This document provides information about the September 2011 issue of Professional Photographer magazine. It includes details about new competitions being launched, interviews with professional photographers, reviews of photography equipment and software, and columns from industry experts. The cover image and various articles are highlighted to give readers a taste of the issue's content.

1. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK FOR PROFESSIONALS, BY PROFESSIONALS
PROFESSIONAL SINCE 1982 SEPTEMBER 2011 £4.20
PPOTY
AWARDS HOW
OUR 2011
COMPETITION
MUCH?
One picture,
●
IS LAUNCHED!
PROFESSIONAL PHOTOGRAPHER SEPTEMBER 2011 ●
£100,000
COLUMNIST:
Middlebrook THE BIG
tells it straight INTERVIEW
BEN DUFFY,
the 12th man
THE
UNDERCUTTERS
How to combat WHAT PROS WANT...
Weekend Warriors £1,400 of Bowens
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Does opportunity knock? & HEROES

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3. Everything in life changes, including
editors on magazines. We are all living
and working in an industry that is
founded on change. And certainly for
working photographers we need to look at
change as an opportunity. I am under no
illusion that many of you will not be overly
worried that one of the magazines you buy
has a new captain at the wheel, but I do as this is my life, my
passion and represents more than 75 hours per week of my time.
From my point of view, as the new Group Editor of Archant’s
Imaging titles and Editor of PP, the opportunity is very much to
evolve the magazine, to get to know its readers and to build a
legacy. From a reader’s perspective, the opportunity is to get
involved in the magazine and help to shape its future.
I genuinely mean that: whether it’s in contributing words and
images, sending in your ideas and thoughts or asking us to look
into an element of the imaging business that you need answers
about. After all, we are journalists and should act like them!
Yes, there are going to be changes in the magazine’s content and
look over the coming months, from new feature ideas to the layout
and design of PP, but I believe the changes will be for the better
for readers.
THIS MONTH
There are some exciting things going on this month, apart
from me joining the team, including the launch of our
Professional Photographer of the Year 2011 competition,
a new columnist in the form of Martin Middlebrook and
some rants from working pros about the age-old issue of
Weekend Warriors in the wedding business and dealing
with clients asking for free stuff. In addition, Brian Adams
(no, not the rocker) has shot an assignment entirely on
an iPhone 4 and in a new feature, What Pros Want,
a portrait shooter looks at some rather expensive
Bowens lights to see if he can ‘justify’ the
expense. If you are looking for some pure
inspiration, check out Ben Duffy's amazing
portraits of the world’s sports superstars
in our Big Interview. Another new
september
columnist is Selina Maitreya,
a US-based
marketing
expert who has
been working with
professional
photographers for
the past 30 years.
We wanna see
how the Yanks do things and if we can learn anything from them.
I hope you enjoy the issue and please feel free to send your
constructive feedback, feature ideas and pitches, picture stories,
thoughts and musings to us here. Have a great month.
Adam Scorey, Editor
THIS IMAGE AND COVER IMAGE BEN DUFFY
FRONT COVER
I love this shot by Ben Duffy
of Rory McIlroy, the 2011 US
Open golf winner. It is perfect
for the cover because of its feedback@professional
fun, yet striking expression. photographer.co.uk

4. NEW PHOTOGRAPHY
8 Student Portfolio
We take a look at the winning graduates in the Fresh Faced & Wild Eyed 2011 competition
29 Editor’s Choice
New PP Editor Adam Scorey chooses his favourite image from the online portfolio section
NEED TO KNOW
22 Professional Photographer of the Year 2011 COMPETITION
We launch this year’s PPOTY awards; which categories will you enter?
35 It’s Not All Glitz and Glamour NEW COLUMNIST
Martin Middlebrook explains the reality of a hard-working pro who will do anything to pay the bills
42 The Undercutters
Wedding photographer Mick Cookson reignites an age-old debate about ‘Weekend Warriors’
48 Stand Your Ground
Portrait photographer Craig Fleming explains why the profession needs to get tough
51 The Right Stuff NEW COLUMNIST
In the first of a new series, marketing guru Selina Maitreya reveals how to tackle branding and style
55 How Much? NEW SERIES
Hollywood A-list photographer Andy Gotts reveals how one image earned £100,000 for charity
56 Frontline
Lisa Pritchard, of Lisa Pritchard Agency, discusses the relationship between photographers and agents
58 Policing the Press
Peter Stevenson examines the world of photojournalists and their dealings with the police
INTERVIEWS & CHATS WITH...
60 The 12th Man
Commercial sports photographer Ben Duffy talks about the journey to the top of his game
70 iDo
We talk to the professional photographers who shot a wedding on an iPhone 4
74 Through My Own Eyes
Fine-art photographer John Kenny talks to PP about using a large-format camera on a project in Africa
106 Heroes
In a variation on our Legend series, Mick Cookson reveals why Bill Brandt is his ultimate idol
NEWS & REVIEWS
15 Click
This month’s line-up of the best news, books and exhibitions
81 What Pros Want...
We get working ‘togs’ to test the gear they want to buy. This month it’s Bowens’ new Gemini 500R TravelPak
89 Gadgets
Our pick of this month’s most exciting gizmos and gadgets
90 Imagenomic Portraiture 2
Portrait photographer Karl Shaw takes a closer look at a post-production plug-in for Photoshop
103 Stop Press...
The latest essential news, gossip and kit from the pro world
KEEP IN TOUCH
31 Feedback
Your thoughts, your opinions, your page
32 Podcast
Every issue we record a free podcast discussing a topic from the world of professional photography
46 Subscribe
Save 35% with our latest subscription offer so you never miss an issue

5. KARL SHAW

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7. contributors
ADAM SCOREY REBECCA STEAD KELLY WEECH SIMON REYNOLDS
The new Group Editor of Archant Art editor Rebecca has five years’ Features assistant Kelly joined Simon was a sub-editor on
Imaging has eight years’ of experience in magazine the team in 2009 and continues newspapers for more than 30
experience editing and 10 years’ design and has been with the PP to be passionate about years. His knowledge means
as a professional photographer. team since September 2010. all aspects of photography. our words are in safe hands.
JESSICA LAMB MARTIN MIDDLEBROOK BEN DUFFY LISA PRITCHARD
Jessica is the guardian of our Based in the Midlands, Martin is Ben was a sports photographer Lisa owns Lisa Pritchard Agency
website, Facebook and Twitter a commercial photojournalist for an agency before swapping and represents a wide range
pages, and keeps the readers and has been a contributor to PP press deadlines to specialise in of photographers. This month
up-to-date online. for the past two years. commercial sports images. she is our Frontline subject.
KARL SHAW BRIAN ADAMS CRAIG FLEMING ANDY GOTTS
Karl, a portrait and fashion Brian is a wedding photographer Specialising in editorial-style Hollywood A-list portrait
photographer based in the with more than 10 years’ portraiture and beauty, Craig has photographer Andy is best known
north-east, is only happy when experience. He lives in Florida been a professional photographer for his black-and-white images
shooting with his Nikon D3s. but works all over the world. for the past seven years. of actors and singers.
JOHN KENNY MICK COOKSON PETER STEVENSON SELINA MAITREYA
Photographer John has travelled Manchester-based Mick shoots Peter has worked in insurance American Selina has acted as
extensively across Africa since weddings in the UK. Before that for more than 30 years and is now a consultant to commercial
2006 and captured images of its he owned a production company director at InFocus, a specialist in photographers for 30 years, and
remotest communities. making TV commercials. insuring photographers. is also a lecturer and author.
Like what you see here? Why not check out our sister title, Photography Monthly?
The October issue will feature expert tips from the pros to help you shoot in low light
in any situation, as well as the secrets of subtle HDR.
7

8. The Photographers’ Gallery’s Fresh
Faced & Wild Eyed competition, now
in its fourth year, showcases the
portfolios of students who have
recently graduated from imaging
degree courses. Here we give just a
taste with one image from each of
the 20 winners. Complete portfolios
can be seen at www.photonet.org.uk
PORTFOLIO
RENHUI ZHAO
Course: MA Photography, London College of
Communication
Zhao’s work is based on doubt and uncertainty,
through the history and development of what he calls
the zoological gaze, ie how people view animals.
He tests the principles behind the dissemination of
knowledge and acceptance of truths.
Here he presents a series of photographs showing
leaf insects (part of the phylliidae family) on their
food/host plants taken from the 2009 Leaf Insect
Competition in Tokyo. The best of these leaf insect
breeds are shown every year at the Phylliidae
Convention in the city, where the species are shown
along with their foodplants and owners.
Pictured left, Winner, from The Great Pretenders.
www.zhaorenhui.com wwwcriticalzoologists.org
8

9. ALIS PELLESCHI
Course: BA Visual
Communications
(Photography), Birmingham
City University
Fashion Icons was inspired
by the notion that anyone can
be a fashion icon, and anyone
can be beautiful.
Two pensioners pose in
their own homes wearing
Kling by Kling’s designer
clothing. While the outfits
appear incongruous on the
subjects in their everyday
surroundings, they also
become the ‘fashion icons’ of
this photographer’s work.
Alis Pelleschi’s interest in
people and characters
informs her fashion and
portrait work; her wider
body of work includes many
unusual self-portrait
setups.
Pictured left, Usha, from
Fashion Icons.
www.alispelleschi.com
TEREZA ZELENKOVA
Course: BA Photographic
Arts, University of
Westminster
Supreme Vice evolved from
the photographer’s interest
in the revival of the occult
in the Western world
during the 19th century.
The work considers our
susceptibility to irrational
beliefs that often grow
from the desire to make
sense of the natural
(dis)order of things.
However, while this project
reflects on the 19th and
early 20th centuries, the
images invoke death as the
only objective truth of our
existence. Nothing is real,
everything is permitted,
according to Zelenkova.
Pictured right,Canon
Docre, from Supreme Vice.
www.terezazelenkova.com
9

10. JUNG-WOOK MOK
Course: BA Photography, London College of Communication
The experience of being unable to revisit demolished and
redeveloped areas of the South Korean capital, Seoul, where
the photographer grew up, inspired this project.
Working with footage taken from various sources,
Mok tries to reproduce the diverse moments of ‘explosive
demolition’ as a significant symbolic event and
transformation of the urban environment. Triggering lost
memories, the intention is not only to capture the whole
passage of demolition in one picture, but also to
revisualise the abstract, ambiguous character of the
transfiguration by using a long exposure.
Pictured below, Figure 01 from The Urban Topography
Research project.
LUCA GIACOSA
Course: BA Documentary
Photography, University of Wales,
Newport
“Wolves are presences, worries in the
shepherds’ minds, their eyes are like
glowing embers in the darkness,” says IDA ARENTOFT
Luca. In the past 20 years they have Course: BA Fine Art Photography,
returned to the Western Alps; this was Glasgow School of Art
made possible because while wolves,
deer, chamois and wild pigs were The important elements in the series
reconquering the Alps, thousands of Passing are a recurring sense of
mountain-dwelling people were an absence or a mere trace of a
abandoning the region for the factories presence. The images resonate
and suburbs of Italian cities. a stillness, where subtle actions
Wolves have become the scapegoat happen and emerge in glimpses.
for problems that afflict these areas, Finding or creating spaces of
and coexistence seems like a utopian indeterminacy through the time of
ideal. The aim of this project is year, the sombre shades of night,
to explore and document the battle or the glaring light of the flash, play
between nature and humans. important roles and help to build
Pictured above, the chestnut forests a sense of time moving both forwards
that surround the village of Snive, in and backwards.
north-west Italy, have been used by Pictured below, Untitled (Red House
various wild animals to spread from 53) from Passing.
valley to valley in the last few decades. www.idaarentoft.com
From Pian del Louv.
CHIARA TOCCI
Course: BA Documentary Photography,
University of Wales, Newport
Life After Zog and Other Stories is a portrait of Albania
20 years after the collapse of Communism, as the country
tries to throw off its past and move forward. It portrays
a nation on the verge of change, wanting to join the
European Union, and longing for what is new and modern.
Tocci visited the northern mountains, the cities, schools
and prisons, discovering an enchanted place inhabited by
people who “share the land with their ancestors’ ghosts.”
Time and history often seem to have stopped abruptly, but
blood feuds and disillusionment persist. Pictured above,
Roses, Donika, 13 from Life After Zog and Other Stories.
www.chiaratocci.com
10

11. YOSHI KAMETANI
Course: BA Photography and Film,
Edinburgh Napier University
SYLWIA KOWALCZYK
An organised collection of visual Course: MFA Photography, Edinburgh
information, Plastic Spoon has College of Art
evolved from four years of building
relationships with the residents of Kowalczyk’s Temporal Portraits
Muirhouse, Edinburgh, one of the developed in reaction to society’s
most deprived public housing estates obsession with celebrity and
in the UK. ‘identifiable’ portraits. Her work, by
The scheme has suffered high contrast, is not interested in drawing
unemployment rates and issues with attention to the individual's identity.
drugs and violence. It is located on the The images are deliberately
outskirts of a city that – conversely – unaccompanied by a name or title,
KYLE ZETO has one of the highest numbers of compelling the viewer to complete
Course: BA Fine Art, Central Saint Martins College of Art and Design millionaires per capita in the country. the image themselves as they are
The photographs capture individuals, at times confronted with just a lock of
Human imagination and nature have intersected throughout cultural history. landscapes, objects and domestic hair at the back of a neck or
From the English poet and artist William Blake to Canadian poet Bliss Carman and settings that communicate the feeling a fragment of face emerging from
American writer and philosopher Henry David Thoreau, biological systems have of isolation, alienation and a sense of behind a curtain of hair.
provided stimuli to human fantasy. For Zeto a representation of nature has a vision eccentricity specific to Muirhouse. Pictured below, Untitled, no 9 from
projected on to it. Anthropomorphism is attributing human characteristics to Pictured above, Playground from the Temporal Portraits.
something inhuman or perhaps inanimate. “Nature, to us, is both those things.” Plastic Spoon series. www.sylwiakowalczyk.com
Pictured above, Hivehead from Folk Logic. www.mryoshi.com
GITTE HOETBJERG
Course: BA Fine Art Photography, Glasgow School of Art
Hoetbjerg’s work explores intimacy through the fragile borders between distance
and closeness. Uncompromising in her approach, Hoetbjerg tries to engage
directly with the intimacy of her subjects, creating both graphic and more subtle
images, hinting at the affective and reflective nature of human beings.
Pictured above, Boys from A Show.
www.gittehoetbjerghansen.com
11

12. CAMERON HAYNES
Course: MA Photography, London
College of Communication
Haynes explores the interplay
between identity and classification
with individual and collective
consciousness, and examines how
these inform our understanding of
visual representation. More interested
in the perception of things than how
they look in themselves, Haynes uses
found portraits which he manipulates. SONAL KANTARIA
The surface of the photograph is Course: MA Photojournalism, University of Westminster
rendered opaque, leaving small areas
of original colour exposed in order Against the backdrop of an India emerging as a major player in
to highlight the skin of the subject, global markets, millions of people have been involved in human
thus creating absurd taxonomic trafficking. Girls as young as 10 years old, frequently from the
schemes which aims to highlight the poorest backgrounds, are being kidnapped and sold to brothels,
inaccuracy of data collection when sometimes by their own families.
used to define individuals. This project explores the stories of a number of girls and young
Pictured left, Yellowish White, from women who have been rescued from the brothels of Mumbai and
What it Means to Be. nearby Pune to be reintegrated into society and, if appropriate,
returned home. The work touches on the social, economic and
cultural issues that affect contemporary India.
Pictured above, Arati from Naseeb: Trafficked.
www.sonalkantaria.com
ANDREW BRUCE
Course: BA Photography, University for the Creative Arts,
Farnham
“We divide the landscape and exclude nature from our day-to-day
existence; we barely notice the ‘thud’ against our vehicle when we
literally come into contact with animals,” says Bruce.
His work takes this moment of contact, the ‘road kill’, as its
starting point. Tender is a meditation upon morality and our
increasingly detached relationship to nature. There is an
ambiguity in the title; on the one hand it is about intimacy, on the
other it makes reference to pain. The work is made methodically,
ELISA NOGUERA LOPEZ using an 8 x 10 view camera and life-size analogue handprints.
Course: MA Photography, London College Pictured above, #01, from Tender.
of Communication www.brucebruce.co.uk
Using elements from an imaginary
household, Noguera Lopez places her
subjects in the centre of the photograph, FAN CHON HOO
raised with small footstools as if they are Course: BA Photography, London College of Communication
resting on plinths. The curtains and
upholstery materials, used as a backdrop, This work responds to the Willow Pattern developed by English
flatten the image and accentuate the craftsmen in the late 18th century. Fan Chon Hoo is interested in
amorphous positions adopted by sitters. how a foreign cultural form can be appropriated and translated
By presenting both anonymous people into an exotic collectable. He creates paper ‘earthenware’ printed
and unidentified pets, the intention is to in cyanotype and embellished with imaginary landscapes showing
emphasise the ordinary details, textures oriental architectural structures found in the UK. Fan Chon Hoo
and shapes within the images, and to wants to challenge cyanotype’s association with the ‘blueprint’ by
abstract the relationship between considering the question of origin and fluidity of cultures.
the human and the domesticated. Pictured left, Article #3, Teacup, from The Blue and White
Pictured above, Untitled 1, from Perhaps Collection.
Finally Alone. www.fanchonhoo.net
12

13. AMI BARNES
CLARE HEWITT SAMANTHA HARVEY & Course: BA Photography in the Arts,
Course: BA Commercial Photography, Arts University College, ANNA BROOKS Swansea Metropolitan University
Bournemouth Course: BA Graphic Design and
Photography, Kingston University Photography can be used to
In Britain the law relating to assisted suicide is in a state of confusion document life; but it can also play
and has recently been the focus of extensive public debate. The ethical issues and paranoia a role in shaping experience. In this
Through producing these portraits, and interviewing her subjects, surrounding the law on work Barnes seeks to challenge the
Hewitt has tried to make a more humanistic link between individuals photographing children in today's traditional role of the camera as
and the wider arguments. The work examines how compassion and society are controversial and have passive observer and highlight it as
understanding at a personal level interact with society’s moral, legal, caused confusion. This collaborative an active agent in personal
medical and sociological values. project questions the point at relationships with those around her.
Pictured above, Raymond Tallis, retired professor of geriatric which photographing children will The series First Dates is the
medicine, from The Value of Life and Death. be completely forbidden. collaborative result of relationships
www.clarehewitt.co.uk Pictured above,Class Portrait. and interactions with the people who
www.samantha-harvey.co.uk appear alongside Barnes. It is an
www.anna-brooks.com exploration in control, the
experience of the self through
another and the potential of the
camera to merge art and reality.
Pictured below, Stéphan, a video
still from First Dates.
www.amibarnes.com
OCHI REYES
Course: BA Photographic Arts, University of Westminster
Reyes’s own body and thoughts are the basis for a critical
examination of society’s expectations to do with identity.
The thoughts scratched on to her skin are related to not fitting in
and the feeling of anxiety arising from this displacement. Fresh Faced & Wild Eyed 2011 is the
It is not only this malleability of the skin that interests Reyes, but Photographers’ Gallery’s annual competition
also the idea that skin absorbs information from the outside world; it for recent graduates. Entries were submitted
is the interface between the self and others, both separating us and online and judges then chose the work for the
becoming the physical link between our bodies. website exhibition. To see more images in all of
Pictured above, 27th May 2010, from Revelations. the winning photographers’ portfolios, go to
www.ochireyes.com http://freshfacedwildeyed.photonet.org.uk/
13

15. PP - CLICK - SEPT 10/08/2011 10:35 Page 15
click
A tribute to Tim
Magnum Photos is to represent the
archive of the late photojournalist Tim
news/books/exhibitions
Hetherington, who was killed by
a mortar shell in Libya on 20 April this
© GUY BOURDIN
year. A vote to accept the British Charles Jourdan
photographer’s work, which includes advertisement,
still and moving images from his spring 1979.
fateful trip to Libya, was held at
Magnum’s 64th annual meeting in Bourdin in your pocket
Paris. Hetherington was celebrated The work of the influential and often controversial French fashion photographer Guy
for his groundbreaking approach to Bourdin is traced in a new pocket-sized hardback. It presents 55 photographs in
photojournalism, which embraced chronological order, including some of his most famous work as well as previously
many mediums, as well as his fearless unpublished images. Bourdin worked for French Vogue magazine for more than 30 years,
storytelling. His legacy includes the from the mid-1950s to the mid-1980s, shooting campaigns for some of the biggest names in
2010 Oscar-nominated film Restrepo, fashion. The impact of his imagery, which rejected product shots in favour of a more
which he filmed while embedded with atmospheric, often surreal style, is still felt today in both commercial and fine art
the US Army in Afghanistan. To read photography. Guy Bourdin, by Alison Gingeras, published by Phaidon Press, £7.95,
our interview with Hetherington ISBN: 978-0-7148-6258-3. www.phaidon.com
from the PP’s October 2010 issue, visit
www.professionalphotographer.co.uk.
www.magnumphotos.com
www.timhetherington.com
Lichfield in the limelight
Patrick Lichfield was known for his iconic
images of public personalities and royalty,
and as the Queen’s cousin he enjoyed access
Back to its roots to a glamorous world. A new book covers his
Hasselblad has been bought by career from the 1960s to his death in 2005,
Ventizz Capital Fund IV, a private and includes more than 300 colour images.
equity firm based in Switzerland and A linked exhibition will be held at the Chris
Germany. Its acquisition brings the Beetles Gallery, London, in December.
Swedish-founded manufacturer www.chrisbeetlesfinephotographs.com
back to its European roots after Patrick Lichfield: Perceptions, by Martin
eight years of ownership by the Harrison, published by Quadrille on
Hong Kong based Shriro Group. 3 October, £30, ISBN: 978-184400948-0.
www.quadrille.co.uk/books/art-and-travel
15

16. click A look on the bright side
We know you’ve seen his 1984 image, Afghan Girl, a thousand
times, but that doesn’t make its impact any less powerful.
Steve McCurry, Magnum master and king of colour, is the latest
to have an exhibition of work at Chris Beetles Fine Photographs
in London. Largely featuring McCurry’s images of India, the
exhibition also journeys to places as varied as Bhutan in South
Asia, Kuwait and Cuba, as well as showing Afghan Girl.
A common thread is McCurry’s skill at capturing humanity
news/books/exhibitions
and strength in the most unlikely of places, from a refugee camp
in Pakistan to a sandstorm in Rajasthan.
© STEVE McCURRY
Steve McCurry, Chris Beetles Fine Photographs, 3-5
Swallow Street, London W1B 4DE, 6-24 September.
www.chrisbeetlesfinephotographs.com Jodhpur, India, 2005.
South African witness
A touring exhibition in Liverpool is showcasing more
than 90 images shot in South Africa by Magnum
photographer Ian Berry. Covering the period from
1960 to 2004, they document the collapse of
apartheid, the appointment of Nelson Mandela as
the country’s first black president, and its
aftermath. The display includes images of the
Sharpeville massacre in 1960; Berry was the only
photographer to document the scene when armed
police fired on crowds protesting against the
apartheid regime, killing around 70 people.
Living Apart: Photographs of Apartheid by Ian
© MAGNUM PHOTOS
Berry, International Slavery Museum, Albert Dock,
© HENRY WESSEL
An impromptu Liverpool L3 4AX, until 6 November 2011,
pavement dance, admission free. www.liverpoolmuseums.org.uk
Johannesburg ,1961.
Nothing but the
Crosby Street,
SoHo, New York,
Hawaii Seven-O
1978.
Struth If you haven’t had a summer
holiday this year, immerse
The Whitechapel Gallery, London, yourself in Waikiki, a new book
is staging an exhibition of work by by American documentary
German art photographer photographer Henry Wessel that
Thomas Struth; his first solo documents the sun-soaked
show in the UK for almost 20 Hawaiian capital of Honolulu.
years. Struth was taught by Shot in the 1970s, the pictures
© THOMAS STRUTH
Bernd and Hilla Becher in showcase Wessel’s gift for
Düsseldorf, which shaped his capturing shape and form
style. He began his career perfectly. Don’t expect
capturing the streets of cities tourist-style picture postcard
such as Düsseldorf, Brussels, London and Naples. In the past three decades he has turned shots; rather a series of subtle
his attention to photographing family portraits, technology sites − such as Kennedy Space moments, captured beautifully.
Center − and places of faith and belief. This is a rare opportunity to see Struth’s work Waikiki, by Henry Wessel,
exhibited in the UK. The collection includes large-scale photographs – some up to four published by Steidl, £50,
metres wide – as well as his early black-and-white images of European cities. ISBN: 978-3-86930-300-0.
Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, 77-82 Whitechapel High www.steidlville.com
Street, London E1 7QX, tickets: £9.50/£7.50 concessions. www.whitechapelgallery.org
A vine Oliviero Toscani, the genius behind the controversial Benetton campaigns (featured in the January issue of
romance PP) has brought his creativity to the wine trade. The Italian photographer and Tuscan vineyard owner’s OT
wine is made from a blend of Syrah, Cabernet Franc and Petit Verdot grape varieties. www.otwine.com
16

17. © Airy Goullet
© JURGEN DABEEDIN
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19. PP - CLICK - SEPT 10/08/2011 10:37 Page 19
click
Louis Smith, Huntingdon
Gymnastics Club,
Cambridgeshire, The D-Lite-it
March 2011,
© FINLAY MACKAY / NATIONAL PORTRAIT GALLERY / BT ROAD TO 2012 PROJECT
news/books/exhibitions
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Going up a gear from £470 inc vat
BXRi
Road to 2012: Changing Pace is the second exhibition at the National Portrait Gallery,
London, in a three-year cycle funded by BT, and documents Britain’s top athletes and their
supporters, as well as key figures behind the London 2012 Olympic and Paralympic
Games. The 37 images on display are by Emma Hardy and Finlay MacKay, the latest
photographers to be commissioned for the project. Subjects include London 2012 chairman
Lord Coe, film maker Danny Boyle, who is artistic director of the opening ceremony, and
world triple jump champion Phillips Idowu.
Road to 2012: Changing Pace, National Portrait Gallery, St Martin’s Place, London
WC2 0HE, until 25 September 2011, admission free. www.npg.org.uk/roadto2012
Raising the bar
The overall winners of the first Bar-Tur
Award, a prize that recognises new talent in
the photographic world, have been announced.
Open to students and graduates of University
of the Arts London, it has been established in BXRi Kit from
memory of Ann Lesley Bar-Tur (1947-1984), £785 inc vat
RANGER RX
a talented British artist and alumna of Chelsea
College of Art and Design. The judging panel,
which included portrait photographer Platon Q UADRA
Antoniou, selected Briony Campbell in the
Alumni category for her project Eating Dad’s
Dinner, which she began after her father was
diagnosed with terminal cancer. Sam Ledger
© SAM LEDGER
was the winner of the student award for his
black-and-white image 7982619518114.0
(pictured). www.barturaward.com
Canon Pro Solutions Show 2011
It’s back! This year’s Canon Pro Solutions Show will take place on 25 and 26 October at the
Business Design Centre in Islington, London. It’s the third year for this show, which is aimed at
video, still image and broadcast pros, and features the latest Canon products. With the
convergence of still and moving image having a big impact on the industry, this will continue to
be an important element of the 2011 event. Free seminars by Canon ambassadors and
well-known photographers and film makers will take place over the two days and trained
professionals will be on hand to inspire visitors. The Professional Photographer team will be
there too, so drop by and say hello. Entry to the show is free if you pre-register online at
Quadra Kits
www.canon.co.uk/prosolutions2011 from £1085
inc vat E&EO

21. Ta k e n o n P E N
PHOTOGRAPHER: PHILIP VOLKERS
L O C AT I O N : L O N D O N M AY 2 0 1 1
MODEL: ALEX CROWE-EVANS

22. PROFES
PHOTOG
OF THE YEAR
22
ENTER NOW

23. SIONAL
RAPHER
2011
To celebrate the talent in the UK’s
photographic community, we are officially
launching our Professional Photographer of
the Year awards for 2011. The response to
last year’s competition was amazing, and
we say a huge thank you to the sponsors,
judges and readers for their hard work and
THROUGH OUR WEBSITE commitment. We’d love to build upon this
WWW.PROFESSIONAL success and create a competition in which
PHOTOGRAPHER.CO.UK the whole industry wants to participate
23

24. 2011
OF THE YEAR AWARDS
Keeping things simple is often the best way photography magazines, websites and
to handle complex scenarios, and this year’s social media outlets. He was a professional
competition will be kept as straightforward newspaper and TV photographer for more
as possible. It will be hosted on the than 10 years.
Professional Photographer (PP) website,
and each issue of PP, from next month to ANDY GOTTS has been a photographer to
February 2012, will feature some of the Hollywood A-list actors, from Brad Pitt to
judges’ favourites that have been uploaded Daniel Radcliffe, for the past
so far. In April 2012 we will host an official 21 years, and many have become friends.
prizegiving ceremony and party for the He is also president of the British Institute
winners, judges and sponsors. More on of Professional Photographers (BIPP).
the party in future issues.
The May 2012 issue of PP will include TOM CATCHESIDES is a leading UK wedding
a PPOTY Special Edition showcasing images photographer who also does portraits,
from the winners and runners-up in corporate events and PR work. In 2009 he
a 24-page section, including interviews, founded Light Blue Software, one of the
comments from the judges and images from sponsors of the PPOTY awards this year.
the winners’ party.
Opposite page: Winner of the Professional
THE COMPETITION Photographer of the Year title and of the Fashion
This year we are having 13 categories, award 2010, Arseniy Semyonov.
with a winner and a runner-up in each. Right: Winner of the Editorial award 2010,
Rebecca Litchfield. Below: Winner of the
There will then be a final judging to Advertising award 2010, Tim Wallace.
select the Professional Photographer of
the Year. To enter just log on to
www.professionalphotographer.co.uk
and submit your entries in the given
categories. You don’t have to enter all
of them; you may pick just the ones
where you feel strongest. The deadline
is Friday, January 27, 2012.
THE JUDGES
PAUL SANDERS has been the Picture Editor
of The Times since 2004. As well as being
a keen photographer himself, he is equally
obsessive about cycling, and blogs about it
at cyclingdisorder.blogspot.com
BEN DUFFY is an internationally renowned
commercial sports photographer who
has shot just about every A-list sports star.
His impressive client list includes adidas,
Nike, the Premier League and EA Sports.
ADAM SCOREY is the Group Editor for
Archant Imaging and is responsible for the
editorial direction of its portfolio of
24

25. 25

26. 26

27. 2011
OF THE YEAR AWARDS
THE CATEGORIES
We have 13 categories for photographers to
enter and the titles are generic to encourage
as many as possible to take part. There will
be a winner and runner-up in each category,
plus Best Portfolio winner and the
Professional Photographer of the Year title.
You may enter as many categories as you
like but are limited to one image in each,
with the exception of the Portfolio Award.
1. HIGH FASHION – from a head shot to
a full length, we want to see images
oozing style
2. STREET PHOTOGRAPHY – raw, candid,
colour or mono, a visual comment
3. THE WILD WORLD – show Mother
Nature’s true character
4. COMMERCIAL CLIENTS – from abstract
architecture to industrial Britain
5. IN THE STUDIO – show us your mastery
of light
Opposite page: Winner of the Travel award
6. ON LOCATION – from gritty urban scenes 2010, Paul Thurlow. Above: Winner of the
to polished city portraits, we want to see Weddings/Social Reportage award 2010,
Sacha Miller. Right: Winner of the Contemporary
you show skill at using the surroundings
Art award 2010, Sergey Lekomtsev.
to enhance your image
7. SPORTING ACTION – show us your
perfect timing, amazing lens control and
how you capture the passion WHAT DO YOU WIN?
8. REPORTAGE WEDDINGS – are you the We would like to think that becoming
next Jeff Ascough? Professional Photographer of the Year 2011,
9. STILL LIFE – let the judges see your or a category or Portfolio winner, are strong
control of lens choice, depth of field enough reasons for entering. Yes, there will
and composition be an exclusive winners’ party with sponsors
10. STUDENT OF THE YEAR – an open and judges, plus magazine staff, but we also
THE SPONSORS
category for anyone in full-time education feel that you need to get something a bit
studying a photographic discipline extra. So, each winner will receive an
11. EDITORIAL/NEWS – from hard to soft, exclusive logo to promote themselves to the
show us your skills at interpreting a brief industry and to their clients, which can then
and responding to events as they unfold be used to help market themselves through
12. BREAKING THE MOULD – another open websites, stationery and business cards,
category for everything weird, wacky and as a mark of distinction and a sign of quality.
avant-garde – have some fun! In addition, there will be a section created
13. THE PORTFOLIO AWARD – this goes to on the PP website profiling the PPOTY
the photographer with what the judges winners, using this logo as a reference point,
consider the strongest overall portfolio so potential clients can visit and discover
of three images. The category and their awardwinning photographer.
subject matter are open, and we This would be used as a click-through
encourage you to submit new images from the winners’ websites back to the
from one or more shoots PP website. PP
27

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29. Scorey’s favourite from this month’s Portfolio uploads
You may think I picked
this shot because it’s of
an attractive woman in a
skin-tight wetsuit. Partly.
But on closer inspection
you can see the crafting
of the light, the subtlety
and balance Chris has
used that shows a real
understanding of lighting
- I particularly like the rim
lights. There are multiple
lights in use against the
dark wetsuit with a
contrasting face and
swimming cap. It’s tricky,
exposure-wise, but what
I like about it, more than
anything, is its simplicity
and its symmetry.
The lighting really
enhances the subject,
rather than overpowering
it. Very nice. PP
www.christopherneil
photography.co.uk
CHRISTOPHER NEIL LLEWELLYN
Want your image featured
here? Upload your shots to
www.professionalphotographer.co.uk
29

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31. { feedback }
tell us what you think via Twitter @prophotomag or Facebook Pro Photo Mag
or by email feedback@professionalphotographer.co.uk
feedback@professionalphotographer.co.uk PRO PHOTO MAG
Dear Professional Photographer, see as ‘art’, mainly as each image Dear Professional Photographer, loads of photographers specialising
I read with interest your article that we take and see needs some I just wanted to say another big in unusual types of work out there.
‘Call it Whatever You Want but form of interpretation. The old thank you to Professional Tim Shaw
Don’t Call it Art’ in Professional cliché can be brought into play here Photographer magazine for
Photographer (June 2011). in that the beauty (or otherwise) is selecting me as a winner of the Dear Professional Photographer,
This subject has absorbed me for very much in the eye of the Shoot the Catwalk Competition Great magazine, have been
some time, and I discussed it in beholder. For me, I’d rather have earlier this year. Are you guys subscribing for a few years,
my 2008 book Photographic some form of response than apathy. planning another FW comp? always something new.
Composition. Basically I think Apathy is a nasty, horrid thing and (I'd love the opportunity to shoot George Davies
some photography IS art, but a lot creates what I call ‘holes’. NY Fashion Week!)
is not. Even some ‘art’ is not art! Some form of response allows us Margaret Yescombe Dear Professional Photographer,
To make progress I think you need to learn and, ultimately, grow. Excellent magazine. Great to see
a definition against which to Personally, I’d love photography Dear Professional Photographer, fellow photographers’ work,
measure. In my case I use creativity to become ‘cool’ again – if I can Love the mag, even better when I techniques and experiences.
(essential) plus craftsmanship (with use that word. But this would mean get a picture printed in the Alastair Bell
some flexibility) plus emotional we may need ‘leaders’ or icons to Portfolio section. Thanks. Great
response (essential). I find help show us the ‘way’ – a Banksy issue this month. Dear Professional Photographer,
this quite reliable – for pictures, or Jamie Oliver type. The biggest Paul Thurlow Who is the new Editor of the
sculpture, music etc. I have no time problem I can see, other than the Professional Photographer Mag?
for photography which just apes sheer volume of people shooting Dear Professional Photographer, Maria Dragan
painting, or some of the more now – and what they’re shooting on Excellent read, but I am starting to
vacuous ‘arty’ work. But I do like – is that ‘cool’ is as cyclical as the think I am the only photographer Dear Maria,
to be moved by a photograph, be it fashion industry. Does photography doing construction and civil The new Editor of Professional
reportage, abstract or avant-garde. lead art or visa versa? Or, as I engineering. I would like to see Photographer is Adam Scorey.
I feel we are a bit stuck in this suspect, is it that events to which more varied work, other than Pro Photo Mag
formulaic ‘contemporary’ phase of we as photographers respond really fashion, weddings; there must be
conceptual constructions and blank dictate things?
face. As I said in my earlier letter I guess we now also have to bring
(PP, December 2010) what we need in technology as part of the process;
is not snob photography, but good new developments (from camera
@prophotomag
photography. This applies to all sensors to Speedlights) and
genres, including the commercial. software can massively affect our Some nice interviews in latest since some of regular contributors
Geoff Roe, via letter inspiration and what we can now do @prophotomag Kalvar, Mollica, will no longer be in it.
with our creative juices. Hansen and Georgiou all @jamiewillmott
Dear Geoff, A point I feel strongly about, and #Goodstuff. @lensgrunt
I understand your point fully; what one you have mentioned, is that of @prophotomag question: if
do we call our pictures now – the importance of craftsmanship. Praise from @peterdench for everyone’s practically leaving the
images or photographs? Technically I think this is an essential Press & Editorial Photography mag as said in this month’s issue,
what’s to look forward to next
they are not photographs... Perhaps ingredient that should be fostered graduates’ London show in Aug’s
month? @jamamini
with a more formal definition, this and grown in all of us. I love @prophotomag p35 – “work is
transitional phase we are all in and technology, gear and gadgets, but good and democratic”. @jamamini Still plenty to look
coming to terms with may be easier it should be up to the photographer @UCFalmouth forward to in the next issue. The
to understand/handle. However, I how best to employ all of them. philosophy of the magazine will
do think we all need to keep an Adam Scorey, Group Editor, @prophotomag I’m interested to remain the same: by pros, for pros.
open mind and treat everything we Archant Imaging see what the next mag will be like, @prophotomag PP
31

32. PP - Podcast - SEPT 10/08/2011 10:55 Page 32
podcast
ON YOUR
WAVELENGTH
Every month we record a free-to-download podcast in which we discuss, debate and talk
around a subject featured in the magazine. We post them on our website and you can subscribe
for free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online
THIS MONTH’S PODCAST July 2011 Issue May 2011 Issue
September 2011 Issue HOW MUCH IS YOUR BOOKSHELF WORTH? CONVERGENCE AND THE FUTURE
NEW PPOTY AWARDS LAUNCHED The podcast contributors talk about collecting OF PHOTOGRAPHY
New PP Editor and Imaging Group Editor photography books. They examine why some The impact of HD DSLR film making on the
Adam Scorey is joined by Jeff Meyer, who has books have not only held their price but world of professional photography is the podcast
just taken over at the helm of our sister title, dramatically increased in value while others have topic this month. With many stills photographers
Photography Monthly, to discuss the been relegated to the dusty shelf of obscurity. now being asked to shoot video, the debate
Professional Photographer of the Year 2011 Long-time photo book collector Grant Scott focuses on problem areas such as narrative,
Awards and the latest developments in the explains his passion and the discussion turns to sound and editing, and how stills photographers
world of photography. the ways of spotting a good investment. are reacting to this new world.
AND THOSE YOU MAY HAVE MISSED… June 2011 Issue April 2011 Issue
August 2011 Issue THE BEST OF BRITISH PHOTOGRAPHY GETTING YOUR WORK EXHIBITED
HIT THE STREETS The podcast discussion this month revolves The podcast contributors discuss the world
The previous PP Editor, Grant Scott, and his around the Best of British list published in the of exhibitions. As curator and exhibitor
deputy editor, Eleanor O’Kane, discuss PP June issue. The team look at some of the respectively, Grant Scott and Peter Dench share
the renaissance of street photography with great names of British photography through the their experiences and look at the wider benefits
photojournalist Peter Dench. He explains his decades, stand up for their own personal of making an exhibition of yourself.
passion for this type of work and talks about favourites and ask why some periods have seen
photographers who have influenced and a proliferation of great British photographers. You can subscribe for free and download the
inspired him. They are joined by editorial If you feel a photographer who deserved to be podcasts from iTunes by typing professional
photographer and PP podcast fan Chris Floyd, included has been left out drop us an email at photographer into the search tab or listen via
who shares his thoughts on the subject. feedback@ professionalphotographer.co.uk www.professionalphotographer.co.uk. PP
32

33. Th

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35. MIDDLEBROOK
IT’S NOT ALL GLITZ...
...AND GLAMOUR
Straight-talking pro MARTIN MIDDLEBROOK asks us to sympathise with the unglamorous
reality of hard-working pros who will do any assignment to pay the bills, but then blows it
with talk of basking in the heat of the south of France enjoying a large beer for lunch
This year I have 10 articles, and I also work as a consultant my bitch, is this: it’s not how it used to be.
photographed a door and to an advertising agency. I took myself off to Hell, what am I saying? I don’t really remember
a fireplace, a skin care Mumbai to gather images that might form how it used to be, but they tell me it was splendid
conference and a man part of a new humanitarian project, but and fine – how lovely!
dressed as a banana – that are presently just being used to fill the
oh, and one dressed as a pages of articles I have to write. WHERE’S THE CASH?
strawberry. I have also It’s not all glitz and glamour, not everyone There are too many photographers and too few
exhibited at the British Museum and am is Nick Knight or Rankin, so most of us grab budgets; the maths are simple, and so you have
laying out a book on my Afghanistan project. what we can to fulfil our lives creatively and to to think a little laterally about how you might
I have redesigned my website and written pay the mortgage. This is our reality. So my gripe, continue to make a living. Everyone says you
35

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37. need a website, so you do that. But it’s not
MIDDLEBROOK
enough. Get a blog and a Facebook page too,
but you probably need to sell the kids to produce
that vanity coffee table book – a giveaway that
will bring you no work, but massage your
sensitive soul. You had better get your head
around convergence as well, it’s coming for sure,
they keep telling you; so HD is your latest
upgrade, and Final Cut Pro.
However, you are spread too thinly, you can’t
do any of it well – some of it you can’t do at all
– and all the time, what you get paid for this work
is tumbling out of control because some upstart
is offering to photograph weddings for £150.
You can’t compete with that, what with the
mortgage and the camera upgrade you have just
taken, and your legal obligation to feed the kids
and not use them as collateral against your
misguided investments. As circles go, it’s
becoming harder to square.
It gets harder, too, to remind ourselves why
we do this; that old creativity chestnut looks
a little worn out when you are photographing
a man dressed as a banana and, if I am honest,
the fireplace shoot didn’t rock my boat.
FOLLIES
The wonder of the human condition is the
“The equation is as follows: Banana suit + foreign travel
unquenchable desire to put yourself through it + skin care + social media (yawn) + no daily commute
all, again and again, even though common sense
says you are just stabbing yourself in the eye. + earning just enough to live = A damn happy life!”
So I am off to Provence to continue a personal
project on bullfighting that I began about six
Martin Middlebrook
years ago. Another self-financed folly that
will swell my portfolio and make me feel good
for a while, but won’t bring me the adulation of
Sebastião Salgado, just an infected mosquito bite.
BUGGERED IF I KNOW
So why do we do it? Why do we still have faith in
it all? Why do we risk so much, often for so little?
Well, I’m buggered if I know, but I think it’s
something to do with not really wanting a proper
job. We insist that nothing will kill our ‘very
being’ more swiftly and efficiently than a
harassed daily commute and a tyrannical boss;
we believe that somehow our skills should provide
us with a life outside of that little loop, that
we deserve it, that we are somehow superior
people – but, of course, we are not!
We couldn’t hack corporate life if we tried, so
we capitulate and swim like swans; all grace and
splendid beauty above the surface, but a frantic,
negligent paddle below. And I should know, I have
been eking out that little parody for longer than
I can remember, always on the edge of glory,
or an abyss. The worst part is this: every time
I think I can’t do it any more, something amazing Above top to bottom: Man dressed as a banana with his sidekick; Bullfighting in
drops from the sky like candy and somehow Provence from Martin’s personal project. Previous page: Photographing paint drying.
37