the inside. they will be Above. though Shenai admits it’s always a satisfying coup when Millennium makes an advertising sale. exhibitions and through direct submissions. which means Shenai has to think laterally about how to make sure the work he takes on will sell. What they share are certain standards of artistic merit..’ So we started thinking about it being different and more interesting.” Being different means not necessarily following the demands of the market. It’s a lot of work to enrol a photographer. “Often the photographers who we take on are fresh out of an MA or sometimes a BA. On the whole. but they have already staged a couple of successful exhibitions offline. “You only have to go into a bookshop and look at the stacks of books to know what the particular themes are that will obviously sell. the photographers who contribute to Millennium’s enormous stock cover subjects and styles as varied as photography itself.. and also. There are certain technical standards that we have to adhere to.’ “People often ask us what they should photograph. If we get the impression that a photographer is going to go on submitting work that is better and better then we would be very well-disposed towards them. The winner will receive £500 and a contract with Millennium.In the intervening years.” Jason Shenai concerned with a more complex. work by the winner and runners-up will be shown at a London venue in the autumn. Sunset Park by Paul Auster and a new edition of The Second Sex by Simone de Beauvoir among their high-profile sales. www. ‘Well. “One was a launch exhibition of approximately 30 images by 30 photographers. For instance. This. It’s driven by concept and an understanding of theoretical practice – theory within photography. Harvested from the undergraduate and graduate programmes at the best academic centres in the country. darker side of representation. it does help to define us. and his broad contact base.” Beyond the literary world.. A major market for Millennium is book covers – making up nearly 70% of their sales. They will have spent all their time [at university] making images that are thoughtful. Oslo. “Up until that point.

{THE BUSINESS} Clockwise. Looking straight down the side of the Willis Tower. A small-town cobbled street. . Texas. Chicago. from left: Michael and Vivian Laycock holding hands across a table. Illinois.

with those original images on show at the Whitechapel Gallery throughout the IAN BERRY “The man with two hats noticed me and stopped me taking the picture. Now in 2011. vibrant and exclusive portfolio of images with the Fujifilm FinePix X100. so I think that’s what prompted the show. Jennie hired me to document the changing face of East London for the we have sent him back to the same locations to create a new.professionalphotographer. I’m pretty lazy and she would call me at eight in the morning to ask why I wasn’t 92 www. so I spent a few weeks photographing the area around the gallery. I was amused to see he was looking at me between his fingers. which feels like 100 years ago now.” . Jennie Stein. It was commissioned by the then director of Whitechapel Gallery. Until then the gallery had never held a photographic exhibition. Her husband was a journalist and interested in photography. Whitechapel 1972/2011 My original This is Whitechapel exhibition was held in 1972. Jennie was very good.The Ian Berry Fujifilm FinePix X100 Whitechapel portfolio Award-winning Magnum photographer IAN BERRY first created a portfolio of images in the Whitechapel area of East London in 1972.

. Mississippi. Canton. 1966.FUJIFILM FINEPIX X100 PORTFOLIO Teargassing.

Magnum showed Whitechapel Gallery some enlarged contact sheets of my original work. so I did.ianberrymagnum.“I liked the red wall with the wet IAN BERRY This is Whitechapel: Photographs by Ian Berry Until 4 September 2011 Gallery 4. Until Professional Photographer contacted me about shooting this portfolio I had more or less abandoned the idea of documenting Whitechapel in 2011. The one now exhibiting features 30. to which they responded that they didn’t have the money to fund a new project. and suggested that it might be a good idea for me to go back and document how the area had changed since 1972. She would tell me to get out of bed. 77-82 Whitechapel High Street. So I spoke to the people at Magnum. but would like to show a cut-down version of the original exhibition. It was a fascinating area and a fascinating time because the old world Irish/Jewish population was moving out and the Bangladeshi and Pakistani communities were just starting to trickle 94 www. but I passed through there recently and it occurred to me that it might be time to revisit the work I created then. I took the picture and the mother spotted me straightaway. Whitechapel Gallery. Since creating the images I have rarely been back to Whitechapel. It was so contrary to what I normally experience. E1 7QX . If someone sees me I don’t stop taking the picture. It was a good time to document a cross-section of people. Because I now live in the country I found a hotel in East London to stay in which served as a base from which I operated to shoot over the space of three or four days. So when they got in touch and asked me to do it I was” already down in Whitechapel shooting. www.professionalphotographer. so afterwards she came up and thanked me for taking the picture. my agency. London. The show in 1972 featured 100 prints. which almost made my day.

FUJIFILM FINEPIX X100 PORTFOLIO 95 .co.professionalphotographer.

professionalphotographer.” “I don’t normally like pictures where the person is looking at me but sometimes it just works.” 96 www.“Perhaps this is not a picture I’d have shot in black and white but because of the solid colour of the ATM machine I thought it IAN BERRY .

£999. then grab a couple more frames because I have not been heard. A quick scan of the manual meant that I was able to get the camera up and running with no problem. taken his shoes off and gone to sleep in the park. The concept of a light camera of the X100’s quality and price instantly appealed to him. I worked with all of the settings on manual but I know that it has a lot of in-built features which will aid use if you are not as familiar with a camera as I am. It may be my age.99 RRP www. which is essential when shooting the way I do.professionalphotographer. wait to see what happens next. The original 1972 Whitechapel exhibition was shot entirely on Leicas. but I didn’t see the footage for more than a year and I realised that it wasn’t for me. the shutter speed dial is exactly were it’s meant to 97 . I was glad to see this functionality included in the X100 as it is becoming ever more essential for photographers. For me this is a great plus. and it felt light. It makes the X100 perfect for street photography because I can fire off a shot. It’s fantastic value. Despite this. While I was shooting I bumped into a Telegraph photographer who saw that I was working with the X100 and he loved it. It’s a very logical piece of equipment. I am a digital convert and I don’t believe that you get better quality with analogue film. So the first reaction I had to the Fujifilm FinePix X100 was based on how it felt. Funnily enough I did shoot film footage for the NBC television network many years ago on my first trip to the Congo.FUJIFILM FINEPIX X100 PORTFOLIO “I liked the fact that this guy had had a meal. The cameras I usually work with are far more expensive than the X100 and I had to agree with him. There is a lot of enthusiasm within Magnum for film making with stills cameras. The quality of the images it produces are incredible bearing in mind the size of the www. which is always good. It’s a great camera which I really enjoyed using.finepix-x100.” Fujifilm’s FinePix X100 F irstly I should say that I’m a non-technical photographer. For instance. PP Fujifilm FinePix X100. but it was fun to shoot this new portfolio on the Fujifilm FinePix X100. It also had a very quiet shutter. you get better quality with digital cameras like this. but this is something I have yet to embrace. You don’t.

uk IAN BERRY . you can see what’s going on in the background.” 98 www. I really needed something to one side to make the picture work and suddenly the girl was there.” “This lady was caught in her own moment.professionalphotographer.“I saw this kid with his father. Everyone seemed to be in their own world in a busy street. It just seemed a nice gesture. I went towards her and noticed the chap on the right – that’s the advantage of a 99 .professionalphotographer.” www.FUJIFILM FINEPIX X100 PORTFOLIO “I saw this guy coming around the corner and jumped into the steps of the entrance to the building and waited for him to go by. He was totally engaged in his conversation and quite oblivious to me. I thought there was something there. When I saw this tailor working away in his window.” “This reminds me of a picture I shot for the original Whitechapel project of an old Jewish guy standing in the window of his vegetable shop. ignoring everyone.


As well as being splash and dustproof it weighs just 110g and is less than half the price of other popular LCD This delay timer is like the self-timer on the camera.stop POWERHOUSE The Westcott Spiderlite TD6 houses up to six 50W The exposure count mode sets the number of exposures taken in the interval timer mode: six frames at 15-minute intervals. which is equivalent to more than 1.videogear. RRP: £102 including The colour output to tungsten can be adjusted easily through an optional tungsten halogen six-pack of lamps offering 900W of pure 101 . A number of various single heads and kits are available. for example. multiple lamp options offer the ability to quickly change from cool daylight fluorescent lamps to warm tones using powerful tungsten halogen lamps. Encased in an all-metal construction.200W of power. making it fast and easy to use – just extend and TIME WARP Time-lapse is making a big comeback. STEADY AS WE GO If you want more mobility than a tripod can offer then check out the new SteadyPod designed by microstock photographer Yuri Arcurs. allows 90° rotation of the www. It offers magnification of 200%. turning it into a huge electronic viewfinder for precise image www. or even With quick height adjustment. but can be set up to 100 hours in one-second increments. While the Nikon D300s. A long exposure timer allows you to extend the exposure time for several minutes. The ViewFinder simply attaches to the LCD with an adhesive frame and a magnetic mounting system.. the TC-80N3 can also be used as a remote switch and is suitable for the Canon EOS 5D MkII. RRP: £149. The Canon TC-80N3 is ideal. Westcott Spiderlite TD6 with tilter bracket. 1D MkIV and 7D. so it may not be suitable for wearers of spectacles. We’re always keeping our eyes open and our ears to the ground to make sure we bring you the latest news. The 180° flippable design allows instant left or right eye usage and is ideal for viewing the LCD in bright G Through the looking glass This budget-friendly LCD ViewFinder is ideal for filming using a DSLR. The SteadyPod Basic is based around the Custom Brackets style quick release and the SteadyPod AS Basic is built around the Arca-Swiss style quick release. www. 220V – £500 including VAT. Canon users will require a little device known as an intervalometer. The only minor drawback we can see is that it does not have an eye diopter. it features three newly-designed. low-profile switches on the back which allow you to control light output without changing colour temperature.professionalphotographer.flaghead. industry rumours and kit from around the world. extreme versatility and just one leg to contend with. to offer a compact fluorescent system for constant lighting.. Perfect for photo and video. An interval timer fires the shutter at preset intervals of between one second and 100 hours. D700 and D3s have the time-lapse function built in. The Custom Brackets SteadyPod is available in two versions. The monopod consists of the Manfrotto Neotec 685B which uses a locking mechanism. www. Both priced at £456 including VAT. what you lose in stability you certainly make up for in portability. specially tailored to most 3in LCD screens. combined with Custom Brackets’ Tilt Head CB and Digital Pro-SV mounting bracket.99 www. This. Available through Amazon.

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uk G New design.. If Adobe launches Photoshop CS5 for the iPad.. yet has a maximum extended height of 153cm. RRP: £149. 133x speed SDXC card offers continuous shooting. but the Leica i9 concept has done just that using the iPhone 4. It was initially set to launch in March 2011. www.. It also has multi-angle legs which are especially useful for macro photography. reversible centre column with quick-lock lever accepts any tripod head with a 1/4in or 3/8in thread... Its splitable.99.99. The unmatched brilliance of Leica’s professional CMOS image sensor and lens. This large-capacity. www. It is available to download for free from www. G Apple has surpassed Google and IBM to become the world’s most valuable brand. Offering a slim. www.lensbaby. LATELY WE’VE BEEN HEARING.tokinalens... made specifically for the processing and sharing capabilities of Apple's iPhone 4? We certainly like the idea. Watch this SIZE MATTERS Lexar has introduced the industry’s first 128GB Professional SDXC memory card.professionalphotographer. YEAH BABY! The Composer Pro joins Lensbaby’s growing family of press.080p high-definition video in a The company says it takes into account customer opinion as well as the stats. as per some recent speculation. Composer Pro with Sweet 35 Optic will be available soon for $400 (£245).multiblitz.. That’s according to global research agency Millward Brown. it ships with either the Double Glass Optic or new Sweet 35 Optic installed. G You may not think of pairing your camera with your smartphone. G Wide boy The new Tokina AT-X 16. payable strictly by banker’s draft only. www. soft tip and good weight balance design. The Lexar 128GB Professional SDXC memory card is available for £299. The update also offers smoother importing from Canon’s EOS 7D. The Sigma SD15 had a two-year delay so we could be in for a wait. EOS 5D MkII and EOS-1D MkIV models. G Still no word on the release of the Sigma SD1 DSLR.velbon. things could get really interesting. thanks to its magnesium alloy collar .uk MAKING MOVIES The latest update for Canon EOS Movie Plug-in-E1 for Final Cut Pro has arrived.. www. Weighing just 1. with an RRP of £816..5-135 DX is a compact super-wide zoom lens which uses an optical design that benefits from three aspherical elements – one all-glass precision moulded element and two compound elements yielding high contrast. making it ideal for both photographers and videographers. it claims to give accuracy for a precise way of working..000 for an official spot to shoot the Royal Wedding. two diffusers and is cheaper than previous Multiblitz softbox models by 25%. G We’d never noticed German Tush magazine until we spotted the cover of the latest issue. It also includes the latest version of award-winning Image Rescue software to help recover lost or deleted photo and video files...2 version makes importing EOS movie files easier.lexar.3kg. It is available for either Canon EOS or Nikon DX fit. Composer Pro with Double Glass Optic is available now for $300 (£184).. enabling users to transfer files from any folder without needing to mirror the folder structure on the camera it boasts an impressive load capacity of 4kg and a solid 103 new prices Multiblitz introduces the new Profex-80 softbox – and it has a new price to match. The new 1. It also has an improved speed G Wacom has introduced the Bamboo Stylus – a pen which can write on iPad displays. Compatible with the Lensbaby Optic Swap System. Featuring an upgraded swivel ball and focus mechanism from the award-winning Lensbaby Composer. high-performance solution. THE LONG AND SHORT OF IT The ultra compact REXi L tripod from Velbon measures only 36cm when folded. G We overheard a photographer complain he had to shell out £1. but we haven’t seen anything which features model Cristal Renn shot by Ellen von Unwerth. the Pro’s metal swivel ball design and refined focus mechanism deliver ultra-smooth focus and tilt control. rapid-fire images and extended lengths of 1.



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. Knowledgable Staff.8 VR II £1699 £3697 U. Part Exchange Welcome. TQ5 9BZ.K. Bolton Street.01803 852400 or email info@mifsuds. Stock ONLY Canon 16-35mm f2. Stock ONLY £1697 Nikon D3S body £1177 EOS 60D body £769 EOS 60D +18-55mm IS £885 EOS 60D +18-135mm IS U £997 Nikon D700 body U.8 LII USM Canon 500mm f4 IS L U £1137 £5599 Nikon 70-200mm f2. £3449 Canon EOS 5D MKII body Canon EOS 7D body Canon EOS 1D MKIV body U.K.8 AF-S VR £627 £349 www.WANTED . Stock ONLY Nikon 200-400mm f4 VR £549 £4499 Nikon MB-D11 £266 £1097 Nikon 14-24mm f2. Prices subject to change without notice so please check availabilty to avoid updated daily .com . BRIXHAM.K. Stock ONLY £629 £849 (no box) U. E&OE.8 G ED AFS Nikon D90 + 18-105mm £699 U.K’s Best Stocked Pro Dealer’s Mifsud Photographic Ltd.. Prices correct when compiled 11/05/2011 and inc VAT @ current rate.K.K. Stock ONLY Canon EOS 60D NEW! U. Stock ONLY Canon EOS 600D body Canon 24-105mm f4 IS L U. Stock ONLY Nikon SB-700 £259 Nikon SB-900 £1319 Nikon 24-120mm f4 G ED VR £859 Nikon 28-300mm f3. 27-29. (OPEN 7 DAYS PER WEEK) Mail order: 01803 852400 Email: info@mifsuds.5/5. Stock ONLY Nikon D7000 body £1847 £889 Nikon MB-D10 D7000 + 18-105mm £249 £1049 Nikon D90 body Nikon D5100 body £669 £749 D5100 + 18-55 VR Nikon D300s body U. Quality and Service from one of the U. Family Run Pro Dealership with Friendly.K.K.K.mifsuds.1024 bit encryption We are happy to reserve new and used stock for customers travelling long distance.6 G ED VR £737 Nikon 105mm f2.

ParkCameras.00 £995.99 Our Price £3. Sunday 10:15-4.98 See web for even more offers Our Price £469.30pm. All products are UK stock.99 OUR LATEST PRICE LOW PRICE SEE WEB FOR OUR LATEST Canon EOS 1000D Canon EOS 600D 12.069. Victoria Business Park. www. West Sussex RH15 9TT Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print.00 Our Price £359.99* Our Price £ Tel: 01444 23 70 68 Free Delivery to UK Mainland on Cameras/ Printers/ Scanners! 1971 . Mastercard.2011 £779.439. offers and competitions .179.00 See web for even more offers Samsung NX-11 NEW! For all the latest NEW Panasonic GF2 + 14-42 Digital Cameras for .see our website for details NX-11 + 18-55mm £459.99 All prices include VAT @ 20% Opening times Mon-Sat 8:45-5:45pm. * = Please mention “Professional Photographer” for this special price Prices correct at time of going to press.1.00 E-PL1 Twin Lens Kit £phone & to book your place K-5 + 18-135 WR £1.00 website for full details K-5 + 18-55 WR £1.99 £1. please visit www.00 Our Price £299.579.019.00 + LP-E4 Batt £3.99 Our Price £1. Address: York Road.30pm.99 Olympus E-PL1 + 14-42 Pentax K-5 Park Cameras offer a wide range of training courses & workshops across a broad range of photographic disiplines.99 + 18-135mm IS £1. Sunday trading is for in-store only We accept Visa.603.00 £899.2009 Canon EOS 7D Canon EOS 1D Mk IV ++ 18-55mmIS £699. Switch/Maestro. E&OE.00 See web for even more offers Our Price £429. Thursday 8:45-7.00 £1. Visit our Our Price £ Celebrate our 40th Anniversary with promotional days. Burgess Hill.00 18-55mm £399.064.www.99 GF2 Twin Lens Kit £566.499. check website for latest prices.00 £1.

Created 6.2 50mm f1.8 HC Lens 100mm f2.5 Summarit .6x6 / 6x7 Medium format folding camera £1.4L II 50mm f1.2L II 70-200mm f4L 70-200 f4L IS 70-200 f2.7D £292 £1.415 £1.749 £1375 £309 £1. LS2 8NG Open Mon .479 EOS 7D + EFS 15 .699 + 5 Rolls of Free Fuji film More online CHECK OUT OUR WEBSITE FOR MORE PRODUCTS AND DEALS WWW.536 £27.999 £6.927 £3.336 £3.35mm f2. Leeds.5 EX DG HSM SIGMA 800 f5.8G AFS VRII 400mm f2.433 £323 £254 £555 £349 £1.199 £899 £1049 £729 D5100 Body D3100 + 18-55 VR MB-D11 GRIP 14-24mm f2.347 £1.Blk 75mm f2.669 £3.200mm EFS IS 60mm Macro EFS 16.495 Leica Elmarit R 180mm f2.6 HCD Lens 50mm f3.5 ZF.6 EX SIGMA 24 .8L MKII 17-40mm f4L 24-70mm f2.6G DX VR II 70-200mm f2.8G Micro AFS VR SB900 Speedlight NEW SB700 Speedlight SB-R1 Macro flash SB-R1C1 Commander kit SU 800 Commander WT .899 £5.Blk 35mm f2.962 £2.2 HCN Lens 210mm f4 HC Lens 300 f4.000 £1.741 £1.8G AFS PC-E 24mm f 3.4/Nik ZF.326 £1.8 AFD New 24mm f1.24mm AFS DX D300S + 18-200 AFS VRII D300S + 16-85mm AFS VR D300S + 17-55 f2.265 £6.699 5D MK II + 24 -105mm IS £2.8L £2.215 £895 Leica Elmarit R 135mm f2.“We now sell ZEISS lenses” PROFESSIONAL EQUIPMENT STOCKIST UK STOCK “DALES SENSOR CLEAN”SPECIAL OFFER 2 Free sensor cleans worth £90 when you buy a 5DII.40 + 80mm HC H4D .199 £ Fax 0113 2343869 Tel 0113 2454256 ALL OUR KIT IS GENUINE UK STOCK .5-5.8 ATX ProDX Tokina 16 .897 £1.5 USM £250 Nikkor 20-35mm f2.300mm G AFS VR 16-85mm f3.8G Micro AFS 85mm f3. Merrion Centre.8 EX DG HSM SIGMA 70-200 f2.2 Body Black Leica Tri Elmar .695 £2.28mm f2.210mm £12.4/Can ZE 85mm f1.4 85mm f1.989 £560 £621 £849 OUTSTANDING IMAGE QUALITY FOR YOUR NIKON or CANON DSLR 18mmf3. 1DS MKIII or ID MKIII** 1 Free sensor clean worth £45 when you buy a 60D / 550D or 7D camera** EOS 1DS MK III £5.8 EX DG OS SIGMA 70-200 f2.895 £795 £550 £195 £595 £195 £50 £50 £500 £395 £50 £125 £189 £250 Mamiya 645 105mm f2.“A family run Independent supplier since 1985” Visit our showroom: 60-62 The Balcony.150mm Lens Mamiya C330 F + 80mm Mamiya 7 .8L IS MKII 100-400L IS 70 .8L 24-105 f4L IS 24-105 f4L IS White box £549 £659 £639 £729 £633 £829 £385 £ 399 £347 £1.4/Can ZE 100mm f2 Makro ZF.428 £408 £426 £639 £342 £259 £420 £608 £280 £539 £189 £69/£145 Ask us for a Free Demo on Hasselblad cameras H4D .NOT GREY IMPORT .40 + 35-90mm H4D .799 New EOS 7D Body £1.50 body Hasselblad H4D .24mm G AFS DX 16-35mm f4G AFS VR 24-120mm f4G AFS VR 28 .8G AFS 24-70mm f2.2 £1.30am .2 100mm f2 Makro ZE £1.6 EX DG HSM Tokina 11 .199 £4.gps unit MC-30 /MC-36 £7.DALEPHOTOGRAPHIC.400 £3.31 + CF Lens Adapter H4D .269 £8.150mm + finder Mamiya 7 .31 + 80mm HC H4D .35mm f2.395 £645 £999 Tripods & Heads 190XDB 190XProB 190XDB 804RC2 Kit 190XDB 496RC2 Kit 190 CXPro 3 190 CXPro 4 055XDB+ 222 Kit 055 XProB 055 CX Pro 3 055 CX Pro 4 460 MG head 484 RC2 head 496 RC2 head 488 RC2 head £59 804 RC2 head £112 808 RC4 head £99 410 head £99 701 HDV £230 501HDV £240 303 SPH £119 303 Plus £128 303 £263 324 RC2 £280 327 RC2 £72 468MGRC2 £39 468 MGRC0 £55 300N £69 £59 £110 £160 £89 £143 £399 £312 £280 £92 £140 £190 £212 £127 USED EQUIPMENT WANTED quality photographic kit for PX or Commission Sale Hasselblad H4D .5.2 18mm f3.2 21mm f2.85 IS £1.895 £1.8G AFS VRII 70-300mm f4.344 5D MK II + 17 .40 body Hasselblad HCD 28mm Lens Hasselblad HCD 35-90mm Hasselblad HC 150mm Lens Hasselblad HC 210mm lens Hasselblad HC 300mm Lens Hasselblad HC 150mm N Hasselblad H 1.999 £1.813 2 X EXTENDER II 300mm f4L IS 400mm f5.60 body CFV-39 for 500 series New CFV-50 for 500 series 28mm f4 HCD Lens 35mm f3.6L IS 100 f2.30pm Email: dalephotographic@btconnect.12.8L 70-200 f2.8 DC Nikon £225 Canon EOS 1DS MKIII body £2.607 £1.30am .149 £1.295 £3.5mm DX £395 Canon EF 20-35 f3.310 £2.083 Nikon/Canon fits NEW SIGMA 8 .CO.4 EX DG HSM SIGMA 300 f2.40mm L £2.8 Macro N £169 Sigma 12-24mm DG Nikon £450 LATEST LISTINGS Mini TT1 CE Canon £199 Flex TT5 CE Canon £210 1xMini 2xFlex Canon £520 Mini TT1 CE Nikon £209 Flex TT5 CE Nikon £229 1xMini 2xFlex Nikon £529 2 x PLUS II £249 FUJI GF670 .8 ATX Pro FX £529 £410 £479 £642 £610 £979 £589 £289 £795 £1.367 £1.50 body H4D .6 bit Leica 35mm f2 Summicron £179 £225 £149 £249 £295 £295 £495 £195 £995 £995 £595 £595 £75 £595 £295 £125 £45 £1.517 Bowens 200/ 200 Kit Bowens 400/ 400 Kit Bowens 200/ 400 Kit NEW 200/200 Travel Pack Kit NEW 400/400 Travel Pack Kit Travel pak .5 ED 10 .5 Summarit .689 £449 £1.5-4.899 £4.199 £6.899 £2.944 £1.8G AFS D700 + 24 -70 f2.8 EX DG HSM SIGMA 500 f4.109 £624 £1.672 FREE BATTERY WITH EOS 7D EOS 60D Body £839 EOS 60D + 17 .599 £4.995 £2.282 £1.210mm + finder Mamiya 7 Panoramic Kit Mamiya 55-110 AF Lens New Mamiya 645 50mm f4 Shift Contax RX Body Contax TLA 30 Leica M8 body Black Leica M8.719 £1.8 Nikon £259 Canon BG-E4 Grip £99 Nikkor 18-35mm AFD £325 SEE OUR WEB SITE FOR Sigma EX 50mm f2.495 £1.789 £2.126 £2.16mm f2.730 £24.5.459 £2.586 £3.200mm f3.499 £1.370 £3.219 £499 £499 £199 £386 £139 £209 £139 £539 £922 £984 £1.8L Macro IS £1.735 £175 £112 £307 £1.299 £6.00pm Sat 9.575 5D MK II + 16 .Fri 9.6L 400mm f2.395 £1.8G AFS DX 50mm f1.4G AFS D700 + 14 -24 f2.055 £1.6G AFS VR 12-24mm f4G AFS DX 17-55mm f2.300 IS 70-300 f4-5.8G AFS DX 18 .116 £1.499 £7.E2 Grip £89 Nikkor AFS 24-120mm VR £750 Canon EF 28-200mm USM £250 Tamron 28-75mm f2.6 DG OS SIGMA 150 .799 £1.2 85mm f1.4G AFS 35mm f1.195 £1.995 £1.8/ ZE 25mm f2.8L £2.395 £780 £1.2 28mm f2/Nik ZF.388 £12.250 £1.541 £1.8G DX 24mm f2.153 600mm f4G AFS VR 1.984 £9709 £11.5D MKII BG-E7 GRIP .006 £1.16mm DC HSM SIGMA 10-20mm f4-5.8 £249 Zeiss 18mm f3.40 body H4D .8/Nik ZF.8 £449 Zeiss 100mm f2 Makro ZF.4G AFS 35mm F1.8G AFS VR 500mm f4G AFS VR £639 £449 £269 £1.499 £13.5L II 24mm f1.2 £225 Nikon D1X body £395 Nikon D70 + 18-70mm AFS £495 Nikon D200 body £375 Nikon R1C1 Flash Kit £149 Nikon D60 + 18-55 VR £319 Nikon SB R200 Flash £225 Nikon F3HP Body Mint £375 Gossen Starlite Sekonic NP 5 degree Finder £89 Nikon F3/T HP Body Exc + £395 £495 Nikon F5 body Mint £495 Canon EOS 30D + 17-85 IS Nikon MB-D10 Grip £149 Canon EOS 60D Body £675 Nikon MD-4 Motor Drive £95 Canon EOS 40D body £375 Sigma 18-50mm f2.6G AFS VR 80-400mm f4.7X Hasselblad 160mm CB Lens Bronica 65mm PS Bronica RF645 + 65mm Bronica 150mm PS Bronica 120 back SQAi Bronica 120 Back E RB67 ProS + 90 + 50mm RZ 180mm Lens RZ 120 Back NEW RZ67 Pro II Polaroid New RB67 180mm KL Lens Mamiya 645 105 .344 £5.197 £669 £1.098 £1.50mm Ex Demo Mamiya 7 .Large Ringlight Converter Fresnel 200 Spot Pulsar + Bowens Trigger card Pulsar Radio Trigger Single Pulsar Radio Trigger Twin £495 £564 £564 £859 £940 £473 £538 £321 £499 £203 £141 £233 LEICA M9 Black body LEICA M9 Steel Grey body “DEMO M9 IN STORE” 28mm f2 Summicron .7x Converter MB-D10 Grip 10.2 HC Lens 120mm f4 Macro HC II Lens 150mm f3. 399 EOS 1D MK4 £3.8G AFS D700 + 24 -120 f4G AFS VR D700 + 28 -300 AFS VR D3S Body D3S + 24-70 f2.006 £982 £846 £846 £569 £550 £1.500mm DG OS SIGMA 50 .8G AFS D7000 Body D7000 + 18-105mm VR D5100 + 18-55 VR £1.8G AFS D3S + 70 -200 f2.432 £4.2 35mm f2/Can ZE 50mm f1.376 £3.6 AFD VR 200-400 f4G AFS VRII 200mm f2G AFS VRII 300mm f2.2 28mm f2/Can ZE 35mm f2/Nik ZF.877 £19.Blk ZEISS ZM Lenses in stock LEICA X1 Black LEICA D-LUX 5 FUJI X100 Orders Taken £4.199 £449 £749 PROFESSIONAL Dealer “ASK ABOUT SPECIAL IN-STORE OFFERS ON NIKON CAMERAS AND LENSES” D300s I D700 I D3S I D3X I D90 I D7000 I LENSES I FLASHGUNS I ACCESSORIES D300S Body D300S + MB-D10 Grip D300S + 10 .4/Nik ZF.187 EOS 7D +18-135mm IS £1.248 £5.50 + 35-90mm H4D .8 ATX ProDX Tokina 16-50mm f 2.478 £2.8G AFS VRII D3X Body D3X +14-24 f2.499 £9.910 £3.299 £1.4B Transmitter GP1 .8 Mamiya 645 210mm f4 Mamiya 645 210mm f4 Pentax 300mm f4 SMC 6x7 Pentax 645 200m f4 SMC A Pentax 200mm f4 SMC 6x7 Mamiya 7 .5 HC II Lens HTS Tilt+ Shift Adapter 80mm f2.500mm DG OS SIGMA 85 f1.5-5.8 EX DG II SIGMA 70 .43mm + Finder Mamiya 7 .8 Macro 100mm f2.005 £1.199 £609 £987 £899 £749 TSE 17mm f4L TSE 24mm f3.122 £1.24 mm f 4.229 £1.759 £1.295 Nikkor 10.049 £5.933 £17.8 L II IS 400mm f4 DO IS 500mm f4 L IS 600mm f4 L IS 1.5/Can ZE 21mm f2.6 EX DC SIGMA 10-20mm f3.5/ 5.423 500C/500C Classic + Free Triggers 500R /500R Softbox/brolly Kit 250R /250R Softbox/brolly Kit 500R /500R Travel pak Kit 500R / 500R / 500R Kit 500/500 PRO Kit 500/500 PRO Travelpak Kit 500/500/500 PRO Kit 750/750 PRO Kit 750/750 PRO Travelpak Kit 750/750/750 PRO Kit 1000/1000 PRO Kit £816 £869 £821 £1.Blk 35mm f2 Summicron .Sil 50mm f2 Summicron .5-5.4x/1.8 AFD 50mm f1.Blk 50mm f2.899 £5.4 X EXTENDER III 2 X EXTENDER III 430EX II Speedlite 580EX II Speedlite BG-E8 GRIP .2011 .4G AFS New 85mm f1.5/Nik ZF.8G AFS D3X + 24-70 f2.153 £1.795 £1.2 £825 Nikon D2X body £895 Zeiss 85mm f1.4 ZF.8/Nik ZF.8G AFS D3S + 14-24 f2.UK PRICES INCLUDE VAT @ 20% (EXCLUDES MARGIN + COMMISSION SALES) Prices subject to change.774 £1.195 Canion EFS 17-85mm £275 Tamron 70-300mm Di Nikon £125 Canon EF 28-300mmL IS £1.5 Summarit .8 AFS DX D700 Body D700 + 50mm f1.5 Summarit .849 £4.5 HC Lens 35-90mm f4 -5.85 IS £1079 EOS 550D Body EOS 550D+18/55 IS EOS 600D Body EOS 600D+18/55 IS 10-22 EFS 17-55mm EFS 17-85mm EFS IS 18 .249 £3.299 5D MK II + 24-70mm f2.291 £1.449 £683 £877 £899 £779 £469 £855 £1.5 HC Lens £9.300mm f4 /5.169 £2.5-5.995 £9.662 £4.679 2 Year Warranty -1DSMK3 + 1DMK4 5D MKII Body £1.5 Micro AFS DX 105mm f2.70 f2.8D £549 Canon BG .994 £1.4G AFS 60mm f2.5mm f2.Small Travel Pak .348 £1.899 £2.550D BG-E6 GRIP .711 £2.122 PHONE £1.Blk 90mm f2.5 EX DC SIGMA 12 .243 £417 £1.995 Minolta Dimage Scan Multi Pro £1.

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