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JULY 2011 ONLY £4.20INSPIRING • INFORMATIVE • HONEST • ESSENTIALWWW.PROFESSIONALPHOTOGRAPHER.CO.UK

PROFESSIONAL SINCE 1982

“I would say to any artist: Don’t be repressed in yourwork, dare to experiment, consider any urge, if in a

new direction all the better.”Edward Weston

SUCCESS IS IN THE DETAIL

IN THIS ISSUE:WE FIND OUT HOW TO BECOMEA BLOG STAR,HOW TO MAKEMONEY FROM BOOKS,

PLUS:ROBERT WYATT

ON SHOOTINGREAL WOMEN &

AN EXCLUSIVEOLYMPUS XZ-1

PORTFOLIO

HOW WOMEN REPORT FROMCOMBAT ZONES AND HOW PETER DENCH & CLIVE BOOTH GOT ON SHOOTING THEROYAL WEDDING

Times Style twinsby Robert Wyatt

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Ask any pro photographer what they hope toachieve with their careers and, apart fromthe obvious fast cars, fast girls (or boys,of course) and vast wealth, the twoachievements that say to your peers youhave really made it are havinga monograph of your work published andhaving your images exhibited.This month we take a long, hard look at the

world of publishing, both online and intraditional format.What’s the Jackanory?is the hugely popular blog that has made

photographer Andrew Hetherington a web star. You can find out how onPage 57 in So You Wanna Be a Rock & Blog Star. Despite the rapidgrowth of online platforms there are still people out there perfecting thetraditional crafts to create items of beauty and quality. One companyfollowing this path are 21st Editions; you can find out more about them andthe books they produce on Page 66 in Old School Rules. Bookbinders ofthe world, we salute you!There is nothing a photographer likes more than owning photography

books but have you ever considered them to be an investment?Peter Silverton was shocked at some of the prices being asked for certaintomes and wanted to find out why. Check out his findings on Page 60 inHow Much is Your Bookshelf Worth?Robert Wyatt is yet to have a book of his work published but his latest

project based on the naked form of real women is bound to get noticed.You can see his work and hear about his inspirations on Page 48 in Keepingit Real.Which just leaves me enough space to recommend you read about two of

our regular columnists, Dench and Booth, going head to head to cover theRoyal Wedding on Page 80 in Pete and Clive Live. Two different ways ofapproaching the same subject; that’s what we like here at PP, an open churchwhere everyone gets a say. Until next month.

Grant Scott, Editor

welcomejuly

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NEW PHOTOGRAPHY8PortfolioThe best of your work posted on to our online portfolio.

47ExposureAn image that caught our eye by one of thissummer’s crop of photography graduates.

NEED TO KNOW24Being TherePP Editor Grant Scott recalls a career-definingshoot in Turin at the secret home of the enigmaticand eccentric Carlo Mollino.

28DispatchesThis month Clive Booth does a shoot with butcher tothe stars and food hero Jack O’Shea.

32 TheDenchDiaryIn his regular column, our award-winning andsometime pro Peter Dench shares his experiencesof beauty contests and the LA porn industry.

38 TheWorld of ConvergenceFilm maker John Campbell’s regular news-packedtake on the world of convergence.

40 FrontlineWe ask Choi Liu, art buyer at M&C Saatchi, abouther approach to commissioning photography andhow she keeps abreast of new work.

45Guess the LightingEver seen a great image and wanted to know howit was lit? Ted Sabarese explains all.

60HowMuch is yourBookshelfWorth?Peter Silverton examines the market for collectingphotography books and discovers what makes for agood investment.

66Old School Rules21st Editions is a fine art book publisher that firmlyvalues traditional craftsmanship and quality.Julia Molony talks to its founders about why theyproduce such unique photography books.

70 TheManWhoKnewHowIn a Being There special, PP Editor Grant Scottpays tribute to photographer John Hedgecoe, whoguided generations with his bestselling books.

80Pete&Clive LiveWhen it came to the wedding of the year, PPregulars Peter Dench and Clive Booth sprang intoaction on behalf of editorial clients. Here they sharetheir experiences of shooting the Royal Wedding.

106 LegendPeter Silverton dips into the career of Americanphotographer Larry Sultan.

contentsjuly

Above:This imageofFrenchfilmsirenBrigitteBardotbyCornelLucas isondisplay thissummeratashowhonouring theBritish filmphotographer.SeetheClicksection,startingonpage14, formoredetails.

www.professionalphotographer.co.uk 5

23DiaryOur pick of this month’s most exciting photographicexhibitions around the UK and beyond.

95 StopPress...The latest essential news, gossip and kit from thepro world.

KEEP IN TOUCH26PodcastCheck out our free photographic discussion for themasses. Every edition we record a podcast debatingthe issues affecting professional photographers.

36 SubscribeCheck out our latest subscription offers so that younever miss an issue.

43 FeedbackYour thoughts, your opinions, your page.

INTERVIEWS WITH...48Keeping it RealWe talk to Robert Wyatt, one of Britain’s leadingfashion photographers, about his work and thecreative collaboration with his wife.

57 So YouWannaBe aRock&Blog StarNew York based photographer Andrew Hetheringtontells us how his blog has become essential reading.

74Bringing it All BackHomeAlison Baskerville explains what it’s like to work inthe Ministry of Defence Combat Camera Team.

NEWS & REVIEWS14 ClickThis month’s line-up of the best news, dreams,themes and photographic schemes.

PP - CONTENTS - JULY:Layout 1 07/06/2011 15:10

© Archant Specialist. Archant Specialist is part of Archant Ltd.�While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor isresponsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are acceptedfor publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the contentis in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permissionof the publisher.

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GROUP BRAND EDITOR Grant [email protected] EDITOR Eleanor O’[email protected] EDITOR Rebecca [email protected] EDITOR Simon [email protected] ASSISTANT Kelly [email protected] ASSISTANT Jessica [email protected] EDITORSLondon: Suzanne Hodgart, Geoff Waring,Jonathan Worth. New York: Jake Chessum,Phyllis Giarnese, David Eustace

As one of Britain’s leading fashionphotographers, Robert is used toshooting women who conform tosociety’s view of perfection forclients such as BritishVogue and thefashion brand Prada. For his mostrecent project, however, he chose tophotograph a series of real women,which he discusses in the interviewwith Julia Molony, starting on page48. He also tells us about thesuccessful collaboration with hisstylist wife Lucy.

Editorial photographer AndrewHetherington was born in Irelandbut now lives in NewYork wherehe shoots for magazines such asDetails, GQ, Esquire and MarieClaire. His passion for photography,as well as his wit, are evident in hisblog,What’s the Jackanory?, whichis read widely by the internationalphotographic community.In our interview on page 57 heexplains how he has created thiswell-loved website.

Alison joined the RAF Police at theage of 21 and served in NorthernIreland and Iraq, where she boughther first camera. Twelve years andsix medals later she left the forcesand got an MA in photojournalism.She is now serving with the BritishArmy’s Combat Camera Team inAfghanistan, from where she spoketo us. On page 74 Alison explainsthe realities of shooting in a warzone and what it’s like to be the firstand only woman in her team.

Croydon-born Jake Chessum startedhis photographic career working formagazines such as The Face andELLE. Now based in NewYork hetravels extensively shooting forclients such as NewYork magazine.In his image-based blog, The DailyChessum, he shows us how he viewsthe world – through a unique andgraphically skilled eye. We askedhim to create a portfolio with theOlympus XZ-1 and you can see theresults on page 86.

RobertWyattPhotographer

AndrewHetheringtonPhotographer

AlisonBaskervillePhotographer

JakeChessumPhotographer

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8 www.professionalphotographer.co.uk

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Each month we share the best ofthe latest postings from ouronline portfolio with our magazinereaders, so for your chance toappear in Professional Photographer,go online and start uploadingyour best images towww.professionalphotographer.co.uk.If you want to see more ofany photographer’s work, go totheir online profile to access theirwebsite details.

NESTA YEUNG,HONG KONG

REKHA GARTON,UK



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MARKO MESTROVIC,AUSTRIA

PAUL THURLOW,UK

ALEKSANDR TIKHANSKIY,UK

ADOLF PANONSKIJ,BOSNIA-HERZEGOVINA

ORR NIR,ISRAEL



PIETER VANDEUR,BELGIUM

JOHN JACKSON,USA

JOHN SCULLY,IRELAND



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ALENA JASZCZENKO,UK

ALENA JASZCZENKO,UK

JAMES SKILLING,UK

MARTYN NORSWORTHY,UK

DARRAN ARMSTRONG,UK



the latestphotographic news,dreams, themesand schemes.edited by Eleanor O’Kane

Girlson filmVintage glamour seems to be allthe rage this month, as ChrisBeetles Fine Photographs showspictures by British filmphotographer Cornel Lucas.Born in 1920, he worked at theRAF School of Photographyduring the Second World Warand also assisted Cecil Beaton.A sitting with Marlene Dietrichproved to be a baptism of fireand led to a successful career asthe photographer of choice forthe British film industry.In 1998 he became the first stillsphotographer to be awarded aBafta, for his services to the filmindustry. The exhibition runsuntil 27 August.Cornel Lucas, Chris BeetlesFine Photographs,3-5 Swallow Street,LondonW1B 4DE.www.chrisbeetlesfinephotographs.com

Rayof lightA man of many talents, Man Ray was both a Surrealistartist and photographic pioneer who shot hundreds ofportraits at his studio in Paris, including those of artistfriends and members of his creative circle. His archiveof more than 12,000 negatives is housed at the CentrePompidou in Paris. A new book, Man Ray Portraits,from German publisher Schirmer/Mosel features 500of his most significant portraits. The work is testimonyto 20th-century French cultural society as well asMan Ray’s position within it.Man Ray PortraitsParis, Hollywood, Paris1921-1976, published bySchirmer/Mosel, £55,ISBN: 978-3-8296-0503-8.www.schirmer-mosel.com

DianaDors,1954.

In full swing

clickWe featured Brian Duffy in our Best of Britishlist last month. As part of the so-called BlackTrinity with Terence Donovan and David Bailey,Duffy led a life as exciting as his celebritysubjects and famously destroyedmany of hisnegatives in 1979. The first full retrospectiveof his work is being held this summer,encompassing his portraits and fashionphotography as well as iconic commercialcommissions such as the Pirelli calendars andthe album sleeve for Bowie’s Aladdin Sane.Duffy, 8 July-28 August, Idea GenerationGallery, 11 Chance Street, London, E2 7JB.www.ideageneration.co.uk

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The programme for Visa pour l’Image,the prestigious photojournalismfestival, has been announced. It willtake place in Perpignan in south-westFrance from27 August-11 Septemberand exhibitors include our very owncolumnist and sometimeworking proPeter Dench.www.visapourlimage.com

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Hooray forHollywoodVintage American glamour comes to theNational Portrait Gallery in a newexhibition, Glamour of the Gods:Hollywood Portraits. Icons of the silverscreen such as Louise Brooks, ClarkGable and James Dean will be featuredalongside stills from films such as RebelWithout a Cause and Swing Time. Most ofthe images are from the John KobalFoundation. At the time the pictures inthis exhibition were being taken, theHollywood studios would distributepublicity images as widely as possible,

labelling them ‘copyright free’ in orderto ensure maximum exposure. As aresult, many leading photographers’names were forgotten. John Kobal begancollecting film photography in the1950s, seeking to give recognition tothe photographers behind the lens.This collection of almost 70 images notonly puts the stars in the spotlight butalso highlights some important filmstudio photographers, such as DavisBoulton and Ruth Harriet Louise.Glamour of the Gods: HollywoodPortraits, 7 July-23 October, NationalPortrait Gallery. www.npg.org.

NevergonnagiveyouupDon your leather blouson and knock back a Bacardiand Coke because the 1980s are back! North-westLondon gallery artisan is showing Don’t you (forgetabout me!), subtitled ‘A snapshot of the 80’s by ChrisDuffy’, a retrospective of images that sum up thedecade of power dressing and New Romantics.Chris is the son of Brian Duffy and started his careeras third assistant to the legendary Britishphotographer. His images of the pop stars of the eraremind us that, despite its lack of taste, the decadewas one of groundbreaking fashion and music.Don’t you (forget about me!), 8 July-6 August,artisan, 80 Harlesden Road, London, NW102BE. www.artisan80.com

LouiseBrooks,1929byEugeneRobertRichee.

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BankManagerat theBaths,Budapest,1938,byKárolyEscher.

Self-portrait,October181953,NewYork.

BearingwitnessThink of Hungary and photography might not automatically spring to mind but thecentral European country is the homeland of legends such as Robert Capa, Brassaïand André Kertész. A new exhibition at the Royal Academy in London celebrates thewealth of photography that Hungary has given birth to with works by Brassaï, Capa,Kertész, László Moholy-Nagy and Martin Munkácsi. These photographers forged newcareers abroad and in doing so influenced the path of modern photography,from Capa’s fearless war photojournalism to Munkácsi’s dynamic fashion images forHarper’s Bazaar. With more than 200 photographs ranging from 1914to 1989, the exhibition will also feature works by lesser-knownnames who remained in their homeland, contributing to thecountry’s rich photographic heritage.Eyewitness: Hungarian Photography in the 20thCentury – Brassaï, Capa, Kertész, Moholy-Nagy,Munkácsi, 30 June-2 October, The RoyalAcademy. www.royalacademy.org

We have 5pairs of ticketsto the exhibition

(worth £18 a pair)to give away.

To enter our competition visitwww.professionalphotographer.co.uk/

eyewitness

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Secretsand livesA display of the work of secret street photographer Vivian Maier is one ofthe highlights of London Street Photography Festival 2011, which takesplace throughout July. The Chicago nanny’s staggering collection of workwas discovered only after her death, a legacy of more than 100,000negatives which are the only clue to the extraordinary life she led.Vivian Maier: A Life Uncovered, 1-24 July, German Gymnasium, PancrasRoad, NW1 2TB. www.londonstreetphotographyfestival.org

If you’ve ever had ambitions to work at the New YorkTimes, a new US documentary might make you gladyou didn’t. Page One: Inside the New York Timesis a compelling film that takes a candid look at thepressures of working on one of the world’s greatestnewspapers at a time when new media and Wikileaksthreaten to undermine traditional journalism.www.magpictures.com/pageone

I used to call myself a warphotographer. Now I consider myselfas an antiwar photographer.James Nachtwey

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PP - CLICK - July 06/06/2011 15:10

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DistantshoresChris Killip is a British photographer and professor of visual andenvironmental studies at Harvard University, where he has taughtsince 1991. In 1982 he began photographing the seacoalers ofLynemouth beach in Northumberland, who made a living from thewaste coal that washed ashore and who stayed in a camp nearby.In 1983-84 Killip documented the community and lived among them.Steidl has published 124 of his images in a book that takes acompassionate look at a community facing a hard way of life.Seacoal, by Chris Killip, published by Steidl, £32,ISBN: 978-3-86930-256-0. www.steidlville.com

Landholdersand labourers.

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RetracingpathsLast month we featured Simon Norfolk in our Best of British list forhis unceasing exploration of war and how it affects our lives andlandscapes. For one of his latest projects he journeyed to Afghanistanin the footsteps of 19th-century Irish war photographer John Burke,who chronicled the Second Anglo-Afghan War from 1878 to 1880.The book, BURKE + NORFOLK Photographs from the War inAfghanistan, features Burke’s original images as well as Norfolk’smodern-day pictures of Kabul and Helmand. The result isa striking work and artistic collaboration across the centuries.BURKE + NORFOLK Photographs from theWar in Afghanistan, by JohnBurke and Simon Norfolk, published by Dewi Lewis Publishing, £40,ISBN: 978-1-907893-11-7. www.dewilewispublishing.com

Websites we’re watchingThis month we’ve been checking out The Photography Post, which brings togetherthe latest happenings in all areas of photography from fashion to reportage.There’s even a jobs section if you feel like jacking it all in and heading to the States.http://thephotographypost.com


PP - CLICK - July 06/06/2011 15:11

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We have done the hard work for you this month and chosen our essentialthree photographic exhibitions on show now or coming up soon. For a full listof exhibitions and events visit www.professionalphotographer.co.uk

Kate Moss by the Greatest PhotographersLa Galerie de l’Instant, 46 Rue de Poitou, 75003 Paris(Fr) 1 44 54 94 09; www.lagaleriedelinstant.comUntil 14 September 2011; free admissionSince the early 1990s Kate Moss has captured and fascinatedthe minds of the public. She has become one of the world’smost photographed models and the muse of many artists,photographers and fashion designers. First photographed byCorinne Day and Mario Sorrenti, the early ‘waif’ imagesdepicted a young, innocent Moss. However, her popularisationof the ‘heroin chic’ look caused worldwide controversy. In themid-1990s, photographers such as Paolo Roversi, PeterLindbergh and Ellen von Unwerth revealed a more womanlyside to the model. This exhibition showcases images taken overMoss’s 20-year career which reveal her versatility in front ofthe camera. The display at this Parisian gallery features imagesof Moss by 15 photographers, from Bert Stern and BettinaRheims to Patrick Demarchelier and Albert Watson.

The Face of the Artist: Photographs by JohnHedgecoeSainsbury Centre for Visual Arts, University of East Anglia, Norwich, NR4 7TJ016 0359 3199; www.scva.ac.uk21 June to 4 December; Admission £4, concessions £2Sainsbury Centre for Visual Arts will be displaying amajor collection of portraits by John Hedgecoe this year.The acclaimed British photographer, teacher and writerof books on photography is perhaps best known for hisportraits of artists, leading figures and for his profileshot of the Queen taken in June 1967, which still appearson British postage stamps today. The display coincideswith Manchester Art Gallery’s touring exhibition,A World Observed: Dorothy Bohm’s Images. Turn topage 70 for a Being There Special about Hedgecoe.

Mick Jagger: Young in the ’60sNational Portrait Gallery, St Martin’s Place, London, WC2H 0HE020 7806 0055; www.npg.org.ukUntil 27 November; free admissionDefining images from the early years of Mick Jagger and the RollingStones will be on display in the Bookshop Gallery throughout thissummer and autumn. The National Portrait Gallery has built up a vastcollection of images of the rock ’n’ roll band over the past 40 years,starting with a gift from Cecil Beaton in 1972 of his portrait of Jaggertaken in Morocco in 1967. The display includes images from thiscollection, as well as new acquisitions, including portraits of the singerby Gered Mankowitz, who became the band’s official photographer,aged 18. The exhibition coincides with the release of Mick Jagger:The Photobook by Thames & Hudson, a collection of more than 70images spanning 50 years of Jagger’s career. Mick Jagger: Young in the’60s is a must-see for any fan of the singer or the Rolling Stones.

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FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THEPROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk

KateMoss inreddress,2004.

ArtistFrancisBacon,1969.

MickJagger,1967.

PP -DIARY - JULY 07/06/2011 14:51


Until I was commissionedby the art director of ElleDecoration magazine totravel to Turin to shootan interiors story I hadnever heard of CarloMollino and, for thatmatter, I had never shot

an interiors story. The discovery of Mollinoand my first shoot for Elle Decoration,however, were to help shape my career overthe coming years.The art director at Elle Decoration was aware

of my own previous existence as an art director,my love of design, Italy and obsession withbuying obscure 20th-century furniture, and thiscombination, added to the fact that I could shootportraits, had evidently made me first choice toshoot an eight-page story around the mysteriousMollino and his even more mysterious home.Carlo Mollino was born in 1905 in Turin, the

son of an engineer. As he grew up, he becameexpert at a wide range of disciplines, includingphotography, skiing (he wrote landmark manualson how to do both), furniture design, interiordesign, product design, fashion, architecture,motor racing (he designed, built and raced hisown car), women and the occult. He was a masterof the outrageous and the anarchic, believing thatnew ways were the only ones worth following,and his family wealth allowed him to pursue thisunique path. He once said: “Everything ispermissible as long as it is fantastic.” His life wasfilled with success and innovation, and he workedright up to his death in 1973.Okay, I hear you say, that’s interesting but

where is all this going? Well, in the early 1980sa fellow Italian named Fulvio Ferrari (great nameand a great man) discovered that Carlo Mollinohad lived a secret life in a secret home with asecret love of a particular type of photographyand woman. Perched on the edge of the river Po inthe centre of Turin sits a rented 19th-centuryapartment in which Mollino had createda mausoleum for himself based on the beliefs ofthe ancient Egyptian Pharaohs and various

mystical traditions. Few knew of its existence andwhen Fulvio managed to gain access after yearsof trying he found a series of rooms that had beenleft to stagnate ever since Mollino’s death. In themain bedroom, in a highly decorated box coveredin pictures of butterflies, lay thousands ofPolaroid images created by him through the 1960sand up until his death. They were all of womenin various states of dress or undress carefullystyled by Mollino. In his fantasy they were thewomen who would keep him company in theafter-life; in reality they were local women ofthe night brought to him by his chauffeur to hisvilla to be photographed.Today Fulvio still keeps the Mollino torch

burning, having turned the apartment into anappointment-only museum and by archivingMollino’s images and publishing them in a seriesof books. Fulvio had spent years restoring theapartment to its former glories and I was to be thefirst photographer to be allowed to enter andphotograph it. This job had now gone from beinga commission to being an honour.

I travelled out to Turin on a Ryanair flight fromStansted on a Friday evening with a journalistfrom the magazine, armed with a bag of cameras,film and the smallest Gitzo tripod I had. I wastravelling light. When we arrived in Turin theweather was cold and drizzly, and our hotel wasfunctional but depressingly faded. It was not agood start. The following morning the sun hardlyrose as we set off across town to Mollino’sapartment to start our two-day shoot. I wasrelying on available light, hoping for crisp, cold,north Italian light but what I had was no light.My tripod and slow exposures on fast film wouldhave to be my saviour.Fulvio was waiting, full of good cheer, outside

the villa containing the apartment. A slight,eccentric man with an Italian academic air, hispassion for the world of Mollino was immediateas he ushered us into the library-quiet interior.It was impossible to ignore the atmosphere – theair crackled with something I could not put myfinger on. It felt welcoming, yet imposing, daringyou to enter. Little did I know what lay ahead.

After a quick tour we were ready to startshooting. What little light there was created awonderfully atmospheric air to the rooms and Icouldn’t wait to get started. Fulvio and thejournalist went off to a local café were it would bewarm (the apartment had no heating) to discussMollino in depth and I started to look around themain living area looking for angles and areas tostart shooting. In one corner of the lounge stoodMollino’s original radiogram and a few of hisrecords, all of which were in Italian. I turned iton, picked a record from the dusty covers anddropped it on to the platter; I lowered the armand the room was filled immediately with the richsound of some Italian baritone singing aboutI do not know what, but it sounded fantastic and

A commission to shoot his first interiors story led PP Editor Grant Scott into the worldof a deceased Italian genius and eccentric, as well as on a journey into the unknown.

A restless spirit

“I was to be the first photographer to be allowed to enter [the apartment]and photograph it. This job had now gone from being a commission tobeing an honour.” Grant Scott

PP - BEING THERE - JULY 06/06/2011 15:38


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I was transported in this strange space to the timein which both had been created.I started to take some light readings and settled

on a position from which to shoot my first image.I loaded a couple of film backs, settled on a lensand fitted my Hasselblad body to the tripod head.Immediately the central column tightening screwcollapsed, sending the head platform down to thecolumn ring. I threw my fingers under the bodyand saved it from jarring, but crushed my fingersin the process. I instantly thought that it had beenmy fault and that the central column had not beentightened correctly. Carefully I took everythingapart, only to find the central column tightenerhad just fallen apart (I have since discussed thiswith the guys from Gitzo and they couldn’tunderstand how it had happened either and it hasnever happened to me since with anymanufacturer’s tripod, including Gitzo).The tripod was wrecked, I only had one with meand the lack of light meant that without it therewas no shoot. I couldn’t leave the villa as I didn’thave a key to get back in. I needed a tripod repairplan and quickly. Having rifled through thekitchen drawers I found a roll of heavy dutyplaster tape which would have to save the day.I fixed the central column, guessing a multi-useheight, and wrapped metres of tape around it tokeep it in place. It was not a great fix but it wasokay and with some care and imagination Istarted shooting and compiling the narrative ofmy interiors shoot, covering details, rooms andconnecting spaces. The images came togetherquickly and apart from having to stop to changethe records on the radiogram I was ‘in the zone’working almost without thought, as each imageseemed to suggest the next one with little inputfrom me. It was a shoot with a rhythm.I even experimented with a torn piece of black

card placed over the lens in a filter holder tofurther emphasise the other-worldliness of thisstrange place. It was a great place to take pictures;the atmosphere was strange but right. By the earlyafternoon I had finished what had meant to be atwo-day shoot and when Fulvio and the journalistreturned I was ready to shoot the portrait ofFulvio, pack up and go, leaving me the Sundayfree to explore Turin. Fulvio had other ideas; hewanted his portrait taken with his daughter thenext day, after we had had lunch with his familyin Mollino’s villa. His enthusiasm and kindnesswere too much to refuse, so we agreed to return.The Sunday was a little brighter, but not by

much. My taped-together tripod was going tohave to perform one more time. After a delightfullunch Fulvio and his daughter (who was as

delightfully eccentric as her father, with wildsticky-out hair) settled themselves by the marblefireplace where I had asked them to stand fortheir portrait. I took a light reading, set thecamera and shot and pulled a Polaroid. I waitedand then peeled off the backing. Nothing.I rechecked my light reading and shot anotherPolaroid. Nothing. I repeated this procedure threemore times with no resulting Polaroid. This hadnever happened to me before (and never hasagain) and I could only imagine that the pack wascorrupted. I had one more pack left so I opened itup and reloaded the Polaroid back, rechecked thereadings once more and shot another Polaroid.Nothing, just another blank Polaroid. Again Irepeated the procedure, once more with no result.There was nothing for it; I was going to have totrust the light meter, load some film and go for it,which is exactly what I did.

Why did the tripod break and the Polaroid notwork?Your guess is as good as mine but on theway back the journalist asked if I believed inspiritual things like ghosts. I said I was not surebut that I was open to things I didn’t understand.“That’s good,” she said, “because I think there wassomething very strange about that place we justphotographed, I never felt comfortable there.”The magazine was delighted with the images.

The feature ran across eight pages and they hadsuch a positive response that a new career openedfor me as an interiors photographer withElle Decoration and their competitors. It wasa signature shoot for me, and was exhibited andappeared in books on Mollino for years afterthat cold weekend in Turin where everything wentwrong, but somehow turned out okay.

www.grantscott.com

PP

“Why did the tripod break and the Polaroid not work? Your guess is as good as mine but onthe way back the journalist asked if I believed in spiritual things like ghosts.” Grant Scott

Fulvio Ferrariand his daughter.

PP - BEING THERE - JULY 06/06/2011 15:40


THIS MONTH’S PODCASTJuly 2011 IssueHOWMUCH IS YOUR BOOKSHELF WORTH?PP Editor Grant Scott and deputy editorEleanor O’Kane are joined by regular columnistand photojournalist Peter Dench to talk aboutcollecting photography books. They examinewhy some books have not only held their pricebut dramatically increased in value while othershave been relegated to the dusty shelf ofobscurity. Long-time photo book collector GrantScott explains his passion and the team discusshow to spot a good investment as well as lookingat what makes a classic photo book.

AND THOSE YOU MAY HAVE MISSED…June 2011 IssueTHE BEST OF BRITISH PHOTOGRAPHYThe regular podcast team gather round to discussthe Best of British list that we published in theJune issue. The team look at some of the greatnames of British photography through thedecades, stand up for their own personalfavourites and ask why some periods have seena proliferation of great British photographers.

May 2011 IssueCONVERGENCE AND THE FUTUREOF PHOTOGRAPHYThe team discuss the impact of HD DSLRfilm making on the world of professionalphotography. With many photographers nowbeing asked to shoot video, the team focuson areas that pose problems for some stillsphotographers, such as narrative, sound and theediting process. They also look at how stillsphotographers are reacting to this new world.

April 2011 IssueGETTING YOUR WORK EXHIBITEDThe regular PP podcast team discuss theworld of exhibitions. As curator and exhibitorrespectively, Grant and Peter share theirexperiences and look at the wider benefits ofmaking an exhibition of yourself.

March 2011 IssueTHE PERSONAL PROJECT SPECIALThe team grapple with the importance ofcreating personal projects for sustaining anddeveloping a photographer’s career. Should a

photographer approach the project in thesame way as a commission or adopt a differenttack? They look at photographers whohave got it right in the past and discuss whetherthere are too many introspective projects beingproduced by photography students.

February 2011 IssueTHE BUSINESS SPECIALThe regular podcast team get down to businessas they discuss the world of tax, finance andmarketing. They ponder whether possessingbusiness and creative skills go hand in hand,discuss potential areas where seekingprofessional advice could reap rewards anddebate whether or not current photographystudents are aware of the importance ofbusiness skills when choosing a career asa professional photographer.

You can subscribe for free and download thepodcasts from iTunes by typing professionalphotographer into the search tab or listen viawww.professionalphotographer.co.uk. PP

WAVELENGTHEvery month we record a free-to-download podcast in which we discuss, debate and talkaround a subject featured in the magazine. We post them on our website and you can subscribefor free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online.

ON YOURpodcast

PP -Podcast - JULY 03/06/2011 16:39

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dispatchestales from the frontline of professional photographyClive Booth

Superstar butcher? Admittedly the twowords in the same sentence seem like acontradiction in terms; that is until you meetJack O’Shea: 38 years old, 6ft, slim, long,reddish-blond hair, pale skin, blue eyes witha soft Tipperary accent, charm and witcombined with humour and mischief. Add tothis a Paul Smith jacket and shirt, rippedDiesels and scuffed, brown Oliver Sweeneysand he’s got a certain kind of cool.Never more so than when he talks about hisprofession and passion for meat. He speakswith confidence and conviction, and is not shy todisagree and speak his mind (especially when itcomes to vegetarians!).An eighth-generation butcher from Tipperary,

Ireland, his roots in the meat industry can betraced back as far as 1790. He left his father’sbusiness to open a store, first in Brussels, thenKnightsbridge before moving to the 40ft meatcounter in the food hall at Selfridges. He wasnamed Butcher of theYear in The IndependentFood and Drink Awards in 2009 and his client listis a who’s who of British and European culinaryexcellence, including Heston Blumenthal, MarkHix, Richard Corrigan and Antonio Carluccio.He has a generous helping of A-list custom from,among others, the Beckhams and rock luminary

This month:Animal carcasses andglinting knives get Clive’screative juices flowingwhen he works on a shootwith a food hero.

CLI

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PP -DISPATCHES -JULY 06/06/2011 16:19

“The most exciting aspect of this collaboration was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgment to both style and shoot him in a way that I felt

would best represent him and project this image to a wider market.” Clive Booth




dispatches

Robert Plant, and has even got Simon Cowell’svote. I first met Jack after shooting food andportraits for Heston Blumenthal last year. He is afriend of Heston and his development chef, JamesPetrie, who is also a friend of mine. He saw thepictures and something in the spontaneity,looseness and freedom appealed to him, so westarted a conversation well over 12 months beforewe shot a single frame together.The most exciting aspect of this collaboration

was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgmentto both style and shoot him in a way that I feltwould best represent him and project this imageto a wider market. We had a loose excuse to doa test shoot based on photographing cuts of meatbut my real interest was in Jack and seeing howfar we could push the conventions, and makewhat I saw in my head translate into pictures andin turn talk to an audience.Jack agreed to cover the costs and I agreed to

shoot for no fee on condition I had my favouritestudio, IRIS, and team, Billy Waters assisting andMichael Williams second assistant, digital techand post-production. Initially I wanted to shoot innatural light as the studio has six large windowsalong with skylights, but early March allowedonly for a limited amount of daylight so we optedfor continuous light instead, one 2.5k, two 1.2kand one 650w HMIs, along with frames, silks,flags, stands, plinths and clamps.For several days prior to shooting, Jack and I

had been exchanging phone calls: “Should I bringmy aprons?” No! Let’s keep it simple, besidesthat’s predictable, I’d like it to look as if you’vejust walked in off the street... what do you feel

most comfortable in? Black shirt? Then you’llneed a couple of brand new ones before the shootand better make sure they’re pressed. “I’m havinga hair cut... not too short?” No! “Which jacket?”Have you got something dark with a funky lining?“Any jewellery or accessories and which belt?”...This sometimes went on late into the eveningalong with a healthy banter and much laughter.Wardrobe sorted, so what props? “I have two veryworn, solid-oak butcher’s blocks, saw, machete,sword and dagger!” (A cleaver, 20in butcher’sknife and what looks, at least to me, like it couldactually be a dagger) “plus two lamb carcassesand several very large pieces of Angus cow.”It’s 8am on Sunday 6 March, shoot day: Billy

and I decide to create a simple set against the coveof the studio using two double wind-up standsand a scaffolding tube, on to which we would usemeat hooks to hang the carcasses. Jack appearswith a BMW full of meat. As we start to load thealready sagging goalpost it’s clear we need moreand Jack dispatches a car to Selfridges while Billystarts to build the rest of the set: a simple white

1m plinth with the two butcher’s blocks, and threelights with lots of frost and silks. Michael sets upthe 27in iMac and Capture One Pro tethered to aCanon EOS-1Ds MkIII while I build the ZacutoCross Fire and Z-Finder around the CanonEOS-1D MkIV. This wasn’t just going to be a testfor Jack as I had decided to shoot both stills andvideo, and make the most of our time together.By 11am we are set and I want an establishing

shot. The plinth and blocks are moved and weplonk Jack on an antique chair stolen from thestudio reception. Jack, a man comfortable in hisown skin, saunters over and takes a seat; thebackdrop of hung carcasses, along with a 20inblade in one hand and butcher’s steel (bladesharpener) in the other, hint at his professionwhile the dark blue jacket, shirt and jeans say heis something other than the norm. We play withthe light, 2.5k HMI key light with heavy frost,1.2k HMI rim light, and a 650w HMI to paint thebackground, moving, frosting and flagging untilfinally I feel happy – and then, using the 85mmf/1.2, I start to shoot a portrait. With Jack’s C

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“...early March allowed only for alimited amount of daylight so weopted for continuous lightinstead, one 2.5k, two 1.2k andone 650w HMIs, along withframes, silks, flags, stands,plinths and clamps.” Clive Booth



half-smile and blade glinting, I’m not surewhether I’m photographing a butcher or a serialkiller; either way it looks cool and I continue toshoot. Happy with the stills I move to the 1DMkIV on the Zacuto and the Manfrotto videotripod, getting Jack to wander in and out of shot.He takes no directing as he nonchalantly movesfrom behind the camera to inspect the meat, thensits and pretends to play the drums with his bladeand steel. To emphasise the star quality I moveout wide and include the lighting stands, cables,Magliner trolley and monitor, making full use ofthe usually unseen studio paraphernalia to giveadditional kudos to Jack seated centre stage.I decide to shoot another portrait from a higher

angle and ask him to take a confrontational stancesurrounded by carcasses. He looks directly intocamera, hair swept behind his ears, and I can’tdecide if I’m shooting Jack or Harvey Keitel’sMr White in Reservoir Dogs (“You shoot me ina dream, you better wake up and apologise.”)“Can you lose the blade, Jack?” He does so rightin the neck of a lamb carcass which in turn adds

even more attitude to the picture as it quivers andglints under the HMIs.He unfastens his jacket and casually slips it on

a hanger alongside the carcasses. Chair gone,plinth and blocks in place, I move in to workaround him, shooting into the key light with Billyreflecting fill as Jack chooses a piece of meat.It’s single-sourced Angus beef from his home inIreland and he’s involved in every aspect of thejourney, from genetics, conception and feedingregime through to the slaughter and hangingwhich can take from three to four weeks, withdaily checks culminating in the butchery andcooking advice. As a consequence the meat isdifferent in appearance to anything I’ve ever seen,with its hard, blackish crust and deep-yellow fat.As Jack rolls up his sleeves and uses the steel tosharpen the huge knife, we all take a step back.The butcher’s equivalent of Edward Scissorhands,he takes apart the beef carcass explaining theanatomical details as he saws, cuts and chops hisway through muscle, fat and bone. He sniffs,tastes and at times caresses the meat with oily,powdery, bone-crusted fingers and when he hasfinished, six gigantic deep-scarlet and fat-marbledPorterhouse steaks are glistening on the block.For the next six hours we repeat this process

time after time shooting from different angles,

stopping and starting as I run through 24mm,35mm, 50mm, 85mm, 180mm. Michael feverishlydownloads the stills in Capture One Pro which areimmediately profiled; the look is very slightlydesaturated with the meat remaining deep red.At times the pictures are gruesome and yet overallthe feel is exactly as we had intended, loose andcasual, reportage food. As Jack methodicallyextracts cut after cut of meat I extract cut after cutof HD DSLR footage. Shooting film and stillsposes no real problem as I exchange 1Ds MkIIIfor 1D MkIV working mainly handheldthroughout. While I really love shooting the stills,it’s the moving imagery that wins the day and fora client like Jack O’Shea a 60-second film ident,cleverly cut to a cool soundtrack, will talk to hismarket in a way that a still image never could.

To see the 60-second film go towww.clivebooth.co.uk/jackosheafilmand for more pictures seewww.clivebooth.co.uk/jackosheastills

PP

Above:JackO’SheaorHarveyKeitel?Oppositepage,clockwise fromtop left:Filleton thebone;Jackregularly tastesandsmells themeat;shooting into thekey light;20inbladeandsteel.

GO ONLINE FOR MORE DISPATCHESFROM CLIVE BOOTHwww.professionalphotographer.co.uk



4th The PR is late. They often are. I’ve a tighttwo hours to complete the shoot and it’s ebbingaway. Generally my experience with PRs hasn’tbeen great, except once. I was on assignment forthe Telegraph Magazine tracking down theentourage of the deceased entertainer, Liberace.Our search had taken us to Las Vegas, then on toLos Angeles. Selfridges department store wasto display Liberace paraphernalia in its windowsand was funding the trip. PR Maria Dark was ourattaché. As I checked out of the Mondrian Hotelon Sunset Boulevard, the receptionist asked if Ihad had anything from the mini-bar. “Everything.”She looked at Maria. I looked at Maria.Maria nodded her consent. The $250+ slate

was cleaned. Today’s PR turns up and loiters inshot while instructing what I can’t do and where Ican’t go. I’m photographing white water rafting atLee Valley Park near London for Men’s Healthmagazine. I’ve done my research. Equipped witha buoyancy aid and 70-200mm zoom lens I leapgazelle-like around the course under instructionfrom on-site snapper white-water Dave. Later, thePR buys me a BLT sandwich.

9th Dust off my 12 x 16 print folios and headover to White City and the offices of Olivemagazine. They responded favourably to a portraitemail-out and invited me in. The invite came witha warning: “We commission on an all-rightsbasis. This is pretty much standard across theindustry now...” The design team coolly surveysmy work before the creative director announcesshe’d be delighted to commission me for someprojects. Apparently, people have been turning upwith the results of ‘test’ shoots, so witnessingcommissioned prints has been a rare delight.On the way out she retells a delightful story aboutDavid Bailey refusing to leave his studio tophotograph Michael Winner, who refused to leavehis home to go to Bailey’s studio.

10th Late in bed Googling myself I find a link onthe GQ magazine website to my first-ever foreignassignment. It was one to remember – 1999, on aFriday afternoon as I sipped some Cava in northLondon, Ash Gibson, art director at GQ, called.Would I like to go to Los Angeles? I would.Would I like to go tomorrow? Fergus Greer, theassigned photographer, was stuck in Kosovo andunable to get back in time. I said yes. Without acredit card I phoned my dad and asked if I couldborrow £500 cash. He said yes and drove the 143miles from my home town of Weymouth todeliver. Arriving in LA I had a vague idea where

the job was and booked into a cheap motel.Turning on the radio after a fitful night’s sleep,I discovered several people had been shot in thevicinity. The only resident not renting a room bythe hour seemed to be yours truly. Still, excited bythe assignment I unfolded one of two numbers tolocate the writer and dialled the luxuryestablishment. “Hello, the Beverly Wilshire, howmay I help?” “Could you put me through to AAGill please.” AA Gill, the sardonic, revered andfeared, acid-tongued hack. He had scripted apornographic film and was in town to direct.Striding on to the set of Hot House Tales,I introduced myself; he sat with a childlikeexpression of amusement, dressed in a light safarisuit as an aspiring colonial dandy might sitamong his ayahs and bearers. The next few dayswere surreal. The star of the show was Houston,who had recently had sex with more men in oneday than anyone else in history. She was supposedto climax at 500 but the turnout was 620; shekindly finished them off. Houston was a giver,well a taker. I documented Gill’s progressand marvelled at the professionalism of the team.On returning to Blighty I showed my dad the

This month sees oursometime working proreliving his brush withthe LA porn industry,saying farewell to goodfriend and fellowphotographer TimHetherington, andpassing up a weekendat the in-laws to go ona pilgrimage to NewBrighton in the footstepsof Martin Parr.

PP -DENCH DIARY- JULY 08/06/2011 14:24

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Above:PeterbackstageatMissLeeds2011.Left:MissLeedscontestantKimLali (right)squeezes intoherdressandGeorginaJohnsontweaksherhair.Below:Actorsperformin thepornographicmovieHotHouseTales.Oppositepage:AAGillandpornactressHoustonrunthroughthescriptofHotHouseTalesonset inLosAngeles.

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contact sheets; “That’s Ron Jeremy,” he pointedout, “I’m familiar with his work.” Thanks Dad.The article on the GQ magazine website has halfa dozen of my images from the reportage. I don’tremember discussing or agreeing to this and amconfident my 1999 contract didn’t have a web-useclause. In the hope of relieving Condé NastPublishing of further coinage, I inquire about afee. The article is removed from the website.

13th 9am and I drop my daughter off at school.Three minutes past and Marcus Bleasdale is onthe phone discussing where we can get a drink.Today we will need a drink; 10.30am in Richoux,a Mayfair bar and restaurant, we sate our palateswith champagne. At a few minutes past 11am, thecoffin of photojournalist and friend TimHetherington is hoisted into view at the front ofthe Jesuit Church of the Immaculate Conception.The sight is a collective thunk in the stomachs ofthe congregation. Atop the coffin a single candleflickers; white lilies pout a silent fanfare.American author and journalist Sebastian Jungercompletes the service with a personal tribute.A man of dignity and power, his presence and



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voice are projected and proud. On returning tohis seat he slides a hand across the wooden lidand crumples into the arms of a loved one.I return my gaze to the pattern on the floor thattoday has become as familiar as my daughter’sface. During the reception held at The Dorchesterhotel on Park Lane, the mood lifts. Stories areexchanged and new friendships forged. As Tim’smother advised us to do, we begin to “dancewith life” as her son had done. The dance takes uslate into a night at the Frontline Club.As Bleasdale would later tweet, the day was“truly moving, special, sad, uplifting. We saygoodbye to a great man. Tim.”

15th Enter the Foto8 Summer Show, £20 forthree images. Check my finances and have £15left; £10 will feed two children in Ethiopia for100 days. Sorry kids. I’m afraid you’ll haveto wait another 150 and I enter one picture inthe AOP Open Awards instead.

19th I am photographing the actress PrunellaScales, probably best-known for her role aslong-suffering wife Sybil in TV sitcom FawltyTowers. The shoot is for a Telegraph Magazinegarden special. I’ve shot some portraits anddetails in the back garden and accommodatedthe writers’ request to photograph Prunella bythe compost bin. We are now standing outside thefront of the house admiring the smaller garden.

It’s not just any garden; it’s a herb garden.I’ve been biting my tongue all morning but now,I think, is the time. I ask Prunella what type ofherbs. “Fennel” (snigger), “Mint” (chortle),“Sage” (here it comes), “Rosemary” (say it),“Tarragon” (AND!). And that’s it. I’m sure Idetect a narrowing of Prunella’s milky blues.There is definitely no BASIL!

26th For the second year I have volunteered, yesvolunteered, dear reader, as backstage snapper atthe Miss Leeds beauty pageant grand final.Every reportage photographer should shoot abeauty pageant. Ever since I saw TonyRay-Jones’s image Beauty contestants, Southport,Merseyside, 1967 it was on the shoot list. I washoping after Miss Leeds 1 that it might launch acareer in event photography. There has been nodirect benefit. One of the 2011 contestants haswithdrawn after viewing my pictures. Before MissLeeds I’ve a meeting with Henry and Paul atJamie’s Italian restaurant and spring up the stepsinto the arms of a spritzer. Between the pinot andpasta it’s clear Henry and Paul have no idea whatI do or who I am. I have no idea what they do orwho I am. I think at one point they suggest I run adedicated photography gallery under theirmentorship and funding. I really should pay moreattention. After the plus-three-hour pow-wow, Iflick back through my notes. I’ve written down

the phrases “the thing that exercises my mind,”and “consider the USP”, next to which is a doodleof my weeping face. The speech bubble simplyreads, “Miss Leeds!” Rushing backstage my facepings taut, an instant hairspray Botox. The tongueswells to the roof of my mouth. I look likea permanent surprise. Throw up a backdrop,lights and peer through the haze. Nubile loveliessinge and tinge, brush and fuss. There’s enoughfake tan to cast an army of Oompa-Loompas.They line up for their close-up. Straight into lensplease, Adrianne Carter. Adrianne is sponsoredby Acorn Stairlifts, “Acorn can help you use yourstairs again.” Adrianne says: “I want to makepeople happy by making a difference, it’s a greatfeeling knowing I have put a smile on someone’sface.” Can you look up to the light, Jade Garbett?Jade is sponsored by Exercise Express. Jade says:“I am a happy bubbly person and love to seeother people happy too.” Chin down a touch,Kelsey Sutcliffe. Kelsey is sponsored by FastwayTour Bussing. Kelsey says: “I will show it doesn’tmatter what size clothes you are.” Push your lipstogether for one please, Olivia Goulden. Olivia issponsored by Dolphin Lifts, “A true familybusiness.” She says: “Imperfections make youperfect.” (Can someone please tell me whystairlift companies sponsor beauty contestants?).Kelsey (21) from Keighley triumphs and I cutthrough the curses to congratulate. “Hello again,

“...duck in to Kevin’sHairdressers for a trim andask ‘Call me Kev’ whereI should go for the day.‘Not Birkenhead, they’llbatter-yer-head, ha-ha,I’d go to Liverpool.’”Peter Dench



thedenchdiary

it’s Peter, from London. Congratulations.”Kelsey hopes to visit London one day. She says: “Ihave driven near it once on the way to Windsor.”

27th One of the great things about being aphotographer is you can create a project to drinkand photograph where you want. Frantic in bed atthe Mint Hotel, I’m racing through my ideasbook. This weekend is a bank holiday. The currentplan is a trip to the mother-in-law’s. I ring mywife. “You know I’ve always wanted to go to NewBrighton?” “No.” “Of course you do, the townthat Martin Parr photographed 25 years ago forhis book, The Last Resort?” “Vaguely.” “Well, I’mgoing.” I gather my kit and jump on the firstTransPennine Express to Liverpool, descend the

three flights and change on to the seabed-smellingWirral Line. Welcome to New Brighton.

28th-31st Four nights, I booked four nights.It’s blowing a gale and slapping rain, duck in toKevin’s Hairdressers for a trim and ask “Call meKev” where I should go for the day.“Not Birkenhead, they’ll batter-yer-head, ha-ha,I’d go to Liverpool.” Four nights! What was Ithinking? Determined not to stray from NewBrighton I visit the former site of the outdoorswimming pool, former site of the pier andformer site of the tower. I meet local-born Ray,back in town for a friend’s 60th birthday and askwhat I should do. He doesn’t know. “But stay outof Birkenhead, they’ll likely give you a smack.”I embed myself in New Brighton and photographlifeguards Gary and Matt, sea fisherperson Pat,the North West Concert Band and newlywed

Claire Simon-Kind (30) with bridesmaid andsister Sarah Simon (28). Nibbling a Mint Feast Isnap graffiti proclaiming “Laura Loves Dick” andimagine the happy couple canoodling in theweather shelter where their love is carved.Steve, out walking dogs Bobby and Rocky, slidesin alongside. We talk about the history of NewBrighton and what I can enjoy on my visit to theWirral. “You’d enjoy the fort.” I float the question.“And Birkenhead?” “I wouldn’t go there, the20s-30s get a bit aggro like.” I’ve enjoyedstomping in Parr’s footsteps. On my last night Idecide to get smashed. In the morning, siftingthrough remnant pocket clues I find a neatlyfolded square of paper and open it. Underneaththe heading “New Project” it has one word incapitals underlined, BIRKENHEAD. I check thediary for the next planned visit to the in-laws. PP

“Ever since I saw Tony Ray-Jones’simage Beauty contestants,Southport, Merseyside, 1967 it wason the shoot list.” Peter Dench

www.peterdench.com

You can hear Peter in person eachmonth ontheProfessional Photographer podcast,available on iTunes or on ourwebsite at

WWW.PROFESSIONALPHOTOGRAPHER.CO.UK

Above:SarahBaldwinposes for thecameraduringaquickchangebackstageatMissLeeds2011.Above left:Eight-yearoldGeorgiaJacksoncrabbing inNewBrightonwithherGrandadKenneth.Left:NewbrideClaireSimon-KindwithhersisterandbridesmaidSarahSimononNewBrightonpromenade.Bottomleft:A familyrests inValePark,NewBrighton.


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SEVERED DREAMSWritten, directed and edited by Ian Bucknole,Severed Dreams is a short film about a boy’smove from boyhood to manhood, accompaniedby his magical toy robot, which causes chaosin our protagonist’s life. This is a beautifullyshot film with nice cinematography, sharpediting and a well-balanced soundtrack thatunderscores the narrative – though it was indanger of becoming more a music video thana film. It was shot for less than £1,000 inCornwall on a Canon EOS 5D MkII andan EOS 550D. http://vimeo.com/22030283

THE RAGEH OMAAR REPORTRageh Omaar is a journalist working with theinternational news network Al Jazeera.He has moved into the world of DSLR filmmaking, something that is happening a lotamong journalists delivering news onmulti-media platforms. Here a Canon EOS 7Dwas used as Rageh made a short documentaryon the fate of an estimated 17,000 peoplemissing in Lebanon since the end of the civilwar there in 1990, a conflict which hadlasted for 15 years. This again shows the

importance of journalism’s place in the worldtoday and how DSLR film making givesthese reporters another tool to get to the heartof international stories.www.professionalphotographer.co.uk/0709

RUBEN LATRENewYork-based film maker Ruben Latre isa director and photographer. Since gettinga Canon EOS 5D MkII a year and a half ago,

he has amassed a large amount of material andwas asked to put together a show reel of hiswork. After watching it I think you’ll agree thetrue power of DSLR film making appearshere in all its guises – from amazing controlover depth of field to stunning compositionheightened by the quality of lenses used.This is one of the best examples ofDSLR film making that I have seen so far.http://vimeo.com/21673567

To make sure you don’t get left behind in the rapidly changing world of DSLRfilm making, John Campbell brings you the latest news, the most exciting filmsand the best kit from this brave new world that is transforming our industry.

THE WORLD OFCONVERGENCE][

WATCH AND LEARN

//

TRAININGIf you are a photographer new to the world of convergence and with no background in film making, then don’t give up right away – there areplenty of opportunities to educate yourself and get into this exciting new way of expressing yourself, creating another string to your bowand possibly making you money in the long run. There are lots of courses that can get you started, such as the ones offered byHDDSLR-Training. If you know several other photographers eager to get into film, this company will set up a one or two-day tailored coursefor up to six people. With photojournalists, wedding photographers and events photographers in mind, this course is designed to providefast-track, hands-on tuition for people with an understanding of photography, showing how to shoot and edit using video-enabled HD DSLRcameras. A one-day course costs £285 and a two-day course is £425. http://hddslr-training.co.uk/info

IAN

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PP -FILM SCHOOL - JULY 07/06/2011 14:35

NEWSCANON CANCanon has finally embraced its own technologyby using its DSLRs to make an advertisementcampaign for the EOS range in Australia.Reportedly made for both television andcinema release, these commercials are a hugeacknowledgment that convergence is hereto stay. It will be interesting to see the finalcuts of the four TV commercials. The advertswent hand in hand with a poster campaign,so I don’t see this as just a test, but more amajor part of a marketing strategy – prettyballsy but, as all of us independents usingDSLRs already know their potential, it’s nice tohave one of the major manufacturers puttingitself out there. It should also help thecompany to develop and improve HD DSLRsbased on personal shooting experience.

FULL SPEED AHEADFilmed by Israeli cinematographer Ram Shani,a new SEAT car commercial has becomethe first of its kind to be shot in Israel, as it was

produced entirely with Canon EOS 5D and EOS7D cameras and a Panasonic Lumix DMC-GH1.Car companies seem to be the forerunners inmoving with the times and taking chances on newtechnology such as DSLRs for their commercials.Perhaps other big-money advertisers will followsuit soon.www.professionalphotographer.co.uk/0762

IN THE FRAMEAs mentioned in this month’s Watch andLearn, journalists such as Rageh Omaar fromAl Jazeera are making great shortdocumentaries on DSLRs. The news networkis promoting both photojournalism and filmmaking to produce stunning films reflectingwhat’s going on in the world. It has created anew show called Frames which will runtwo-minute character-driven films.Embracing multi-platform functionality,these films are not just for the online world,but are seen on TV around the world too, andare shot predominantly on DSLRs.http://english.aljazeera.net/programmes/frames/

/////////ON THE GRAPEVINE /// THIRD-GENERATION 5D?The worst-kept secret in the DSLR world is that Canon is ‘apparently’ sending out testbodies of the EOS 5D MkIII to selected photographers. Though this is all under a huge veilof secrecy, the chatter has picked up. It is believed there are several variations of theprototype out there, but a few things are being mentioned and repeated by different keypeople. Firstly, the 21.1-megapixel count won’t change, but noise reduction and sharpnesswill be pushed, allowing for greater quality in high ISOs. As for the film-making side, wewill have to wait and see, I’m afraid, but the fact that Canon itself is shooting TVcommercials with its own DSLRs (see News below) means it must be looking to improvethis side of things. I hope this will involve a good look at the sound recording capabilities -an XLR input would probably be pushing it, but it would be a good start.

SOFTWARETECHNICOLOR CINESTYLEMost of you film makers will have struggledwhen it comes to the dynamic range of yourDSLR – balancing highlights and lowlights whilemaintaining detail is difficult at the best oftimes. And when it comes to grading, pullingdetail out of shadow is imperative if you don’twant your film to look like a Rembrandt painting.Although I must admit that the use of crushedblacks is sometimes a stylistic choice, onoccasion it would be nice to have a choice.Now you do – if you are a Canon EOS 5D MkIIowner – because a new picture style calledTechnicolor CineStyle can be downloaded on toyour DSLR that will allow you to shoot witha high dynamic range. Be warned though: whenyou first shoot with this picture style it will look

very flat. This is because you want the highdynamic range to enable you to control colourand contrast in post-production, which is achievedby shooting as a LOG C curve rather thanRec709. If you have never come across theseterms and want to know the difference, visitwww.professionalphotographer.co.uk/0780

BUT BE WARNED... don’t use this picture styleunless you intend to do post-production work, asyou will be disappointed with the results.But most directors of photography (DPs) andeditors will be salivating at the prospect of thisamazing new adaptation. DSLR kingpin PhilipBloom says: “This is the best thing to happen tothe Canons since the introduction of manualcontrol.” To download this picture style go towww.professionalphotographer.co.uk/0784

READ ALL ABOUT ITAmerican CinematographerManualHere are three books that willserve you well when taking yourfirst steps in HD DSLR filmmaking. First and foremost isthe book every DP in America

will own, being the definitive guide for anyonelooking at cinematography as a serious careerchoice. American Cinematographer Manual,now in its ninth edition, is probably themostin-depth guide around when dealing with lightand lenses and depth of field etc, making it amust-buy. It’s in two volumes – a referenceguide and a field guide – and we found themselling on Amazon for £39.90 and £26.60respectively. To readmore about the book visitwww.professionalphotographer.co.uk/0752

The Guerilla Film MakersHandbookThe Guerilla FilmMakersHandbook, by Chris Jones andGenevieve Jolliffe, did therounds when I was in college.

If you are already familiar with all theconstituent parts of the film-making processyou probably won’t need this book, but foranyone getting to grips with pre-production,budgeting, shooting, post-production andfinally marketing and exhibition, it is a greatstarting point. You’ll get to learn all thelingo and be able use it more as a startingpoint for research. RRP £34.99.www.professionalphotographer.co.uk/0785

Those of you wanting to lookmore deeply into themeaning ofcompositionmight want to go tothemany essays and books byFrench philosopher RolandBarthes, such as Elements ofSemiology andWriting Degree

Zero. Or you could try starting with FilmLanguage: A Semiotics of the Cinema, byFrench film theorist Christian Metz.Both writers are at the heart of discussionsabout meaning within film. They have triedto break down howwe as viewers perceivethings through symbolism and semiology.These books will help you shape yourunderstanding of composition andmeaningwhen cutting, as the constructs of film canbecome confusing, especially when editing.It will help you understand why, when twoshots are cut together they seem to flow intoone another, yet when the camera view isaltered by just a few degrees the balance ofthe connected shots is lost and the cut canbecome clunky and unfluid.www.professionalphotographer.co.uk/0712


PP -FILM SCHOOL - JULY 07/06/2011 14:33


Tell me a bit about your career background.I started my career at McCann Erickson,Manchester. It was a matter of being at the rightplace at the right time; after a five-minute chatwith the creative director, he offered me the job.After three years at the agency, I needed more ofa challenge and decided the best place to bewould be London, the city where I grew up.My next agency was Bates Dorland London.Again it was right place, right time; by chatting toan agent whom I was working with on a jobI learnt that a well-known art buyer was lookingfor an assistant. I went for the interview, got onbrilliantly and was offered the job a month later.As they say, the rest is history. In the past fewyears, I have been honoured to be asked to judgethe AOP Assistant Awards, Creative ReviewPhotography Annual and most recently thephotography category of the D&AD Awards.

Describe your role at M&C Saatchi.My main responsibility is to shape the look of theads by working closely with the creative teams.My role isn’t a traditional art-buying one. I don’tget involved with the production side of artbuying, just the creative side, which is a hugeresponsibility, sourcing the creative talent foreach brief. Once a concept has been brought bythe client, I will discuss with the creative team thelook and feel they would like to achieve, then Iwill call in the appropriate photographers.

Do you see many photographers’ portfolios?I see photographers’ portfolios on a regular basis.This will range from one folio to five or morefolios in a day. It’s so important to be kept up todate with who’s doing what.

What do you look for in a book?I look for originality; a fresh way in theirapproach in shooting still life, portraiture, carsand so on. The images need to be exciting andinnovative. There are thousands of photographersout there, so the portfolio needs to bea memorable one. It’s not always a good ideafor the photographer to put together their

own book, they’re too close to their work anddon’t always select the best images.

Is it better to include a lot of images in a book,or a few carefully selected ones?Definitely less is more.

Do you look often at photographers’ websites?I look at websites but get frustrated when they’reall-singing and dancing. I prefer it to be simple tonavigate and for the work to speak for itself.

Do you have time to see many photographersin person?I make a point of seeing photographers, as I liketo hear from them personally, [hear] what they’re

frontlinefrom the

Choi LiuArt Buyer:M&CSaatchi

Career history:Art buyer: McCann EricksonArt buyer: Bates Dorland LondonFreelance art buyerArt buyer: M&C Saatchi

“It’s not always a good ideafor the photographer to puttogether their own book,they’re too close to theirwork and don’t always selectthe best images.” Choi Liu

Need to put a face to a name, get the background story, the right advice and the inside track onhow to get commissioned? This month we ask Choi Liu, art buyer at M&C Saatchi in London,about her photographic collaboration with the advertising agency’s creative team and whatinspires her among the hundreds of portfolios she sees every year.

JON

ATH

ANK

ITC

HEN

Allinsonbread,2008.

PP -FRONTLINE- JULY 03/06/2011 17:26


most passionate about. I will spend up to an hourwith each photographer and get a sense of theirpersonality, and what they like and dislike.

Do you take into account a photographer’spersonality for the client or shoot?I do take into consideration the photographer’spersonality before considering them for a job.I will think about the personality of the artdirector and the photographer, because they needto work closely on a shoot, so they have to beon the same wavelength to get the best result.

What traits are ideal in a photographer andwhatmakes theworking relationship easier?I would say attention to detail, bringing that

extra something to a shoot, understanding ofthe brief, the ability to work as part of a team andplenty of patience.

If the brief is very specific, do you seek outphotographers with that particular stylebecause you know they’ll be able to achievethe look youwant, or do you ever choosephotographers who don’t have similar shots intheir portfolio but who you knowwill be ableto follow the brief?If the brief is very specific then I would source aphotographer with that particular style.There have been occasions when I wouldrecommend a photographer who didn’t havesimilar shots in their portfolio but, looking at the

shots they did have, I was confident they wereable to do the job. I guess it’s having the foresight[to do so].

Do you commissionmany emergingphotographers?Yes, there are so many talented emergingphotographers, it’s really exciting to be able togive them their first break. By doing so, hopefullyit will open more doors for them.

How can emerging photographersshow a broad sense of work and creativityin their books?I think in the age of technology it’s so easy tolook through websites and be influenced by whatyou see. I think it’s best to be yourself, be originaland not to think too much about what otherphotographers are doing.

Do you believe in the importance of personalprojects?Definitely; it’s from their personal work thatyou get to know what a photographer is mostpassionate about. It’s often personal work thatinspires commissioned work.

How do you personally keep up to date withphotography?It’s a combination of going to shows, lookingthrough magazines (particularly fashionmagazines), books and websites. If I come acrossa photographer’s work in a magazine and I’ve notheard of them, I will make contact to see theirwork. Magazines are a great showcase forphotographers because it allows them to be somuch more creative than in commissionedwork and through the magazines they’re able toreach a much wider audience. PP

“I think it’s best to be yourself, be original and not to think toomuch about what other photographers are doing.” Choi Liu

Lucozade,2008.

Ribena,2007.

PP -FRONTLINE- JULY 07/06/2011 14:48

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Dear Professional Photographer,Whatever you are paying PeterDench to write his column, doubleit! In the current economic climate,I was considering my subscription.Not now! It’s worth it just for theDench Diary! By the way, I am notrelated to Peter Dench, nor have Ireceived any inducement to writethis eulogy. However, should youhappen to print this and Mr Denchhappens to read it, mine’s a pint ofTimothy Taylor’s Landlord.JamesWillisviaemail

Dear Professional Photographer,Again I find myself a trendsetter forthe second time in 50 years! In 1961I purchased one of the first JapaneseSLRs imported into Britain, andwas probably the first archaeologicalphotographer to use one.

Recently I was so impressed bymy son-in-law’s Panasonic LumixG1, my wife bought me one for my70th birthday. One of the chiefreasons for buying this camera is theportability. I still have a full 35mmSLR kit and even a full mediumformat outfit, but the weight wasbeginning to get me down, in moreways than just figuratively!

Shortly after purchasing thecamera, I bought a converter fromSRB Griturn, which enables me touse my Sigma 75-300mm lens ofindeterminate age with it. The lensbecomes a 150-600mm, and losesautofocus, autodiaphragm,anti-shake and all exposure modesexcept aperture priority. This stillleaves me well in advance of my1961 Aires Penta, which requireda separate meter and blacked outfollowing exposure – no instantreturn mirror then.

What the CSC detractors do notrealise is the quality of the Lumixviewfinder image. Images from myG1 have appeared in print with no

adverse comments either fromreaders or editors. I am sure that theconcept will conquer photographyas the SLR did half a century ago.EricHoulder, viaemail

Dear Professional Photographer,‘Education, education, education’ isthe battle cry I am constantlyconfronted with these days. To behonest, this word now only makesme angry and belligerent.

Four years ago, I started myjourney into the world of educationwith much hope and optimism.I naively thought that photographyeducation still encouraged andespoused the same views andprinciples which it had for me 25years ago. In some small way,I hoped to add my own experiencesand wisdom to the knowledge baseof the new breed of aspiringphotographers. What shocked mewas the anger and dispirited natureof the students I encounteredinitially. Their passion forphotography had all but drainedaway within the six months sincejoining their respective courses.

I was soon confronted with thereality of the situation which seemsto be consistent across moststudents’ experiences. During myphotographic education, I can barelyremember a day when we weren’texpected to use our cameras.These days, students seem to bebogged down in endless andrepetitive workbooks and journals,where they must repeatedly justifytheir views and actions. In somecases, I was encountering studentswho hadn’t taken a picture for oversix weeks but had been slavishlyproducing a workbook that wouldrepresent 80% of their final mark.

Early this week, a former studentrang me to complain about asituation at her current university.

She was in a furious state afterdiscovering that a fellow student hadbeen awarded a distinction afterfailing to hand in any images butinstead writing a 2,000-word essayjustifying their idea and what theywould have done if they had hadtime to complete the assignment.

I didn’t know how to respond;I know I should have beenincredulous or angry, but my shorttime in academia has taught me thatall things are possible. There seemsnow to be a greater emphasis on theideas students develop rather thanhow they implement them correctly.

Two years ago, I was confrontedby an HND student (at the end of hisfirst year) who was quite nervousand agitated. I asked him what thematter was and he stated he hadoverheard other students talkingabout an effect called ‘depth offield’ and wondered where he couldbuy the Photoshop filter.At this point I realised somethinghad to be done but how and what?

When I was at college, there wereonly 12 photographic courses in theUK but today there are at least 270.Our group sizes then were between20 and 24 pupils per year, ourcontact time with tutors per weekwas between 20 and 24 hours, withunlimited use of the studios anddarkrooms. Today, an average yeargroup is between 30 and 60students, contact time (based ona rough study I held early this year)is between six and 12 hours in thefirst year before going down toas low as one hour in the third year.

You must also realise thepressures the lecturers are under fortheir courses to survive. In mostcases, funding for a course will bewithdrawn automatically if abenchmark figure of a 58% pass rateis not achieved. Many moreunscrupulous colleges claim arts

course pass rates of 100%. How dothey achieve this? What happens ifyou have an inept/substandard set ofstudents in a year group ? All I cansay is that lecturers are put in anintolerable position where manyare forced to choose between theirethics or their career.

However, this must be contrastedwith a common complaint that mostprofessionals and ex-students havevoiced to me: the quality of thecourse content that the majority ofthe students encounter. In particularthere is little emphasis on thebusiness element so students havelittle or no idea how to marketthemselves when they leave college,let alone prepare a realistic businessplan. Another area which is rarelycovered is the basics of lighting andother essentials so they have atleast the key skills to survive in acompetitive environment.

This situation may seemdepressing now, but with theadditional rise in tuition fees comingand the reduction in contact hours(some courses have reduced this byhalf this year), the prospectivestudent could be facing a pretty rawdeal – hourly tuition in the first yearcosting £75 per hour, rising to £300per hour by the third year.

So as a profession, what do we doto help the 5,000 photographygraduates entering the job marketevery year? Do we seek to reducethe number of courses available ordo we try to educate prospectivestudents as to the true outcome oftheir expensive education that inreality will only be a hobby for themwith the occasional paying job?

In the end, we do owe thesestudents the truth even if educationis failing to tell them the realisticoutcome of their investment and Ifor one cannot sit idly by.RichardSouthall, viaemail PP

tell us what you think at [email protected].

PP -FEEDBACK - JULY 03/06/2011 17:30


Remember, this is called‘Guess’ the Lighting.Therefore, all lighting,camera, lens, grip,f-stop, shutter speed etcinformationmay nothold up in a court of law.Any guesses as towhatthe featuredphotographerswerewearing, drinking orponderingwhile creatingthe shots are notnecessarily subject toany reality other thanmyown. Suggestions ofmarital problems,hangovers, jet lag,disease or any othercontributing factorsshould, likewise, betakenwith the proverbialgrain of salt. There is alot of guesswork inguessing – Ted Sabarese

ANNIE LEIBOVITZ/KEIRAKNIGHTLEY,VOGUE, DECEMBER 2005Talk about a challenge. Vogue magazine posedthis to Annie Leibovitz: take The Wizard of Oz,one of history’s most important films, re-createthe iconic scenes, but add your own personaltouch. Looking at the photo story as a whole,I have to say Annie nailed it. Crushed it, actually(it certainly didn’t hurt having Keira Knightley ather disposal). Google the story. Each image ismore beautiful than the next. This shot ofDorothy, Auntie Em and Uncle Henry rushingfor shelter captures the cinematic feel whileadding Annie’s modern sensibility. It was createdwith one light and the help of the sun.

CAMERA:Mamiya RZ67 with 50mm lens andKodak Portra 400NC film, handheld 15ft back.Shot at 1/60sec, f/16, ISO 400.

LIGHTING: To mimic a gloomy, tornado-ladenday, Annie underexposed the shot by two stops.The key light is a large Octabank at f/8 set highand 12ft to camera left. The sun at f/8 is high inthe sky and slightly to camera right, which addsfill and some flatness to the image. Two largewind machines are out of frame to camera rightaimed head-high, adding to the stormy feel.Though a stickler for realism, Annie did notwait for an actual tornado to touchdown. The background was added in post.

TED’S THEORY ON HOW THE SHOOTWENT:The cute puppy, though a dead ringer for Toto,wasn’t the most obedient pooch. While the restof the talent moved toward the shelter doors,he ran in the opposite direction, usually chasinga vagrant squirrel or his own tail. After numerousfailed attempts, the prop stylist replacedhim with a stuffed fox. The dog’s features wereretouched in post.

www.guessthelighting.com

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In his blog, professional photographer Ted Sabarese tries to work out how other photographershave lit their images and offers his own unconventional theory on how the shoot went.In this issue he brings his lighting expertise and limited drawing ability to a shoot inspired byThe Wizard of Oz that Annie Leibovitz did forVogue magazine.

PP -Guess the lighting - JULY 06/06/2011 17:10

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This time of year sees anoutpouring of photographicimages from the country’scolleges, art schools and

universities created byphotographers eager to make

their way in the world asprofessional photographers.This year we decided to look

through as many as we couldand give students the

opportunity to send in theirimages for us to publish in our

sister title, Turning Pro.To see the best of the work out

there we are afraid you willhave to buy the latest issue of

Turning Pro, but this image,Metamorphosis 2, created by

Kimberley Langstone fromSouthampton SolentUniversity, certainly

caught our eye, as did herportfolio and approach

to the industry.www.kimberleylangstone.co.uk

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exposureImages that have us thinking, talking and debating...

PP -EXPOSURE- JULY 06/06/2011 17:14

Keeping it real

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British fashionphotographer

Robert Wyatt hasbuilt a reputation

shooting the world’smost beautiful

women for globalbrands. Here he

talks to Julia Molonyabout the pressures

of working in thefashion industry,his admiration forreal women andthe successful

creative partnershipwith his wife.

WORKING PRO{ }

The Sunday Times Stylemagazine, 2010.




obert Wyatt loves women. Since hestarted as a photographer, his workhas been a paean to them. All ages,all sizes, the conventional beauties,

and the not-so-perfect. The supermodels andthe ladies on the street. But mostly proper,grown-up womenwith character andstrength – they are the forms, the subjectsand the characters of which his life’s workhas become a study.They are the recurring theme of his personal

projects. The latest, At Home, which was recentlyexhibited at The Gallery in Redchurch Street,East London, is a collection of nude portraits ofordinary women, photographed at home, and is anexercise in tender reality – no make-up, no hairstyling, no lighting, no retouching.

Reality is something of a buzz word for Wyatt,whose approach, even to the hyper-styliseddiscipline of fashion photography, has alwaysbeen to deconstruct the myth ever so slightly; tointroduce an element of the known, therecognisable, the familiar. Though he has built hisreputation on shooting the world’s most beautifulmodels and celebrities, and though this continuesto be an aspect of the work he really loves, hissignature is something more human, with moreheart than simple, flinty perfection.“The nature of our industry,” he says, “is to

show an almost unattainable, aspirational qualityto things to sell a product. I love doing that. But Iwould love to try to do it a bit more realistically.”This view comes from a clear-eyed assessment

of the fashion industry and an understanding

of the ways in which its values can be softened.“I appreciate we all aspire to look youthful,”he says, “but I think there is room for an elementof reality in fashion photography and I think wedid that in the past and don’t do that so much anymore. I think my whole career has had that. I liketo put in an older woman. From a very young age,I looked at older women and found themattractive. There is an air of confidence aboutthem, and I think there is a lot to be said for that.I’ve always tried to do that in my career.”Working with A-list models is, he admits, a joy,

though not for the reason you might think.

R

“The nature of our industry is to show an almost unattainable, aspirational quality to things tosell a product. I love doing that. But I would love to try to do it a bit more realistically.” Robert Wyatt

Above:Musemagazine,2008.Oppositepage:TheSundayTimesStylemagazine,2011.

WORKING PRO{ }

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“The big ones, they work hard,” he says simply.“When they stand in front of the camera theymake your life so much easier. Because theyknow what you want, they listen to you, theyunderstand what you are trying to achieve.Some of them will look at the outfit in the mirrorand they will change it... people like Kate Moss,Gisele Bündchen, they work like dogs. And it’svery rare that there is any kind of tantrum, it’svery rare that they turn up late. These peoplework bloody hard.”However, it was working with models and his

growing discomfort with an increasing emphasison extreme youth that led Wyatt to something thatcould loosely be described as an aestheticideology. “For me, models are getting youngerand younger,” he says. As a photographer, this

presents him with a problem. “When you areasking a model to give you something, thatusually has an underlying, very deep-rooted senseof sexuality in it. They’ve got to know what theyand their body mean to a viewer, whether theviewer is a woman or a man. It’s very difficult fora photographer to ask that of a 15-year-old girl.”What’s more, he says, the chances are that“a 15-year-old girl hasn’t got that yet, because shehasn’t loved, sexually, or hasn’t lost, she doesn’tknow what her body means to other people.When you are 21, 22 [on the other hand] youunderstand what you mean to other peoplesexually, and in very many other ways.”This is important from an ethical standpoint,

but also when considering the more pragmaticgoal of selling clothes. “It doesn’t matter what

they are wearing,” Wyatt says. “There is anelement of sexuality that you can portray or givethat helps sell those clothes and that help createa mood, or a vibe, and it becomes aspirational.It’s what a client wants, it’s what a photographerwants. One’s job is much easier if a 21-year-oldgirl understands what clothes are being put onher, and what you are trying to achieve within thatshoot.” It was this realisation that led him to anew focus in his work. “I just thought, ‘oh, this isall wrong. I can’t do this,’” he says. “Morally it’swrong and sometimes I do have to do it andsometimes it becomes a challenge to be able to doit. But I just thought, ‘wouldn’t it be nice to justget back to photographing women?’”This sensibility has always been deep-rooted

for Wyatt. Take, for example, one of his

“I think there is room for an element of reality in fashion photography and I think we did that inthe past and don’t do that so much any more.” Robert Wyatt


WORKING PRO{ }

“I never started out asa fashion photographer...[but] as a gallery-basedphotographer. My first-everfashion shoots, I didn’t evenrealise they were fashion.They were shoots that hadpeople in them and that wasjust the way I did things.”Robert Wyatt

Above:10magazine,2006.Right:GQStyle,2008.

first shoots – the inspiration for which camefrom a childhood fascination with the headyfemininity he witnessed while watching hismother get ready to go out. “The babysitter hadarrived and she was putting on earrings andhairspray. That was the 1970s. There’s a beautyin that, watching your mother when she was 40.It all comes back to the same thing.

“I never started out as a fashion photographer,”he explains, of how his motivations havedeveloped over the years. “I started out asa gallery-based photographer. My first-everfashion shoots, I didn’t even realise they werefashion. They were shoots that had peoplein them and that was just the way I did things.”


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Narrative, character and reality are his keyco-ordinates and every shoot he embarks on isa journey around those points. Those were thequalities that got him recognised by the creativeteam at Prada, who, having spotted hisunconventional fashion photography in TheGuardian Weekend Magazine, commissioned himto shoot its advertising campaigns.

His success with the Italian fashion brand camefrom an appreciation of its esteemed director,Miuccia Prada. “She is truly one of the mostbeautiful women ever. And she wears her clothesbetter than any other person wears them. She ismore attractive, I think, than anyone who everwears them. When I shot Prada I did the twocampaigns with my wife [the fashion stylist LucyEwing] and she would say the same thing.Every morning you would go for a meeting inMilan. When Miuccia walked in, she lookedextraordinary. She is curvy and strong andbeautiful. My theory for the campaigns I didfor her was that I wanted an element of what shegives in her campaigns.”

It’s women of this calibre who have been thepoints of orbit for Wyatt’s creativity, not least hiswife, with whom he works regularly. Editors haveeven started recognising the dynamism of theircollaboration. David Bradshaw, Editor of GQStyle UK, commissions them as a pair, knowingit’s the best way to get the most out of them both.

“When I work with Lucy,” Wyatt says, “shecould be a photographer. Everything thatI’ve talked about that I put into my photography,she puts into her styling. She wants a narrative,she wants to think about why the model iswearing those clothes and what she can sheadd to it. She wants to produce somethingthat’s about something more than just dressingsomebody. When we come together it’s great.A lot of my best work is produced with her.”

Working so closely with one’s spouse presentsits own challenges, but they are worth it.“We spend so much bloody time together it’sridiculous, but I enjoy it. Irrespective ofwhether or not we are married, I think she’sjust exceptional at what she does.”

The Wyatt approach may not always strictlyreflect high fashion, but that in itself, he argues,is a strength. At the expense, perhaps, of alwaysbeing on-trend, he has developed something moreimportant – a creative signature, a recognisabletone that is all his own.

“In our industry you can’t be a jack of all trades. You have todefine yourself and your work. It has to be a master of one.For me that means that there is always a narrative.” Robert Wyatt

WORKING PRO{ }

Above:AnudefromtheAtHomeseries,2010.Above left:10Magazine,2007.



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“In our industry you can’t be a jack of alltrades,” he says. “You have to define yourselfand your work. It has to be a master of one.For me that means there is always a narrative.I’m quite capable of doing a shoot with six orseven people in it, and each of them will

have a character and a narrative. That’s whatI do. Once you realise that’s what you do, you’vegot to do it, even if it’s not fashionable. And youtend to find that in the industry fashionmoves around, and eventually comes back towhere you were.

“You’ve got to hold firm, or otherwise you arechasing something. And the second you startchasing it, you are on the back foot.”

www.robertwyatt.net

PP

“When you are asking a modelto give you something,

that usually has an underlying,very deep-rooted sense ofsexuality in it. They’ve got

to know what they and theirbody mean to a viewer.Whether the viewer is a

woman or a man.” Robert Wyatt

FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK


Copyright 2011 NEC Display Solution Europe GmbH. All rights are reserved in favour of their respective owners. This document is provided “as is” without warranty of any kind whatsoever, either express or implied.

+44 (0) 870 120 1160 www.nec-displays.co.uk

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SOCIAL MEDIA{ }


Editorial photographer AndrewHetherington penned the first post onhis blogWhat’s the Jackanory? from his New York apartment on5March 2007. More than four years and 1,075 posts later the website,known asWTJ?, has become a vital resource for art directors,professional photographers and thewider photographic community.As one of the winners of Life.com’s 2011 Photo Blog Awards, it standsshoulder to shoulder with the New York Times Lens blog and theseminal street style blog The Sartorialist.These days you can’t move online without being caught in the crossfire

between blogs, posts and tweets. However, in 2007 it wasn’t automaticallyexpected that a photographer would have a blog. Hetherington admits tohaving been somewhat daunted initially by the idea of social networking.“I’m a little older. I mean, I’m not old,” he laughs, “but when all yourassistants are on Facebook and Twitter, it’s easy to become overwhelmedby the whole thing and wonder how relevant it is to you, or how easy it is toget involved.”The search for a new platform coincided with the demise of his presence

in the darkroom due to the move towards digital. “Until a few years ago Iprimarily shot colour negative and printed my own images at a communaldarkroom here in NewYork, so up until then in my photographic life, evenas an assistant, I would go to this space, meet other photographers and seenew work. I noticed that once I started shooting digital I was spending lesstime with other photographers and wasn’t seeing other work. The great thingabout this place [I used to go] was you’d have starters as well as big-namephotographers, so on any day you’d have lots of prints on the board byphotographers such as Platon and Philip-Lorca diCorcia and it was anamazing way to see what was going on. This was before Facebook or socialnetworking, so apart from the darkroom you had to go to the magazines tofind out who was doing what.”Online he was reading through blogs such as the one on fine-art

photography, Conscientious, witnessing all this work he was missing by notgoing to the darkroom. This made Hetherington curious about how, asan editorial photographer, he could make it worth his while to publisha blog. He knew his work wasn’t right for the art blogs, so instead as a litmustest he recommended the work of a friend to the author of Conscientious,Joerg Colberg, curious to see what might happen. “Conscientious did featurethis friend’s work, so I asked him to monitor his website hits to see whatwould happen.” As it turned out, it had quite an effect. “His web traffic wentoff the charts, with people visiting from all over the world.” This was theproof that Hetherington needed that the web was an effective way of gettinghis own name and work out there.I wondered how, as a photographer, he trained himself to sit at a keyboard

and write regularly. “It was hard in the beginning,” he admits. “At that timeI was influenced by art photographers such as Alec Soth, who had aninfluential blog and I hadn’t really found my voice. I was now looking at allthe other blogs out there and getting information I used to find at the lab,chatting to other photographers.”

Stumbling across a blog post criticising a portrait taken by a well-knownphotographer at the New York Times Sunday Magazine proved to be thestarting point for WTJ?. “I read this post and wrote a retort as an editorialphotographer, explaining that it’s not always easy when you’re workingfor magazines. At this time no one was really talking online about what itwas like to work for a magazine or commercially – from a fine-artperspective people were often missing the point. I wrote a post talkingabout shooting from an editorial point of view and, well, it took off.

SOYOUWANNABE AROCK&BLOGSTARIn the vast sea of online blog postsand tweets, one photographer’sblog has become an essentialresource for the photographiccommunity. Andrew Hetheringtontalks to Eleanor O’Kane aboutbecoming an internet superstar.

PP - BLOG STAR - JULY 07/06/2011 16:28


Alec Soth picked it up and at the time he was writing for the Magnum blog.All of a sudden I’d found my voice and figured out what it was that I knewthat I could write about.”From then on things began to happen. “I started going to events and

gallery openings and I’d list photographers who were there. People wouldask, ‘How do you know what they look like?’ and I’d say, ‘I used to seethem all in the darkroom.’ I would come up with fun little things, such asvideos, or I would take a snap of myself with my favourite photographers.”He started to get noticed by other photographers too. “Foto8 asked me toguest blog for the opening year of the NewYork Photo Festival. It’s becomean incredibly creative outlet.”Although it is ultimately about self-promotion, Hetherington decided early

on that he wouldn’t make the blog just about himself. “I figured that peoplewould get bored really quickly if I did that, so I listed what was going on too.

I wanted it to be about other things; of course, it’s all about me but that canget very boring if it’s all about you and your work. Up until I started the blogI’d never really written anything and I began having a lot of fun writing, so itbecame a new thing for me.”Fast forward four years and WTJ? is beloved of art editors, photographers

and fans of photography, not only for Hetherington’s dry-humoured take onhis own career but also for his updates on what’s happening in the world ofphotography. Recent posts highlight an upcoming show in Portland, Oregon,a contemporary art festival in Boston and a video installation at the ApertureFoundation in NewYork by photographer Tim Hetherington (no relation),who was killed in Libya in April. Both Hetheringtons worked together ona short film for WTJ? entitled, suitably,Meet the Hetheringtons. There aremore videos on the blog, both Andrew Hetherington’s own and those hepicks out from the sea of stuff on the internet. “It’s an opportunity to put outthings that interest me,” he says. “I don’t list everything, because I don’thave the time or energy but I think the people who read WTJ? are interestedin the things I’m interested in.”Within the sphere of WTJ? his role has evolved and he is now

part-photographer, part-curator, part-editor. “In many ways you’re playingthe role of editor-in-chief because you’re looking for content. If I seesomething or get an idea I’ll think about it and put the time in. It’s the samewith the videos I do for the site, which are just for fun. As photographers weare all under pressure to do some sort of motion and my thinking with thevideos was, ‘Well, I don’t hang around with 12-year-old skateboarders butI can make a little film on photography because that’s what I like and I’vegot somewhere to put it so it all made sense.’ Hopefully, it works two ways:that I’m happy with what I’ve done and that it fills that space where a clientwill see what I did.”Last year, on a 1,000-mile road trip between jobs from Texas to New

Mexico, he decided to take a photograph every 100 miles, a project that gota great response. “I can have an idea and the blog forces me to be creative,it’s something I could never put on my regular site. At the same time you’rehoping an editor or an art buyer might see it and say, ‘That’s a fun idea!’”Has it got easier to come up with fresh ideas? “It’s always an effort,” he

laughs,” but with the blog if you have an idea you can just do it. So I think,

‘What am I going to do? What am I going to do?’ and all of a sudden itdawns on me and I think, ‘that’s great, I’ll do that’ and I can post it the nextday and hope it will resonate with a client.“In the beginning when I took pictures for the blog I used

a point-and-shoot but now, when I have time, I use a DSLR. It has forcedme to take better pictures: A, I want to take better pictures, and B,you never know who’ll see it. It’s not every day I’ll devise somethingspecifically for the blog but if something comes up, I’ll do it. I’m alwaystaking pictures anyway, so it helps me take better ones.”With an average of 500-1,000 unique visits a day, some posts have

provoked spikes of up to 10,000 visitors, including one about a shoot byAmerican photojournalist, film maker and writer Dan Winters for Wired.The post featured the magazine’s creative director, Scott Dadich, beinginterviewed by Hetherington. Due to Winters’ huge following, the post was

picked up across the photographic community, sending the stats soaring.Another post, on the Tour de France, caught the attention of the cyclingcommunity, tapping into a wider, non-photographic audience that boostedthe viewing figures.The blog has pushed Hetherington in many new directions.

“Photographers definitely get in touch with me when they’re in town to gofor a drink and it’s also allowed me to approach photographers I admire andsay, ‘Hello, I’m a big fan,’ awkward as that can be! I did a series where Iphotographed myself with other photographers. It was a bit tongue in cheek.I think photography can be a solitary profession, even when you have a bigteam around you so there’s a bond when photographers get together.”From a commercial point of view, the blog has been a massive success.

“Without a doubt it has paid for itself tenfold in terms of self-promotionand I definitely push myself and my own work, perhaps with a little lesscommentary [than in the early days].”On assignment for publications such as Wired, GQ, Details, Esquire,

Bloomberg Businessweek and NewYork magazine, he’s constantly on theroad. Twitter fans (follow him on @ahetherington) keep tracks on him as hesimply tweets his flight and seat number every time he takes off or lands.Somehow, among all his commitments, he posts from hotels, on road trips,from shoots. Does the joy of posting ever wear off? Sometimes it’s hard, headmits but he recognises the value of his efforts. “It’s been very good to me,not only in terms of work but in terms of meeting people and affording meopportunities that wouldn’t have happened otherwise.”While his audience is loyal, it’s not mass market, which suits him.

“The site is not aimed at a mass audience, which is reflected in the numbers.I’m fine with that because I’d have to alter the content to appeal to themasses. You have to find your niche, that’s the reason I’m still doing it.You have to have an idea of why you’re doing it, otherwise after a couple ofweeks you’ll give up. I do know that my audience is made up of artbuyers, editors, photographers, photo agents, gallerists. I know it’s a reallygood audience and ultimately I’d rather have quality than quantity.”

www.whatsthejackanory.com

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“I can have an idea and the blog forces me to be creative, it’s something I could never puton my regular site. At the same time you’re hoping an editor or an art buyer might see it and say,‘That’s a fun idea!’” Andrew Hetherington

SOCIAL MEDIA{ }

PP - BLOG STAR - JULY 08/06/2011 12:28

As professional photographers we are all susceptible to the lure of a weighty, beautifully printedour bookshelves get fuller, those long-ago purchases may be worth more than we ever thought.

How much is yourI’ll start with a problem. The problem. The big problem. It’s this: if, asis certainly the case, photobooks have become sought-after – and insome cases, extremely valuable – collector’s items, then there is aninherent difficulty with our relationship to the photobook as acollected art object.Buy a painting or a photographic print and, whether you pay 17p or

£17 million, you can put it on your wall and leave it there all day and all of thenight. You might need to keep it out of the sun and not fry chips next to it toooften. Perhaps put it behind glass. Otherwise, apart from a regular dusting andperhaps an occasional refurb, it’s yours to enjoy and savour whenever you want.Much the same is true for sculpture and ceramics.But it’s not the case for collectible photobooks. As a physical object, a rare

photobook’s value is directly linked to its untouchedness. As an art work,though, it requires opening and studying and leafing through and turning thisway and that. But doing that – extracting its meaning as an art work –will produce inevitable wear and tear. To appreciate the artistic meritof a collectible photobook has to involve its partial destruction – andaccordingly reduces its potential sale price. In a very real sense, the financialvalue of a photobook depends on its removal from any exploration of it as anart object. Unseen, untouched and pristine is the perfect state for a photobookcollection. The value of an artbook nearly always depends ultimately on itsartistic merit. Yet its dollars, pounds, euros value is directly correlated to thenon-appreciation of it as an art work. To explore, enjoy or investigate is todestroy. It’s a paradox that is unresolvable.And yet... Sven Becker of Christie’s, more than anyone, has been

responsible for pulling photobooks into the auction house world. He said, of the

photobook, that it is “an area of collecting which has seen dramatic growth invalue and interest over the past decade.” As recently as the mid-1990s, youcould pick up a first edition of Bill Brandt’s A Night in London for £20.In more recent times one sold at Christie’s for £5,760. “Take a sample of 10photobooks that are considered classics and they have tripled in value over thepast 10 years, compared to the rest of the book market, which at best doubled.”Becker is, as you’d expect of an associate director of Christie’s, a charming

man.Well-educated, too – McGill graduate with an M Phil from Cambridge inclassical history and archaeology. Well-dressed, also – in the appealingly (andamusingly) louche, demi-Eurotrash manner favoured in daylight Mayfair andSt James’s. Contrasting shirt collar, for example. Fluent in French and passingin Russian, he speaks English with an accent so individual as to be unplaceable.As well as being a world pioneer in photobook sales, he is responsible forChristie’s Valuable Russian Books and Manuscripts sales. Under his steerage,a world record for a Russian book was set – £300,500 for the CoronationAlbum of Tsar Alexander II. He used to take photographs himself. “But notsince I’ve had to work for a living.” He has a Jamie Reid Sex Pistols poster onhis wall at home.His first auction was in 2006. “I’d noticed over the last few years how these

books were becoming rarer and prices were increasing,” he explained at thetime. He pointed out – as you would, too, if you were in his position – that justtwo years earlier you could have picked up a copy of Ed Ruscha’s TwentysixGasoline Stations for £2,000. By 2006, you would pay at least £6,000. As ofnow, a signed first edition is available for £23,990.60. A “fine” second editionis yours for £2,672.10. Even a third edition in less-than-perfect condition wouldcost you more than £700.

PP - Bookshelfs - JULY 06/06/2011 16:39

monograph created by one of our favourite photographers, but as our careers get longer andPeter Silverton decided to find out why this is and what makes a good investment.

bookshelf worth?THE THINK PIECE{ }

“There is a real feeling that this is one of the last chances you are going toget to buy some of these books at a comparatively low price. Generally, themarket is undervalued, prices are comparatively higher than a few years ago butthat is a reflection of the fact people weren’t aware of them. Some photobooksare just as rare as books from the 16th century but their prices are very low incomparison. If you look at them in perspective to photographs being collectedthen you see they are very cheap.“Books are wonderfully democratic. They are commonplace, everyday

objects which are not normally made with any concern for collectibility.So, simply by picking up a few books in a shop for the enjoyment of it, it’spossible to end up with a collection without really trying. And given time thatcollection could become quite valuable.” Pause. “The trick, of course, ispicking the right books.”His own favourite photobook? “It keeps changing.” That day’s choice was a

modernist Dutch book from the 1930s, NKF by Piet Zwart. “It’s effectively atrade catalogue but it’s stunning. You would never think something as simpleas a piece of wire could be so desirable.” A copy sold last year, at Christie’s,for £11,250 – against an estimate of £6,000-£9,000.Photobooks are nothing new, of course. They’ve been around almost as

long as photography itself. For much of the 19th century, the photobook wasone of the main – to use an anachronistic phrase – income streams of theprofessional photographer.The first biggie was William Henry Fox Talbot’s The Pencil of Nature of

1844 – a collation of 24 calotypes. It’s now worth £250,000. Many ofthe 19th-century prints which are now in museums and collections come frombroken-up books and albums.

Not that collectible photobooks are just any old photobooks. Many of thegreatest are available at the click of a mouse and the deduction of a few poundsfrom your bank account. Robert Frank’s The Americans is almost everybody’sfirst choice as the greatest-ever photobook. On the day I was looking up pricesfor this feature, the 2008 edition, which is beautifully printed – far better thanthe original – was available on Amazon for £14.54 (plus P&P). You could geta Chinese edition, from the same year, even cheaper, at £12.96 (plus P&P).The spectacular rise in value is not limited to old photobooks.

Paul Graham’s A Shimmer of Possibilitywas published, by Steidl, in 2007 in anedition of 1,000 – 12 thin volumes of different colours in a plain white box.It originally retailed at £130 but is now £750, from its publishers, Steidl.The NewYork outlet Anartist lists Paul Graham’s Beyond Caring, 1986, withsoft cover, at £634.68, Chris Killip’s Isle of Man: Book about the Manx, 1980,hardcover without dust jacket, at £634.68, and Wolfgang Tillmans’ Soldiers:The Nineties (deluxe edition), 1999 at £4,125.42.WilliamWegman’sMan’s Best Friend, 1982? One of the most popular – and

best – collections of portraits of one of the most popular subjects, pictures ofdogs? £3.17. As ever, with photobooks – and other multiples – rarity is all.Not quality, popularity or originality. Rarity. Or at least relative rarity.David Strettell started Dashwood Books, of 33 Bond Street in downtown

Manhattan, in 2005. According to him, the photobook has grown“exponentially” since then. His speciality is small-run Japanese and Europeanartist books. Prices are rising. Alec Soth’s Sleeping by the Mississippi,published in 2004, a collection of pictures of various people doing just what itsays in its title, now sells for more than £500. Even a third edition is £350 onits publisher’s website – Steidl again.Well, it would be if it weren’t out of print.


“Signed and inscribed: that’s a real value adder. A lower-quality book with a significant

Two thoughts. One, this means that the book is becoming physicallyinvisible outside the collector’s market. It’s possible that this will happen toother photobooks. Like paintings – as opposed to reproductions of them – theirpublic presence will depend on the generosity of collectors. Until a reprintcomes along anyway. Two, that means it might make sense to invest in thefourth edition when it comes along. Or visit Soth’s website if you want toinvest in one of his new, self-published books.That is the lower end of the market. There is also a higher end. Strettell also

sees value there. “If you have half a million to spend, you can have a prettyserious and complete collection of photography books,” he told art newswebsite Artinfo. “For the same money you could only buy maybe half a dozenimportant photographs.”When did the photobook market really kick off? Well, it’s been around for

many years but, as with many other small-scale markets – particularly in thebook world, with its tradition of Byzantine practices and archetypes, obsessivebuyers and eccentric, paranoid dealers – it was warped and retarded by itsun-modern condition. Becker: “People have been collecting photobooksactively since the 1970s but until the late 1990s the bibliographical knowledgewas closely guarded by dealers, who could make money on the informationdiscrepancy and by collectors, who also had a vested interest. In effect, thechange began with just two books.”First, in 2001,Andrew Roth’s The Book of 101 Books: Seminal Photographic

Books of the Twentieth Century. Itself now out of print and rare, a new copyis worth around £1,000 (against an RRP of £57). Even a reasonableone is £200. Then came, perhaps even more significantly, The Photobook:A History, Volume 1, an even more extensive survey produced by Magnumphotographer Martin Parr and photography writer Gerry Badger. Published in2004, it was followed two years later by Volume 2. “They changedthe perception of photobooks more than anyone else,” said Becker.“Photobooks were previously unrecognised and therefore undervalued,” Parrtold the Financial Times in 2009.Parr and Badger’s book, too, is now valuable. It was originally priced at

£49.95, for which you can still get the latest printing. If you want a firstedition, though, you will need to pay £232.41 for “a Brand New copy, whichwas only opened for the authors to autograph. Flawless, and in perfectcondition.” There’s an unsigned “fine” copy for £87.35. If I were an investor,I might consider both. It’s a book that is used by most people who buy it.They thumb through it, they look things up in it, they show it to people.I reckon the wear-and-tear rate will be higher than usual. So high-quality copieswill be rarer than for most photobooks. Volume 2 fetches about the same.The two books described and outlined a canon of photobooks which has set

a generation’s tastes and, by extension, the books’ market value. Perhaps themost significant thing they did was question the previous markers of

photography’s art-world status. Challenging the central importance given tothe print and the art gallery, they elevated the status of the photobook,promoting a view of it as the essential photographic art object. They echoedCartier-Bresson: “The wall is for paintings. Photographs belong in books.”Adopting a word that was used by French critics to praise and canonise a

generation of Hollywood directors, Parr and Badger referred to photobookmakers as auteurs. As with those French writers before them, this involvedtheir creating an in-and-out list of photographers. Certain famous – andsignificant – names don’t appear because even their best photobooks don’tmatch Parr and Badger’s delineation of what constitutes an excellent – andtherefore valuable – photobook. For example, there is no room for Steichen’sFirst Picture Book, 1930. David Bailey’s cohesive and rapturousGoodbye Babyand Amen: A Saraband for the Sixties is excluded. Nor are any Martin Parrbooks featured. He’s being a bit hard on himself, I think. The Last Resort, inparticular, brought a new way of looking at Britain, an upsetting of theblack-and-white documentarist dictatorship.To define the essential quality of the photobook, Parr and Badger chose to

quote the words of Dutch artist and writer Ralph Prins, in a 1969 interview.“A photobook is an autonomous art form, comparable with a piece ofsculpture, a play or a film. The photographs lose their own photographiccharacter as things ‘in themselves’ and become parts, translated into printingink, of a dramatic event called a book.”For a brief delineation of what makes a great – and therefore collectible –

photobook, they turned to American photobook maker and collector, JohnGossage. “Firstly, it should contain great work. Secondly, it should make thatwork function as a concise world within the book itself. Thirdly, it should havea design that complements what is being dealt with. And finally, it should dealwith content that sustains an ongoing interest.” Parr and Badger added:“Every facet of the bookmaker’s craft can contribute to the success of aphotobook – the binding, the jacket, the typography, the paper.”In an interview with The Guardian at the time, Parr gave a looser, less

formal account of the artistic merits of the photobook. “The photographic bookis a great teacher, not least because it’s where photographers learn aboutphotography. I remember being at college in the 1970s when there were not thatmany around. I saw a taster of Robert Frank’s The Americans in CreativeCamera magazine, and I went straight out and bought the book. It was amoment of revelation. In the best ones, there’s a narrative that brings the workalive, and then there’s the fact that they tend to be beautifully designed.A bookensures that the work lives long after a show, and, most important of all,perhaps, that the ideas travel. A book really is the perfect medium for imagesas well as words.”Parr himself is one of the world’s largest collectors, certainly in Britain.

In 2004, his collection contained six or seven thousand photobooks – worth, in


inscription will be worth more than a better-quality one without it.” Peter Silverton

his estimate, £1.5 million. Perhaps his most valuable single book was Les Jeuxde la Poupée, German-born surrealist artist Hans Bellmer’s sexual images ofa large, naked, distorted female puppet. Published in 1949, a copy was on offerat Swann Galleries in New York in 1991 for $20,000-$25,000. In 2003,one fetched $59,000 at Christie’s. At Swann’s in 2008, the estimate was$75,000-$100,000, the same year as a copy fetched $115,000 at Christie’s.Sex sells, of course. Though not as much as you might expect.

Although books of women’s naked bodies have always been a commonplaceessential of even the most serious photobook makers’work practice –Weston,for example – they are not a major part of the collectible photobook market.A first edition, in “très bon état” of Henri Maccheroni’s 1978 collection, Centphotographies choisies dans la série ‘Deux mille photographies de sexe d’unefemme’ – of which Parr and Badger write “through boundless repetition thebook achieves its strange, unexpected poetry” – can be found for just over£200. It is, perhaps, possible that an explanation can be found in the typicalsexual orientation of photobook collectors.In The Guardian interview, Parr mentioned that he had bought six copies of

Ray’s a Laugh, Richard Billingham’s 1996 collection of images of hisalcoholic father and jigsaw-playing, chain-smoking mother. Then they wereworth £200. Now an “As new in publisher’s shrinkwrap” copy is upwards of£450. There are quite a few around and on sale, though. Maybe they are allParr’s. Or maybe too many people invested in too many copies – either whenit was first published or when Parr and Badger’s books appeared and began todefine and shape the market.You can mark Parr and Badger’s effect on that market by the way they are

quoted in saleroom catalogues. In a June sale, Christie’s had on offer a firstedition of Kishin Shinoyama’s Hareta Hi (A Fine Day) – Parr and Badgernotably did more than anyone to celebrate and raise the profile of Japanesephotobooks. And there is the reference: The Photobook, Vol I, p.303.“There are hundreds of people who are buying based solely on what is in

Parr and Badger,” Chicago dealer Stephen Daiter told Artinfo in 2008.“They check off titles as if each one is a variant. They’re ‘completists’, whowant to have everything.”The first auction house sale devoted to photobooks was at Christie’s London

in 2006. It was put together by Sven Becker, who said at the time: “Until now,books with photos were sold in photo sales, and they were a poorer cousin.Here, we’re treating them as a valid art form.”Two years later, in April 2008, he organised a sale at Christie’s New York.

“The book is a perfect format to look at photographs,” he told Artinfo.“The images, the layout, the materials, the bindings – all these elements cometogether to create a specific experience. Unlike a work of literature that youmay read once or twice, you can keep photobooks on your shelf, take themdown and remind yourself what you like about them.”

That sale was the first-ever of a one-person photobook collection, puttogether by a real estate developer, Richard Frary. The highlight was probablyEdward Weston’s copy of the American edition of Cartier-Bresson’s DecisiveMoment, inscribed “à Édouard avec l’amitié de Hank”. Two greats ofphotography connecting. “That’s something special,” said Becker.As the Frary collection was put together in just a few years, it’s possible,

maybe even probable, that it was designed with investment gain in mind.As thefirst such single-person collection to come to auction, it was also a good testof the market. And? Against an estimate of $1.5 million-$2.2 million,the sale as a whole raised $2,602,450. Weegee’s Naked City went for$37,000, more than twice its already high estimate. A fine copy of the first USedition of Robert Frank’s The Americans fetched $32,200 – compared with$13,800 in a May 2006 sale at Swann’s. As Stephen Perloff, editor of thePhotograph Collector, pointed out, the buy-in rate was very low, too – justeight per cent.Shortly after the auction, Becker commented: “Our inaugural auction in

New York in the hotly-collected field of photobooks saw highly competitivebidding from determined American and international buyers in a busy roomand on numerous phones. The enthusiastic support of photograph collectorsand the strong results reflect a deepening appreciation of photobooks as notonly reference, but as significant works of art in their own right.”So what are the criteria? What makes for a collectible photobook?

Well, generally, the basics are obvious – the quality of the photographs and thedesign.What then, though? How do you separate the merely sought-after fromthe genuinely valuable?Well, almost always, it will be a first edition. There are exceptions, though.

Most notably, Robert Frank’s most famous work, The Americans. Though itfirst appeared in France, as Les Américains, that edition is less valuable thanthe second, American edition – essentially because Frank removed thecaptions added by the publisher Robert Delpire.Very occasionally, later editions can have value. Again, Robert Frank offers

the clearest example. The 1993 Japanese edition fetches a significant premium– because of its exquisiteness. There is also the 1998 edition which fetches aslight premium – more than £100. His signature helps, too, of course.A signedcopy of the 2008 edition is around for £1,200 plus change – but that compareswith a top price for a signed Frank of £43,250 at Christie’s in May 2010.Signed and inscribed: that’s a real value adder. A lower-quality book with a

significant inscription will be worth more than a better-quality one without it.Typically and ideally, the inscription should be from the photographer-auteurto another name photographer. Sven Becker: “The desire for something specialis a function of the modern world.When you can Google anything immediately,there is a clear attraction to something that stands out in that vast sea.” In thiscase, “a multiple that’s been made individual.”

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Rarity, too, is obviously important. Real rarity, that is. Sven Becker:“The internet has changed the definition of rarity.You know where books are.If you can find five worldwide, it’s not a rarity.”Story and back-story, particularly the photographer’s: these, too, are

significant factors, often underestimated or elided. An example? In 2010,various experts were asked to nominate their favourite photobook of theprevious 25 years. In second – close second, it’s true – was Nan Goldin’s fa-mous 1986 collection, The Ballad of Sexual Dependency. A fine hardback firstedition is yours for £763.92.But in first place was something from the same year which is far less widely

known, the Japanese photographer Masahisa Fukase’s Karasu (Ravens). It’s acollection of images of birds – ravens – taken, from a train window, in theaftermath of the collapse of Fukase’s marriage, as a kind of attempt atself-therapy. That book will cost you a little more than a high-quality Goldin– upwards of £2,000 if it’s signed. Whatever its intrinsic and artistic merit,though, I suspect its marital break-up back story is a significant factor in itsvalue. Particularly what happened next. In 1992, Fukase fell down somebar-room steps and has been in a coma ever since. Twice a month, he is visitedby his former wife – who has since remarried. She is reported as saying:“With a camera in front of his eye, he could see.” But now he couldn’t.“He remains part of my identity. That’s why I still visit him.” And thus thebook’s saleroom value.You are bidding for a physical record of tragedy – andthe romance of tragedy.As it says in the catalogue for Christie’s Fine Book auction of 13 June, it is

“The post-Provoke masterpiece of Japanese photobooks.” (Provoke was aninfluential limited edition Japanese photography magazine first published in1968.) “The imagery is beautiful, surprising, haunting, but ultimately it isFukase’s masterly handling of the narrative and rhythm that makes it somemorable.” Or rather, that is the catalogue quoting The Photobook, Vol I,p.306. Parr and Badger’s book laid out the genre, defining it anddetailing its contours. Now it is used, almost universally, to benchmark andjustify value. Though the glassine jacket is missing, this copy does haveFukase’s signature, “in paint pen on front blank”. Estimate: £2,000-£3,000.What then are the counter-criteria?What makes it less likely that a book will

be valuable? Almost universally, the interest is in photobooks as fine-focusedworks. So retrospective summations of a photographer’s career are rarelysought-after. Nan Goldin’s I’ll Be Your Mirror, from her 1992 show at theWhitney in NewYork, is on offer for £79.34, more than when it was publishedand something of a minor investment success but nothing to get excited about.Exhibition catalogues are almost never valuable. The exceptions are few.

One though, is the catalogue from the pivotal 1975 show New Topographics:

Photographs of a Man-Altered Landscape at the George Eastman House inRochester, New York. Featuring 168 images, the show effectively launchedsuch photographers as Robert Adams, Stephen Shore and the Bechers.Though sparsely visited at the time, the show’s influence is demonstrated by thefact that a cut-down version appeared six years later, in 1981, at the Arnolfiniin Bristol, co-curated by Paul Graham. At the time, Graham, who has just hada major career retrospective at the Whitechapel Gallery, would have beenworking on his own first significant photobook, A-1: The Great North Road –a signed first edition of which now commands £1,200.The New Topographics catalogue was cheap, just $7 – nothing even then.

It was tiny and barely represented the show, just 48 pages and 27 photographs.But the print run was only 2,500. So it’s now rare and valuable – heavilypatrolled and controlled by George Eastman House which stops websites andblogs reproducing anything more than the cover. An “absolutely crisp copy”fetched $650 at auction in 2007. I found a “very good” one at £1,129.74 andthe current record is £1,875 at Christie’s in May 2010.Nor are deluxe editions a good buy. Becker: “If you want to be a real

capitalist, don’t buy them. It’s the regular trade editions you want.Deluxe editions are not a good return on investment. They are always moreavailable. They might only have been an edition of 500 but they don’t suffer thesame rate of degradation.” Quite simply, most of them will be kept in mostlypristine condition – which is what is sought after but which is also much rarerin the regular editions which are looked at, handled, appreciated, enjoyed.So what is the current state of the market? What are the trends? One recent

auction might indicate a slow-down, maybe something even deeper. On 19May,there was a fair-sized auction at Swann’s in NewYork. Many items remainedunsold, failing to reach their reserve. Of those that did sell, a good numberfailed to match the estimate. A copy of Irving Penn’s Moments Preserved,estimated at $500–$700, only fetched $325 – against £900 on Amazon todayand $650 in the 2002 edition of the Ahearns’ Collected Books. A package of20Araki titles made $1,400 against an estimate of $1,500-$2,500. Muybridge’sHorse in Motion fetched $550, against $700-$1,000. And Annie Leibovitz:Photographs 1970-1990 just $200 compared to an anticipated $300-$450.Does this represent a significant bump in the market? Possibly but probably

not. It’s possible that the books that didn’t sell just weren’t in great condition.Also they just weren’t that special. As Sven Becker told me: “The name of thegame is comparative rarity.”What’s his view of the current state of play? “Most book buyers are

conservative. They are always looking back to establish the price structure.So it doesn’t have the wild fluctuations of the art market. But books haveconsistently outpaced the market as a whole. Between the late 20th century

“A certain fatigue has set in... The more you see, the more it all seems the same. People


and 2008, they rose steeply. Since then, though, there has been a bigpolarisation in prices. The top-quality books are surging ahead. The moremundane are falling by the wayside. And the others have plateaued.People have been aware of the Parr and Roth books for five to 10 years now.A certain fatigue has set in. Most people have an acute visual memory.The more you see, the more it all seems the same. People light up if you showthem something they’re not familiar with. When Parr and Roth drew attentionto Japanese material, lots of collectors poured in. Now that’s tailed off.”What might change this, of course, are new delineations of the canon – some

new, previously unknown photobooks. That’s coming. Parr and Badger areworking on Volume 3, which will focus on South America. There are alsospecific surveys of German and Japanese photobooks on the way. Later thisyear, there is the fourth annual fotobook festival, at the documenta-Halle,Kassel, Germany. Martin Parr is speaking at it.So what is undervalued? Daile Kaplan is in charge of the photo department

at Swann’s in New York. “It’s a robust market,” she told Artinfo. “But whenyou consider its youthful nature, photobooks in general are still undervalued.It’s the artists who, in a sense, make the market. A number of photographerswho began working in the ’60s and ’70s saw the book as an appropriate venue.”Janette Ray owns and runs a new and antiquarian bookshop in

York specialising in the visual arts. I asked her: what’s undervalued?“Everybody apart from the top-line names. There seems to be a big gapbetween those and everything else. The rest are bargains.”I asked the same question of Sven Becker. “Fashion photography.

It’s surprising how cheap they are, given the way they focus on the wholepackage. One I like personally is Paco Rabanne’s Canned Candies.” He alsocited Dick Jewell’s Found Photographs, pictures found discarded alongsidephoto booths. “Despite Parr giving it a tip of the hat, it is still grosslyunderrated.” It’s featured on the cover of Parr and Badger’sVolume 2 and therewere only 500 in the first edition but a top-notch copy is still £500.Becker explained its appeal and significance. “It makes you think a lot aboutself-perception. These are images discarded by subjects because they didn’tmatch their self-perception. There’s a tension about identity being addressed ina particular way. So simple and so effective.”Other current trends? “The things I love collecting now are self-published.

It’s brought back a real pleasure to collecting which had started to fade.You used to buy with your heart. Self-published books have brought that back.They are made for love. Editions are very small. Sometimes they can onlyafford to print a few. It’s a no-brainer.”What about the photographers? The ones who are creating modern,

prize-winning photobooks. I phoned Simon Norfolk – one of the Best of British

in the June issue of this magazine. When I called, his home phone messagetold me he was away in Kabul until August. He was working, I knew, on a kindof follow-up to his award-winning 2002 book, Afghanistan: Chronotopia.On the off-chance, though, I tried his mobile. He was walking down a mainroad inWood Green, north London, on the way to lunch with his wife. He hadforgotten to change the phone message for a year or so. He had left it when hewent off east to do the final stretch of work on what has become Burke +Norfolk: Photographs from the War in Afghanistan, a show at Tate Modern(until 10 July) and a book (£40 but £28 onAmazon). Both British printings ofAfghanistan Chronotopia have sold out.A first edition will now cost you northof £400 and a second something over £200.He’d just come from signing 100 copies of the new book. How do

photobooks fit in as an income stream? He laughed, loud. “It’s my fourth book.I’ve never made a penny from them. I make money out of print sales.People pay me a lot of money for prints. I’ve never seen books as somethingto make money.”He doesn’t even have a formal contract with his publisher, Dewi Lewis,

Britain’s leading producer of photobooks. “All I ask is that he convert themoney into more books. I mail those out to raise my profile and build my artreputation.” For him, books are part of thinking strategically and long-term.“The fact that I’ve had three books published by a proper publisher is veryimpressive. It’s a lever.” He also just likes the idea of books. “As I get older, Ilike the permanence of a book. I have a sort of confidence in pieces of paperthat I don’t feel about anything electronic yet.”So, finally, what have I found on my own bookshelves? Well, there’s

The Sex Pistols Scrapbook from 1977, a copy of which was lot 144 in theChristie’s Rock & Pop Memorabilia auction in South Kensington on 14 June,with an estimate of £400-£600. My copy was given to me – at the time ofpublication – by its creator, the photographer Ray Stevenson. He didn’t sign itbut there is some of my own writing in it, an extract from a piece I wrote for apop music weekly. Provenance like that would certainly add a bob or two.Another couple of lots in that Christie’s show, however, vividly demonstrate

the relative cheapness of even collectible photobooks. Lot 64 was a smallgrab-bag of Jimi Hendrix stuff, with its star item being the tone knob of theFender Stratocaster that Hendrix played at the Starlight Room, Boston, Lincs,on March 25, 1967. Estimate: £1,000-£1,500. Lot 118 was Dee Dee Ramone’sbass: £8,000-£10,000.I did, though, also find – or, at least, re-find – on my shelves a copy of Dick

Jewell’s Found Photographs. It’s number 274 of that first 500-copy edition andit’s signed. It’s not in the best of condition but it’s all there and fairly clean.The bidding starts at... Well, make me an offer. PP

light up if you show them something they’re not familiar with.” Sven Becker

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Although for many the romance and passion surrounding photography havebeen replaced by a quest for the latest new thing in the digital world,there remains a refuge for the beautiful, refined and exclusive near Boston,Massachusetts. Julia Molony spoke to the guys at 21st Editionsabout their passions for photography, publishing and bookbinding.

Old School Rules21st Editions is much more than just a publishing press.Its aim, to produce lavish, limited-edition, integratedart-pieces which combine photography, literature and thefinest craftsmanship in bookmaking, is a labour of love,built on the shared passion and aesthetic sensibilities oftwo best friends.From the imagination of Steve Albahari and through the editorial

stewardship of poet and academic John Wood, 21st Editions occupiesa unique position in the worlds of both publishing and photography.“From the way we talk you would think we were lovers,” admits

John, editor of 21st Editions, of his bond with Steve. We areconnected via conference call, Steve in Cape Cod, Massachusetts,and John from his office in Vermont. “But we’re not.”

Although, in fact, eachhas been happily marriedfor many years, there is anintensity in their workingand personal relationshipthat seems almost romantic,mostly because it is fuelledby so much shared passion.For the 13 years of

21st Editions’ existence,Steve and John have beenguided by a creative goalthat stands alone.They produce not

photography books, but collector’s items. Through the highestproduction values, the object strives for a level of beauty equal to itscontents. This is no small task, considering the calibre of the artists’work bound within. Sheila Metzner, Herman Leonard, Greg Gormanand Sally Mann have all been featured by 21st Editions. As for thewriters, there are Nobel Prize winners and eminent philosophersamong their number, as well as central figures from the canon:Shakespeare, Rilke, Blake, Whitman.“Steve is very inspired by the Kelmscott Chaucer [of 1896],”

John explains. “William Morris taking the work of the greatestmedieval poet, and setting it and producing it in a volume like noother book of poetry was ever produced in. And that’s what we havedone with photography.”

The process of creating a 21st Editions book is, according toSteve, always unique, always organic.The photography tends to be the starting point. From there, Steve

works with John and his select group of binders, typesetters andprinters to assemble a volume that has the highest standards ofexcellence and creativity built into its very fibre.The crux of John’s role is as a sort of editorial alchemist. He draws

on his prodigious knowledge across many different artisticdisciplines to illuminate some previously unseen connection betweenthe visual and the literary. Take, by way of example, a project theycompleted with the Peruvian poet Raul Peschiera.“We did this book based on his work on Abimael Guzmán, the

founder of the Shining Path, the radical Peruvian Maoist movement,”explains John. As a match, he came up with the German/Americanphotographer Brigitte Carnochan, “whose work is all about thebeauty of woman and flowers. Now, what is the connection betweenthem?Well, Abimael Guzmán was more obsessed with Augusta, thewoman he loved, than he was with Marx. And everything aboutGuzmán was really about her, his love for her, his love letters for her,and so this book becomes a celebration of woman and love and floralbeauty, even though it seems like a strange pairing.”With a match decided upon, the book is developed component by

component, with the help of a crack team of master craftsmen andwomen. “Steve gives the binders and everybody else certain amountsof freedom,” John continues.So in the case of the Guzmán project, the binder sourced

“an Asian transparent cloth that was held together by some kindof string fibres – it was really quite beautiful,” says Steve,but crucially, “could suggest something from Peru,” adds John.“Then the typesetter, who is quite an artist at typesetting,” adds a

contribution. In this case “what it looks like at first is an erratic kindof presentation of the columns, but you begin to notice very quicklythat they suggest the Andes. Little touches like that are the kind ofthings that have marked these books of ours.”In this way, the many composite creative elements involved in

a 21st Editions publication are laid down and it is these exacting

Above, left:YamamotoMasao,photographsbyYamamoto,with textsandapoembyJohnWood,DeluxeEdition.Right:21stEditions features theworkof leadingphotographers,writers,poetsandphilosophers. 21

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“Great artists deserve a beautiful presentation of their work and photography clearly is the art form

standards of aesthetic and quality that have made the press’s publicationscollector’s items around the world.“Over 50 institutions worldwide collect our books,” says Steve, reeling off

a list, “the Museum of Modern Art, the British Museum, the Getty Museum,the Museum of Fine Arts in Boston... you name it. And it’s not because theyare buying photographs. They are buying a package that makes sense tothem, that fits into their collection because it’s something they don’t have.”Needless to say, these are not books that you would find on many coffee

tables. The prices have, until recently, been prohibitive to anybody but themost specialised collectors. It’s not unusual for them to retail at around$9,000. However, last year Steve introduced a new imprint, Prism, aimed atexpanding its client base. Though still “virtually handmade”, the latest bookin the Prism series, featuring photographs by Mitch Dobrowner, has a largeredition of 280 copies.At $750, the Prism books are “a bit more democratically priced,” says

Steve. “But they are still produced unlike anything else that is out there.Our standard is very high.”“They are bound in velvet-cased boxes, include signed prints, and are

autographed by the photographer,” John chips in.At the centre of John and Steve’s working relationship lies a shared

conviction about the primacy of photography in all modern art forms.

“Great artists deserve a beautiful presentation of their work,” John goes on.“And photography clearly is the art form of today... Though there arecontemporary painters whose work I am fond of, I think, for the mostpart, the most exciting work out there is coming from photography...In general there are more great photographers than there are greatcontemporary painters, I think.”In the age of the Kindle and digital photography, where physical objects

such as books and prints seem almost to teeter on obsolescence, it’s boththrilling and reassuring to see 21st Editions is thriving, with its credo ofelevating the material, the tangible, to the highest level of significance.Throughout an eclectic career that saw him working in luxury leather

manufacturing, as a wedding photographer and selling prints at flea markets,the seed for 21st Editions had long been germinating in Steve’s mind.To make it work, however, he knew he would need to recruit some seriouslyheavyweight talent. A mutual contact suggested John; academic, poet,polymath and, according to Steve, “probably the most intelligent man, onmore subjects, than I have ever met in my life. It takes that kind of

Above:YamamotoMasao,photographsbyYamamotowith textandapoembyJohnWood,PrismSeriesBookNumber1.Oppositepage:MothandBonelight,photographsbyJerryUelsmannwithpoemsbyStevenBrown,PlatinumEdition. 21

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of today... for the most part, the most exciting work out there is coming from photography.” John Wood


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knowledge to pair literature and visual imagery together where it ultimatelycan make sense to more people than just John,” he explains.It took some time to win John over, however. “Steve wanted to create the

most lavish journal of photography since Alfred Stieglitz’s Camera Work,”John explains. [21st Editions began in 1998 as 21st: The Journal ofContemporary Photography]. “I was a college professor and also did a lot ofwriting on photography and a lot of books so I was always busy. I thought,you know, editing a journal of photography is going to be a lot of trouble, it’sgoing to be hard. And it was hard. But it was incredibly rewarding. And Iended up getting the best friend I have in the world out of the deal.”Before it had even launched, 21st Editions seemed to have hit on

something, to have answered some unexpressed need. Steve was stillworking out of his garage and had yet to produce a single book when theWall Street Journal published an article about the enterprise, hailing itsartistic significance, under the heading ‘In Stieglitz’s Footprints’.“For the first two weeks, the phone would just ring... Something clicked

and we started to take orders for something we hadn’t even created yet,”remembers Steve. More than a decade later, the demand remains incrediblystrong. “We sell many of these books before we even make them,” he says.The power of the oblique or unexpected is a crucial part of the package,

which is reflected in John’s choice of writers who contribute to the books.

“It’s about not just having people from the photographic community andphotography historians,” he says. “We have poets, novelists, philosophers:the philosopher and poet Frederick Turner, Pulitzer Prize winner AnnieDillard, Robert Olen Butler, Edward Albee. We took some of the very bestwriters, because everybody has something to say about photography today.It’s the omnipresent art form. We live with photographs. Probably most of ushave a few little photographs in our pocket, like secret icons we carry withus. We all know photographs because we’ve lived with them so intimatelyfor 100 years or more.”Though both are respected experts in their field, the impetus for Steve and

John stems it seems from an almost childlike sense of wonder at the form.As Steve puts it: “We’re just a bunch of artists and writers trying to do whatwe do but in a way we can put it into the world and share it with others.”

www.21stphotography.com

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John Hedgecoe died on 3 June 2010. During his life he had photographed andwritten well over 30 books on how to take photographs, which had beentranslated into countless languages; he had established the photographicdepartment at the Royal College of Art in London in 1965; he had been theprincipal portrait photographer for Queen magazine (now Harper’s Bazaar)throughout the 1960s; he had shot architecture, fashion and landscape for theSunday Times, Observer and Telegraph; he had photographed nationaladvertising campaigns; he had been a close friend of many iconic artists,including the sculptor Henry Moore; he had created important booksphotographing these artists and amassed a substantial fortune which he hadused to restore an impressive 16th-century palace just outside Norwich.But he had never felt that his work had been truly recognised and given theimportance he believed it deserved.

Hedgecoe had a presence about him, a physical presence. He was forthright andstrong-minded. He spoke in statements and expected a response. He had achieved a lotand expected that to be respected. He was not easy. So when in 2001 Hedgecoe’spublishers Collins & Brown needed to fulfil a contractual obligation to him and publisha monograph of his career’s work, they decided the job needed someone who couldwork with him, organise his archive and create the book. They called me.

At the time I had a reputation for designing photographers’ monographs and also forworking with photographers such as William Klein, Bailey, McCullin and Donovan.

SPECIALBEINGTHERE

John Hedgecoe was the photographer who toldphotographers how to take photographs. His bookssold over nine million copies and his portrait of theQueen has appeared on 200 billion stamps but asPP Editor Grant Scott discovered there was moreto John Hedgecoe than many people realised.

Top:ArtistFrancisBacon,1969;Above:SculptorDameBarbaraHepworth inher familiar furcoat,1970;Oppositepage:ArtistDavidHockney inhisBayswaterstudio,1972.

Themanwhoknewhow

PP - JOHN HEDGECOE - JULY 06/06/2011 17:01


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“Hedgecoe had a presence about him, a physical presence. He was forthright andstrong-minded. He spoke in statements and expected a response. He had achieveda lot and expected that to be respected.” Grant Scott


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GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OFPHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK

FashiondesignerMaryQuant,1964.

SirNoëlCoward, theplaywright,actorandcomposer,1969.


All of them great characters but none of them suffered fools gladly. Hedgecoe satcomfortably in this camp.The decision was made that I would travel up to Norwich to meet him for the first time

to see what state his archive was in and how he saw his first monograph coming together.I set off with an assistant and, having spent the night before the big day in a hotel, wetravelled to his Norfolk pile filled with anticipation. It was a sunny, breezy day and as wedrove up the wide gravel path to a house that resembled a mini-me Hampton Court Palace(complete with orangery and lake), Hedgecoe bounded out, filled with energy, handoutstretched. My initial impression was not of someone who was going to be difficult butinstead of someone who was desperate to get started on the project ahead.After a quick coffee he took us back outside and into a cavernous barn next to the house

where he had arranged his entire archive. Well I say archive, the truth is that what laybefore me were lines of extremely tatty cardboard boxes, each one piled high withindeterminate packages. There appeared to be no labelling, structure or order, but he wasproud that he had managed to get his entire career’s work into such an ordered state.There was nothing for it but to start at the end of one line of boxes and work my way

methodically along the lines. It had already been decided that the book would focus onlyon his portrait work so at least that gave me a starting point for what to focus on, but as Icarefully removed the often dusty, very musty-smelling packages it quickly became clearthat they had not been touched for decades. As with so many photographers who hadworked through the 1960s and 1970s when photography had little if any resale value,Hedgecoe had simply shot and stored images with no expectation that what he was creatingwould have any financial or historical relevance. Original prints were discovered withoutnegatives to allow reprints, there were contact sheets without negatives or prints andnegatives that had long lost their prints or contact sheets. It soon became clear that this wasgoing to be as much about what we could salvage and use as anything else.Working through the boxes we revealed images of some of the great cultural figures of

the 20th century, includingAgatha Christie, Henry Moore, Francis Bacon, David Hockney,Vita Sackville-West and, most bizarrely, a portrait of Percy Shaw, inventor of the ‘cat’seyes’ that appear in the middle of our roads. Slowly but surely a book began to take shapeas we laid out the images that we had found and could use in a rough order on the dustybarn floor. Long-forgotten celebrities were dismissed for their lack of relevance andnegatives were edited by holding them up to the Norfolk light. It was a day of discoveryfor both myself and Hedgecoe, and I did not find him difficult in any way, just passionateabout the project, firm but fair.At the end of the day we agreed that we had the basis for a book and he presented me

with a signed original print of Francis Bacon as a thank you. I headed back to Londonwith all of the material we had chosen and began to design the book which was to besimply called Portraits. The design, layout and approval process was simple andstraightforward, and the book was launched with an exhibition of the work we had foundat the Royal College ofArt. Later that year Hedgecoe asked me to design another book forhim featuring a recent commission to photograph the artist Ana Maria Pacheco creating asculpture from beginning to installation. It was another easy, joyful experience.Now just a year after his death an exhibition of his work is being held at the Sainsbury

Centre for Visual Arts at the University of East Anglia. An email about the exhibitionlanded in my inbox to tell me so and reminded me of that sunny, dusty day 10 years ago.The images in the exhibition and those accompanying this article are ones we found inthose boxes. It just goes to show that photography is a small world.

Turn to page 23 for details of the exhibition.

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Alison Baskerville is aphotographer.A photographer currentlydeployed in Helmand,Afghanistan. She is adefence newsphotographer workingwith the Ministry ofDefence Combat CameraTeam. She is humbleabout what she does butclear about what she hasseen. This is her story.

Bringingit allbackhome

I joined the RAF Police when I was 21 years ofage because I wanted to travel, and remainedin themilitary for 12 years, seeing service inNorthern Ireland and Iraq. While in Iraq Ibought my first camera, an old film Nikon.It was after six months there that I decidedI wanted to be a photojournalist.After 12 years in the military you get an option

to get out and a small payout. I took both optionsand they helped to pay for me to do an MA inphotojournalism at the University of Westminster.I jumped in with both feet. I knew I wanted to be SE

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“I never wanted to be a war photographer, never! But I am inspired by warphotography because my background is in the military and conflict.” Alison Baskerville



a photojournalist. Initially I thought a Masterswas too ambitious but I was looking for a coursethat was only a year long, so I took my portfolioalong for an interview. Even if I had only gotsome advice that would have been okay with me,as there seemed to be a lot out there forphotojournalists, but I was looking for the rightadvice, which is hard to find. To my surprise theysaid they would let me on the course because ofmy background experience.

In a way I was a bit of a cliché, in that the firstbook I bought was Tom Stoddart’s iWitness, thenI bought Larry Burrows’s Vietnam. Then I startedto look at the work of the obvious influences –Don McCullin, Philip Jones Griffiths, RobertCapa and also Lee Miller, one of the first femalewar photographers. But I had been to war andwhen the acclaimed photographers AdamBroomberg and Oliver Chanarin came to speak tous about their war photography I ended up havinga huge row with them. I found their approach towar to be rude, inconsiderate and thoughtless.I knew the army photographer who had escorted

them in Afghanistan. I knew the truth and Iwanted to let it be known.

When I had finished my MA I started to tryand get commissioned and find my voice, but Ifell into the trap of doing everything I could in aneffort to make some money. I wanted to get stuckin to a longer piece of documentary work, so Istarted working with a disabled-led theatrecompany called Graeae, based in London,photographing them training, rehearsing andfacing up to their physical difficulties. I wasgetting paid but also creating the work that Iwanted. I started to do more of this kind of workand still do when I am in the UK.

Now, however, I am a photographer inAfghanistan who is responsible for photographingeverything that the Ministry of Defence wants tocover but I am also free to go out and find myown stories which I can suggest to them. They cansay yes or no to my ideas but the images I amcreating are about the work which is being donewith the Afghans, which is really important.I came across the job last year when I was looking

into the Media Operations Group, which is avoluntary reserve [Territorial Army] regiment.I went along for a chat with them and they askedif I would come to Afghanistan for six months.A lot of things crossed my mind before I agreed,particularly the question as to whether I wouldlose my objectivity by working for the MoD.However, the embedding process which is nowin operation for photographers means they areextremely tightly controlled, whereas I seemto have more freedom than they do, which isstrange. There is no doubt that coming herewas a risk to my creativity and for my conscience,but I have no regrets.

I never wanted to be a war photographer, never!But I am inspired by war photography because mybackground is in the military and conflict. I don’tunderstand the current fashion to photograph warand I really hope that the recent tragedy with TimHetherington and Chris Hondros hasn’t madepeople feel that it is a glamorous profession.I don’t want to see a ‘gung ho’ photographygeneration. There is nothing that is romantic SE

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Dog handler Jess and her highassurance search dog, Ninjo.


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“If you are going to do it well, you have to do it intelligentlyand with empathy.” Alison Baskerville

about covering conflict, it’s pretty awful. The artto covering conflict is to show as many differentangles as you can, which is what Tim used to do,but you still have to put yourself into dangeroussituations and sadly he paid the ultimate price.I hope that people learn a lesson from that. If youare going to do it well, you have to do itintelligently and with empathy. I would neverchase a conflict and I have been fortunate thatover the two months I have been out here it hasbeen very quiet which has given me theopportunity to look at things differently.The images I am creating are not kinetic orabout shooting and people being blown up.Photographers still turn up in Afghanistan

hoping to shoot the same things they would havedone right after 2001 or earlier. They are after theconflict and come back after a day out looking forit and say, “That was rubbish, I didn’t see anyaction.” I have to remind them that coming backin one piece is a good thing. I think they forgetthat you can easily lose the reason as to why weare here and get caught up in chasing the action.

Membersof theAfghanUniformPoliceprepare for theirgraduationceremony inLashkarGah,Afghanistan.Below:Afghanwoman.



Too many are chasing the sexy war image thatwill get them the World Press Photo Award.I could shoot incredibly powerful images 10 timesover while being with the medical team but Iwon’t because I think about the ethics of whatI’m doing, I have a human being in front of mewho has been blown up and I always rememberI am there to show what the medical team aredoing, not to win medals. I don’t need medals– I already have six. You have to crop out of theframe what you know you can and should leaveout, and retain what is necessary.I definitely have a moral barometer. I don’t

shoot for my own fulfilment, which keepsme balanced. I love human issues, the mix ofcultures here, the intricacies of interacting with

the indigenous population. Afghanistan has beeneye-opening for me. There have been issues Ihave seen which I cannot shoot, primarily becauseI know if I start photographing a subject I will beunable to stop. At moments like that I step backand think about returning to the subject later.Now I am a freelancer I feel like a visitor in

this country and although I am working for themilitary I feel I have an opportunity to changethings from within, which is what I have alwayswanted to do. Rather than battle the military asthe media does, I decided to join it to change it,which I think is working, if only slightly.I am aware of the damage that working within

this kind of conflict can have on a photographerboth mentally and physically, and I deal with

what I see by making sure I know what happensnext. The brutality of conflict is intense and if theonly time you see a person is when they havebeen brutalised, then that is the only image youwill have of them and be left with. But if you can,follow them through surgery and rehabilitation,which can give you some form of closure.It is definitely true that the camera is your

barrier to what is going on around you. I don’twant to get in the way of what is going on andwhat people are doing, so I just try to keep out oftheir way and get the picture and engage people.As a photojournalist I am trying to create imageswhich stop people, images which are not easilydiscarded or dismissed, images that create anawareness, that tell stories. The images I am

“...I have a human being in front of me who has been blown up and I alwaysremember I am there to show what the medical team are doing, not to win medals.I don’t need medals – I already have six.” Alison Baskerville

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A soldier takes a breakafter a patrol inGereshk, HelmandProvince.



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shooting here will not make me money; I’m paidby the military, but I hope one day to see them asan exhibition or a book.

I’m the first woman to be deployed in theCombat Camera Team and I think that I havebrought something different to the tour becauseI’ve been looking at female engagement andthe way in which women are treated out here,which is often appalling. But the way in whichthey treat me is as if I am a third sex, completelyseparate from men and Afghan women. They arefascinated by me and stare an awful lot but onceyou get used to this it’s not a problem. They lovephotography and the camera, in fact so muchso that we are now training an Afghan CombatCamera Team.

When I come back [to the UK] I will feel verysatisfied with my time in Afghanistan and I hopeto return a more rounded photographer able toapproach some of the agencies such as Reuters,Getty and AP with the idea that my work here willshow that they could send me on assignmentanywhere knowing that I could do a good job.

My military career was colourful and I sawquite a lot. I have been exposed to a lot and thereare a number of things I saw in Iraq which makeme feel I do not need to return to a combat area asa photographer for the excitement. In fact what Isaw makes me want to see less. I’m not addictedto war photojournalism. I think that’s partlybecause I am a woman; I lack the testosterone, Ihave completed that side of my life.

I don’t agree with Simon Norfolk when he saysthat war photography needs a new language but Ido think that it needs to be more open-minded,which is hard when a photographer needs to getan image of combat for his agency to sell. It’s adifficult situation. Some of the most memorablemoments of war photography have come frommoments of conflict but what Tim Hetheringtondid with his Sleeping Soldiers images is a goodexample of what can be done.

If there is a thought that I would like to sharewith other readers of the magazine it wouldbe to think before you think about being a warphotographer.

http://thelaughingphotographer.blogspot.com

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Asoldier fromtheHouseholdCavalrytalks toa localmanatabazaar inGereshk.


Crowds outside BuckinghamPalace watch the Royal Kiss.

Cynthia McAllister and herhusband Phillip camp oppositeWestminster Abbey.

PP - Pete & CLive Live - JULY 06/06/2011 16:46

Every month our regularcolumnists Peter Dench andClive Booth bring us theircontrasting experiences asprofessional photographers.As any regular reader willknow, their clients,approaches and work arevery different from eachother, so when they wereasked by separateclients to shoot the RoyalWedding we could not resistthe temptation to findout how they both got on.

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PETER DENCHCentral London is packed. No one moves.A man sobs, another coughs, birds flutter,silence returns. It’s just after 9am onSeptember 6 1997.A giant screen in Hyde Parkshows a gun carriage taking the coffin of Diana,Princess of Wales, on a four-mile procession toWestminster Abbey. Every minute of the journeya single bell chimes. On top of the Royal Standarddraped coffin are lilies from her brother and sons,Princes William and Harry; a poignant card reads‘Mummy’. After the service, I joined the route ofthe funeral cortege that would take Diana onher final journey to the Spencer family home inNorthamptonshire and waited for the shot.I had been in London for just over a year trying

to find my vocation as a photographer. I thoughtan iconic image of the hearse would be a valuableaddition to my portfolio, to show commitment,dedication and the ability to identify importanthistorical moments. As I waited, the price stickeron the sole of a shoe worn by a woman kneelingnearby caught the eye. I crouched to frame, therewas quiet applause and the twirl of tossedlong-stem roses, a whoosh, and the hearse hadgone, along with both picture opportunities.On the long walk to find the nearest open pub(it was on Upper Street three-and-a-half milesaway) I photographed the flags flying athalf-mast and considered whether breakingnews photography would be my discipline.Two years later confirmed it would not.

On assignment for the Sunday Times Magazineshooting reportage on the Queen’s tour of SouthAfrica, I travelled with the royal press pack.On one occasion we arrived at a school in�

CLIVE BOOTHA dawn chorus of alarms and texts wakesme at 4am. The Addison Lee car servicedriver will arrive at 4.30am. I have that sickfeeling in my stomach and desperately wantto go back to sleep, having got to bed justthree hours earlier. I lie there for a momenttrying to remember why I have to be up at thiswholly unreasonable hour. Something to do withthe Mail on Sunday, Sky TV and You magazine’sEve George commissioning me... The RoyalWedding! It all comes flooding back, along withthe usual apprehension of going to shoot theunknown. Quick shower, pick up the verylightweight (for me) camera bag (Lowepro 160classified bag, three lenses – Canon 35mm f/1.4L,85mm f/1.2L and 135mm f/2L – along with twoCanon EOS-1Ds cameras), a banana and I’m off.The driver is chatty but I want to sleep, while

not wanting to be rude. He tells me he used to bein the newspaper business and was on the presseswhen Diana died. “We all knew about it as soonas it happened, way before the general public did.”I ponder on that dreadful day, one when we allremember exactly where we were and what wewere doing. Today, of course, will be another oneof those days but thankfully for different reasons.We pass Westminster Abbey and I wind down

the window; there is a party atmosphere andeveryone is chatty, people shout hello and as wesit in a 5am traffic jam I’m holding conversationswith royal well-wishers, most of whom have beenthere for days. To my surprise we arrive outsideBuckingham Palace at 5.10am and I find myselfstanding among police, security and crowds ofpeople of all ages, colours and cultures.�



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Alexandra Township outside Johannesburg.The pack rushed from the coach to secure asimilar vantage point and waited. I was unfetteredto explore with my camera. Hours later Bettyarrived. The township’s children wereeverywhere; they danced and sang to the Queenand waved her off with their little flags. A man ina suit then collected the flags and boarded thecoach. A departing, scuffed, huffed cloud of dusterased any evidence we had been there.It is with good cheer then, that I anticipate the

more joyous occasion of the Royal Weddingbetween Prince William and CatherineMiddleton. A two-day reportage for the TelegraphMagazine has been in the diary since January,removing the pressure to be officially involved,and delivering a handsome pay day. I even had toturn down German news magazine Stern when adual-shoot compromise couldn’t be agreed.My brief is to document the commoners who linethe route; to do a ‘Dench’, reveal the grittyunderbelly of life as a royal supporter andproduce the antithesis of the inevitable schmaltzto be paraded across the pages of the Daily Mailand Daily Express newspapers. Well, that’s how Iinterpreted the brief and it’s right up my Mall.

At 10am on the day before, I meet Jessica whowill be writing detailed captions for thephotographs. This could be irksome for Jessica,a respected staff member deployed to shadowa snapper. If she is irked, it doesn’t show and westrut as equals towards Buckingham Palace.I tried to convince the Editor to let me do thewords and pictures. I’m glad she declined.Jessica is thorough and discreet, and the companyis welcome. On the way I learn that heavyweightphotographers Zed Nelson and Simon Robertswill also be contributing, adding a bit of friendlycompetition for page space. I repeat-remindmyself to shoot verticals to try to nail a cover.Along the route we gather micro-features from

the royal fanatics with Roald Dahl characternames embedded on the front line of GreatBritain. Americans Christine and Olivia Woffordcarry a large yellowW and K to photograph atpicture postcard locations. Rosalind Lumb andWendy Huffwaite peruse a book of RoyalWedding poems. Dulwich public school girlsAmelia Coe and India Marlow-Prince quaff fizzin their customised pink ‘Will & Kate Forever’T-shirts while, across the road, tiara-toppedAmelia Asquith and Charlotte Dunsmore pay

their respects at the Queen Mother memorial.Opposite Westminster Abbey a more feveredcrowd lies in wait. Cynthia McAllister propels agiddy cackle at her husband Phillip, whose warmedals clink together. Further along, DarciRichards entertains Granny with a strum on theguitar. The mood has been jolly and the 7,000accredited press respectful. We wait for Americannews channel CNN to finish their broadcastbefore our turn with one family of revellers.TV presenter Tim Vincent waits for his withAmelia and India.The alarm bell rejoices at 5.45am. Like before

any big day, it has been a fitful night’s sleep.Jessica and I have decided to dress smartly and tomeet in the last carriage of the 06.30 VictoriaLine tube train at Highbury and Islington station,a plot scene worthy of An Affair to Remember.We are concerned about access and movement sohave decided to get in early. We vacate the tube atVictoria and make our way through St James’sPark to the south side of the route where we willwork between Parliament Square and the Mall.Photographing yesterday was crucial. The tentshave been packed away and the rows are deep.I shoot and weave among the royal masks,�

“My brief is to document the commoners who line the route; to do a Dench...” Peter Dench

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CoewearsacustomisedT-shirtasshewaitsontheMall;DaliaYousif sitsontheshouldersof

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WestminsterAbbey;Crowdsline thestreet inWhitehall;

Revellers inParliamentSquare.


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There is a bevy of brides, a whole crew ofKate Middletons, in full air attendant uniforms,complete with travel cases, and everywhere I lookthere is red, white and blue. It’s one of those rareoccasions when all the usual human barriers aredown and everyone is chatting as if we haveknown each other for all of our lives. I take amoment to soak up this collective communityatmosphere and feel the anticipation andexcitement. If I hadn’t been shooting I wouldn’tbe here. Not because I am against the RoyalWedding but because I don’t really like crowds,far preferring the peace and quiet of my home inDerbyshire. But now I am glad that I am here andexperiencing this first-hand,The iPhone chimes. It’s AmyWilliams, the

journalist from the Mail. We meet at Gate 4outside the temporary town of TV technology.Bright blue-eyed, with beauty, youth andexperience, Amy has organised the whole shoot,a different angle on the day from behind thescenes with Sky News. Lucy Ellison, director ofNews PR for Sky News, then appears with ourpress passes. Lucy is to spend the day with us...two blonde twenty-somethings and me;maybe the alarm hasn’t actually gone off yet?

The media area is fascinating and compared tothe crush of the crowds it feels like I’ve enteredsome kind of exclusive Royal Wedding Day club.Everywhere I look there is celebrity and soonLucy is introducing us to Eamonn Holmes andCharlotte Hawkins, the Sky News anchors for thebig day. Both are easy-going, relaxed andgenuine, and if they are nervous, they don’t showit. Eamonn has that disarming Irish charm,combined with sharp wit and charisma, that I’veseen so many times in the Celts. He seems to putall in his path under some kind of spell andstanding next to him all I have to do is bring upmy camera and shoot the poor hapless devils asthey are drawn to him, all smiles and flailingarms, men and women alike. It is impossible notto like this man with his mischievous, informalnature and he is obviously well-respected andliked by colleagues and peers alike. In contrast,Charlotte is quietly confident, demure and has akind of innocent beauty. There is no mistaking thethinking behind selecting this partnership.We walk through the streets of this temporarymedia town and bump into the BBC’s HuwEdwards and Fearne Cotton, and radio presenterSimon Bates, along with a host of royal and

fashion correspondents, and fellow Sky presentersDermot Murnaghan and royal expert DickieArbiter. Among the news teams there is a feelingof everyone playing for the same team; you wouldalmost think it was one TV station. All agree it’squite possibly the most important event of theircareers. We walk past the American NBC TodayShow studio and it’s easily the biggest here.Walking through this town of studios, outsidebroadcast trucks, Winnebagos and a sea ofsatellite dishes, I am reminded of the globalsignificance of this event and the hundredsof millions of people expected to tune in towatch history in the making.The Sky gallery, a multi-million-pound truck

(one of many), has two rooms lined with monitorsand video feeds from dozens of key locations.It reminds me of the bridge of the StarshipEnterprise and at the helm is studio director TomAllen. “Cue camera one... camera three, haveanother look for something interesting in thecrowd… thanks Eamonn, can someone get hima bacon sandwich… where’s that edit?” Shields upand warp factor three, Mister Sulu. As 11amapproached, I was half-expecting a voice to sayshe “canne take any more captain”...�

“It’s one of those rare occasions when all the usual human barriers are down...” Clive Booth

Thispage,clockwise fromtop left:radiopresenterSimonBates;EamonnHolmesandCharlotteHawkinsofSkyNews;TomAllenat thehelmin theSkygallery;theSkyTVStudio.

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maple leaf bunting, sleeping men, womendressed as brides, the alfresco plastic urinals andoccasional outburst of royal rage as late arrivalsencroach on established viewing positions.We talk to the impeccably suited Harry Arthur(eight) and brother Rory (five), and the moredishevelled Berry Collins and Gloria Doherty,who slept under the stars and have ‘appropriated’a tent for shelter. They complain that, unlike ata wedding in their community, they haven’t evenbeen offered sandwiches and a drink.As Big Ben tocks towards wedding o’clock

I decide the best place to photograph will be fromParliament Square. There’s a massive cheer; DaliaYousif is hoisted on to the shoulders of Panos.I snap frames of his thigh-clenched face and askwhat Dalia can see. It’s the litter pickers on onefinal round. Another cheer and she grabs a frameof Prince Harry, the first I’ve seen of the A-listwedding guests. As William took Kate up theaisle, I was probably only a straight 100 metresaway. Cocooned in a living cordon I photographwhat I can. Ten-year-old Callum Lewis uses a‘Blighty’ periscope to scan for action. Ben Fowlerand William Fox-Staeton picnic on the grass.

Mr Higgins chuffs his pipe, 21-year old Rhyll deTeglia has a solitary moment and a woman picksup dog-poo. There’s a Little Britain-village fete-Henman Hill kind of feel to the proceedings.Over the two days I shoot 686 frames, FTP an

edit of ‘as shot’ 82 to the Telegraph Magazine,and then head off for a day’s clay pigeon shootingin the Oxfordshire countryside. On return, the TMhas edited 13 images to be delivered as polished,ready-for-publication files. This is encouraging.My hopes are for six consecutive pages with adouble-page opener. I text my friends and call myMum. Finally, I think she will have somethingproduced by her son to be proud of to frame andhang in the spare bedroom. I assess Martin Parr’seffort on the Magnum website and think, perhapsI may have edged it on the day.Saturday 7 May, the day the Telegraph

Magazine Royal Wedding souvenir edition ispublished. It’s with leaden feet that I head out tobuy a copy. Three days after the wedding I hadreceived a call delivering the ‘AWFUL’ news.None of my photographs would be published;zero, nought, nowt, nada. I’ve been around longenough, just, not to take this personally and got

proactive, called Stern to see if it was too late tosend some their way. The subsequent eliminationof Bin Laden had squeezed out wedding pages.I get six images on to the Corbis website forsyndication and upload 50 to Alamy, but it allfeels a little bit late. Twenty are posted on mywebsite, I tweet the link and put an album onFacebook. Responses are good: Martin O’Neillthinks them “Most amusing”, Sam ChristopherCornwell, “Great stuff ”.Wincing back a double vodka tonic I find Zed’s

six images over two pages and Simon’s one imageover two pages treading water in the Getty poolpublication. Slightly embarrassed at myexclusion, I text my friends and call my Mumwith the news. It seems even the staunchestcynics have been seduced by the occasion (exceptme). The wedding is to be remembered andrevered as a right royal fairy tale (except by me).I now know why I don’t officially shootweddings. You wouldn’t want me at your weddingand, in all honesty, I probably wouldn’t want tocome. I raise a glass to the hundreds of millionswho watched TV coverage of the weddingand consider instead, the next royal funeral.

“I assess Martin Parr’s effort on the Magnum website and think, perhaps I may have edged it...” Peter Dench

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Thispage,clockwisefromtop left:AmericantouristsChristineandOliviaWoffordoutside

thePalace;Ayounggirlwearinga tiarawavesfromataxion theMall;Royalsupporters facing

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coloursalongside theprocessionroute.



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I was mesmerised by how this combinationof technology, intellect and experience made whatmust be immensely complicated look so easy.It had the feeling of a military operation and yetin the midst of the key moments, none of thesignificance of the event was lost on the 20 or soteam, camera phones (or were they phasers?)taking pictures of the monitors.Outside, as I walk past groups of gaffers, grips

and sparks watching any available TV monitor,there is calm and quiet everywhere. It was likeanother sci-fi favourite, The Day the Earth StoodStill (the original 1951, Michael Rennie version,not the 2008 one!) and just as with the film,everything jumps back to life as the newlywedsapproach. Swept along with the excitement and toget a better angle of the crowd, I jump on toa not-insignificant wall overlooking the Palace,closely followed by a security guard. He hadobviously been given strict instructions to repelall aggressors, but then another two, then three,then 10, follow my move, and he is literallyjumping up and down when radio legend SimonBates follows and makes a somewhat undignified,yet confident approach, taking his historic mountfor Smooth FM (if the security guard is of mygeneration then he will not dare mess with Bates).I offer help to an elderly lady as she joins

the ramparts and the guard finally cracks andswitches sides. I shoot the scene and then rush forthe gates, careful to avoid any more fluorescentparty police. Outside in the crowd there is calm aswe wait for the couple and the kiss on the balcony.One million cameras are facing the Palace and

one is facing the crowd as I completely miss thekiss but get some very pleasing crowd scenes.The atmosphere is a surprise... no whooping orshouting, just reserved flagwaving and cheers,along with laughter, tears and, what seemed to meat least, genuine joy. Up until now I had remainedrelatively detached emotionally from the romancebut soaked up the atmosphere and fun of the day;after all I was here to shoot pictures. That wasuntil I heard the hum of the British, liquid-cooledV-12, 27-litre piston aero engine, known as theRolls-Royce Merlin. Or, to be precise, six Merlinspowering the Spitfire, Hurricane and AvroLancaster bomber of the royal flypast. The soundand resonance of this world-saving piece ofBritish engineering excellence, combined with allthe past history it represented, along with thepomp and pageantry, finally bring a lump tomy throat. Kisses over and the Sun’s ArthurEdwards happy, I try to make my way back to thepress area. It’s a stone’s throw away and yet takesme 40 minutes, which, as I hate crowds, would

normally have been a quiet hell. Yet this is calmand orderly, allowing me to shoot pictures allthe way. In a slow-moving river of one millionpeople I swim to reach the bank and am pulledashore by the newly-recruited security guard,now happy to see me as I enter the tranquillity ofthe press area.There is just time to meet up again with

Eamonn and Charlotte, who have been cooped upin a studio for the past six hours. There is a senseof both relief and obvious pride as Eamonn is stilltaking pictures through the studio window of thedispersing crowd, while Charlotte discusses herfeelings at having witnessed a very real romanceand all the girls chat. As I go to leave, I bump intoSimon Bates again, now back in his office andpacking his bags but still making time to extol thevirtues of his antique brass microphone.Both Simon and his Coles Electroacoustics 4104commentator’s ribbon mic seem to me to be partof broadcasting history, and it is somehow apt thatmy lasting memory of the big day is of the twoof us enthusing over his means of recording thesound and mine of taking the pictures.

You can see more of Clive’s Royal Weddingpictures by going to www.clivebooth.co.uk/royalwedding

PP

CB�

WORKING PROS{ }

TouristsGabrielaHillsandJoePeterson imitate thatkiss.



TheJakeChessumOlympusXZ-1NewYorkPortfolio

’ve never been a tech-head, rarely read the manual,don’t often check out the latest stuff… I don’t havea jacket covered in pockets, a wallet filled withdifferent filters. Everybody knows it is the eye, not

the camera, that sees the image, but I nearly alwayscarry a camera about on the street with me when I’mnot on assignment.But which one to take? I’ve been through pretty

much everything. It’s tough trying to decide what touse, which camera to take on the flight or to have slunground my neck all day. What if I don’t have a cameraand miss something?Forgetting to take a camera out is usually kind of

worrying. I always wondered how much of WilliamEggleston or Harry Callahan’s work exists because

We put the much-acclaimed Olympus XZ-1into the hands of New York basedphotographer Jake Chessum, then askedhim to hit the streets and push theXZ-1 to its limits to create a portfolio ofimages. What he sent back confirmed ourbelief in the camera and in Jake.

I

PP - OLYMPUS - JULY 07/06/2011 16:18

Teargassing, Canton, Mississippi, 1966.

OLYMPUS XZ-1 NEW YORK PORTFOLIO

PP - OLYMPUS - JULY 07/06/2011 16:19



they just happened to be in the right place at the right time andhad a camera.The only way to be out and about without a camera is to stop

looking. Go about your business, but don’t look. Otherwise, you willsee something and be gutted that you can’t get the shot.I held off on the inevitable for a while but then added the extra

pressure of starting a blog that I, perhaps foolishly, called The DailyChessum. It put me under immense pressure to get content up… youguessed: daily. The only times I have missed is when I messed up thequeuing system or waited until too close to midnight to post andmissed a day. Maybe I forgot a couple of times.It was then that I brought a digital compact into my life.

A few years ago I shot a campaign for a point-and-shoot digital.The ads ran through a few of the issues that the average happyamateur encountered on their daily quest to surmount the problemswhen trying to shoot a picture in a variety of situations too boring togo into.I was really taken with the versatility of a small digital point-and-

shoot. Not only could you get a decent picture, the features made ita great ‘note-taking’ tool… I would be able to use it in a variety ofcontexts: it was immediate and really cool.So here I am now, proudly walking about with an Olympus XZ-1.

The versatility of this camera is the best bit. Wide lens, big zoom,f/1.8, insane macro.

PP - OLYMPUS - JULY 07/06/2011 16:20

PP - OLYMPUS - JULY 07/06/2011 16:22

And it’s got video! Even better, one-touch video. And you canzoomwhile recording. Great for grabbing those cute moments withthe kids. Ah, the kids… any camera like this has to do double dutyfor me because family photos are critical. Shutter lag is prettyminimal, especially if you make a good and definite punch on thebutton: excellent for grabbing that shot on the swings. And thereis a great feature that does a burst of frames, almost like astop-frame animation.

The Olympus XZ-1 is a great camera. It delivers. I shot all thesepictures on it. It’s a compact but who cares when it’s such a greattool. Now I know what to hang round my neck.www.jakechessum.com www.thedailychessum.com

PP - OLYMPUS - JULY 07/06/2011 16:23


Jake Chessum is aprofessionalphotographer based inNew York. Born in southLondon he studiedphotography at Central

St Martins College of Art & Design beforestarting to work for magazines such asThe Face, Arena and ELLE. He then moved toNew York where he now shoots for leadingUS magazines, on international advertisingcampaigns and for various movie companies.

BIOGRAPHY

PP - OLYMPUS - JULY 07/06/2011 16:24

PP - OLYMPUS - JULY 07/06/2011 16:25


The Olympus XZ-1 combines the image quality andadjustability of a system camera with the portability ofa digital compact camera. It’s the perfect camera forambitious enthusiasts, advanced photographers and

professionals alike. The XZ-1 offers superior, best-in-classimage quality and features a superb i.ZUIKO digital lens,

excellent low-light capabilities and stunning bokeh.Full manual control lets you set aperture, shutter speed,

ISO, white balance and more. The Olympus XZ-1 isavailable in white or black. RRP £399.99.

www.olympus.co.uk

PP - OLYMPUS - JULY 07/06/2011 16:26


FORT KNOXioSafe has introduced a 3TB version of theSoloPRO external hard drive. This rugged anddisaster-proof device enables users to store up to1,500 hours of DVD-quality video or more than500,000 digital images. It features a choice ofeSATA and USB 3.0 connections which providetransfer speeds up to four times faster thanUSB 2.0, supporting both Windows and Macdesktop operating systems. Not only is it fireproofand waterproof, the SoloPRO also protects againstdata loss at temperatures up to 1,550ºF or beingsubmerged to a depth of 10ft for up to three days.It is also available in 1TB and 2TB capacities.The 3TB SoloPRO is priced $499.99 (£305)from www.iosafe.com

APPLE OF MY EYEThe latest signature all-in-one iMac has finallyarrived. It includes next-generation quad-coreprocessors, powerful new graphics, ThunderboltI/O technology for high-speed transfers anda new FaceTime HD camera. The new iMac is upto 70% faster and the latest graphics deliverup to three times the performance of the previousgeneration. The new iMac features quad-coreIntel Core i5 processors with an option for

customers to choose Core i7 processors up to3.4GHz. The processors feature an integratedmemory controller to speed up response timeswhen opening programs and a powerful newmedia engine for high-performance videoencoding and decoding. NewAMD Radeon HDgraphics processors give this iMac the mostpowerful graphics ever in an all-in-one desktop.Prices start at £999, including VAT, fromwww.apple.com/uk/imac

stop press...We’re always keeping our eyes open and our ears to the ground to make sure we bringyou the latest news, industry rumours and kit from around the world...

PANASONIC LUMIX G3Panasonic haslaunchedthe thirdincarnationin itscompactDSLRrange withthe Lumix G3.The camera is 25% smaller than itspredecessor and weighs just 336gbody only, but is packed with enoughtechnology to keep even the mostadvanced photographers happy.Its 16-megapixel Live MOS Micro FourThirds Sensor is capable of recordingup to four frames per second. There isalso a fast autofocus function with upto 23 focus areas, full HD moviequality at AVCHD 1,920 x 1,080, 50i, abuilt-in electronic viewfinder withLive View and the ability to managethe ISO range from 100 up to 6400.Trying to make light work ofcapturing an image, touch screencontrol is available. This compactlittle camera features technology thatwas once found only in large, heavyDSLRs. It is priced at £549 body onlyor £629 with 14-42mm kit lens.www.panasonic.co.uk

BIG BROTHERStudio photographers will be happy to hear that the latestmulti-shot Hasselblad H4D-200MS,which was first announced at Photokina in Cologne last September, is now shipping. Based onthe H4D-50MS platform, the H4D-200MS uses Hasselblad’s patented piezo framemodule,which now captures six shots and combines them into a huge 200-megapixel file. In addition toits extendedmulti-shot capabilities, the H4D-200MS features standardmulti-shot and single-

shotmodes as well. Naturally, it has all the benefits of the H4D family ofcameras, such as True Focus, Ultra Focus and Digital Lens Correction, to

name just a few. Upgrades for H4D-50MS cameras are alsoavailable. The H4D-200MS is available now for 32,000 euros(£28,120), plus tax. H4D-50MS owners have the option ofupgrading their systems for 7,000 euros (£6,150), plus tax, bysending the camera to the factory in Copenhagen, Denmark.www.hasselblad.com/H4D-200MS

PP -STOP PRESS - JULY 06/06/2011 15:19


stoppress...

� Rub-a-dub-dubThe LensPen OutDoorPro Kit has four key itemsto keep your camera clean, including the originalLensPen and MiniPro II, which clean in the sameway. Use the brush end first to remove all loosedust and dirt from the lens or eyepiece, then, iffingerprints remain, the other end has a flexiblechamois tip – which is impregnated with a carboncompound – to tackle the toughest prints. The kitalso contains the MicroKlear, a soft microfibrecleaning cloth, and FogKlear, a natural fibrecloth which gives strong anti-fog protection.Everything is packed into a compact nylon caseand is available, priced at $34.95 (£21.40), on themaker’s website at www.lenspen.com

�Fast and furiousPhotographers wanting to take advantageof high-speed cards in post-productionshould check out the new LexarProfessional USB 3.0 dual-slot reader.It provides file transfer speeds from card tocomputer of 500MB per second – up to fivetimes faster than USB 2.0 – and enablesphotographers to move large volumes ofhigh-resolution images and HD video morequickly than ever. The reader can transfercontent from both SD and CF cardssimultaneously and allows for easy filetransfer from one card to another. It ispriced at £39.99 fromwww.lexar.com

TURNING OVER ANEWLEAFLeaf, themanufacturer of digital backs, hasintroduced the redesign of the Aptus-II UserInterface with the release of Leaf Capture11.5 Intuitive software. The latest versiondelivers a newly designed touch screen GUI(Graphic User Interface) which claims to bemore intuitive anduser-friendly, improvingworkflow processes andproviding quicker access toimportant tools throughits newmenu – favouritesettings. The release includes support forlens calibration when shooting to a CF cardand extends the existing Leaf Captureautomatic lens calibration feature fromtetheredmode to enable its use whileshooting on the go. The new Leaf GUI’soutdoor theme helps exterior shooting byimproving visibility when facing high glareand reflections. The Leaf GUI is available forall models in the Aptus-II series, includingthe new arrival, the Aptus-II 12, an80-megapixel digital back. Leaf Capture 11.5is free and available for download from Leafat www.leaf-photography.com

SIGMA SD1 DSLROffering the quality of a medium format butthe convenience of an SLR, the new SD1flagship digital SLR has arrived with a highprice tag to match. Adopting a lightweightyet solid magnesium alloy body and O-Ringsealing connections to prevent dust andwater getting inside the camera body, theSD1 makes the perfect companionfor use in harsh conditions. It features

a 23.5 x 15.7mm APS-C X3 direct imagesensor and dual TRUE II image processingengines. The combination of the46-megapixel sensor and processingengines ensure thehigh-resolution images areprocessed quickly, offeringcontinuous shooting speedof five frames per secondand capturing up to seven

RAW images per sequence in continuousshooting mode. ISO sensitivity can beselected from 100 to 6400 and theautofocus system features an 11-point

twin cross sensor. Quality plusconvenience doesn’t come cheapwith an RRP of £6,199.99, includingVAT. The UK release date was setfor June. For more information visitwww.SIGMA-SD.com/sd1

LATELY WE’VE BEENHEARING...� Apparently using an iPad can increaseyour business output, according to asurvey by London digital agency Sevenwhich says that the iPad owners itquestioned claimed to be spending10%more time grafting since buyingthe tablet…� We spotted this limitededition Martin Parr plate forsale on the internet.Good enough to eat your dinner off orthe perfect thing to bring to a night outat a Greek restaurant?...� The May issue of US Vogue featured atribute to Alexander McQueen with a bevyof savage beauties such as Stella Tennantand Karen Elson shot by Steven Meisel insome of the deceased designer’s finestcreations…� Pimpmyrangefinder.Fans of theFujifilm FinePixX100 have beensnapping up accessories on eBay andAmazon that fit the rangefinder,from soft releases to hot shoe coversdesigned for Nikons…� Think Juergen Teller and you don’tautomatically imagine wide-open Suffolklandscapes but that’s exactly what thefashion photographer has been shootingrecently as well as showing his work atJune’s Aldeburgh Festival…� Actress Eva Green has been in thespotlight recently, photographed by PaoloRoversi for the May issue of Interviewmagazine and by Swedish fashionphotographer Camilla Åkrans forHarper’s Bazaar in June’s issue…

TRUE COLOURSDatacolor has released the first, freeapplication to colour calibrate iPaddisplays. Users who download theSpyderGallery app can colour correctimages and create custom colour profileson their iPad. This app is aimed atprofessional photographers who wantthe convenience of using an iPad todisplay their portfolio withoutcompromising colour accuracy.Datacolor’s SpyderGallery is availablefor free download from the App Store oniPad onwww.itunes.com/appstore/or for more information visithttp://spyder.datacolor.com

PP -STOP PRESS - JULY 06/06/2011 15:23

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LEICA M9 Black body ££44,,889999LEICA M9 Steel Grey body ££44,,889999

“DEMO M9 TEST DRIVE”28mm f2 Summicron - Blk ££22,,66007735mm f2 Summicron - Sil ££11,,88997750mm f2 Summicron - Blk ££11,,33447735mm f2.5 Summarit - Blk ££11,,11553350mm f2.5 Summarit - Blk ££11,,00005575mm f2.5 Summarit - Blk ££11,,11222290mm f2.5 Summarit - Blk ££11,,112222ZEISS ZM Lenses in stock PPHHOONNEELEICA X1 Black ££11,,339955LEICA D-LUX 5 ££661199FUJI X100 Orders Taken ££999999

D300S Body ££11,,114499 D5100 Body ££661199 600mm f4G AFS VR ££77,,443333D300S + MB-D10 Grip ££11,,334488 D3100+18-55VR£40 cashback ££444499 1.4x/1.7x Converter ££332233D300S + 10 - 24mm AFS DX ££11,,779999 MB-D11 GRIP ££226699 MB-D10 Grip ££225544D300S + 18-200 AFS VRII ££11,,775599 14-24mm f2.8G AFS ££11,,336677 10.5mm f2.8G DX ££555555D300S + 16-85mm AFS VR ££11,,445599 24-70mm f2.8G AFS ££11,,225599 24mm f2.8 AFD ££334499D300S + 17-55 f2.8 AFS DX ££22,,222299 PC-E 24mm f 3.5 ED ££11,,444499 New 24mm f1.4G AFS ££11,,773355D700 Body ££11,,889999 10 - 24mm G AFS DX ££668833 35mm f1.8G AFS DX ££117755D700 + 50mm f1.4G AFS ££22,,119999 16-35mm f4G AFS VR ££887777 50mm f1.8 AFD ££111122D700 + 14 -24 f2.8G AFS ££33,,224499 24-120mm f4G AFS VR ££889999 50mm f1.4G AFS ££330077D700 + 24 -70 f2.8G AFS ££33,,116699 28 - 300mm G AFS VR ££777799 35mm F1.4G AFS ££11,,449999D700 + 24 -120 f4G AFS VR ££22,,778899 16-85mm f3.5-5.6G AFS VR ££446699 New 85mm f1.4G AFS ££11,,442288D700 + 28 -300 AFS VR ££22,,666699 12-24mm f4G AFS DX ££885555 60mm f2.8G Micro AFS ££440088D3S Body ££33,,669999 17-55mm f2.8G AFS DX ££11,,110099 85mm f3.5 Micro AFS DX ££442266D3S + 24-70 f2.8G AFS ££44,,884499 18 - 200mm f3.5-5.6G DX VR II ££662244 105mm f2.8G Micro AFS VR ££663399D3S + 14-24 f2.8G AFS ££44,,889999 70-200mm f2.8G AFS VRII ££11,,668899 SB900 Speedlight ££334422D3S + 70 -200 f2.8G AFS VRII ££55,,224488 70-300mm f4.5-5.6G AFS VR ££444499 NEW SB700 Speedlight ££225599D3X Body ££55,,119999 80-400mm f4.5-5.6 AFD VR ££11,,004499 SB-R1 Macro flash ££442200D3X +14-24 f2.8G AFS ££66,,229999 200-400 f4G AFS VRII ££55,,119999 SB-R1C1 Commander kit ££660088D3X + 24-70 f2.8G AFS ££66,,119999 200mm f2G AFS VRII ££44,,443322 SU 800 Commander ££228800D7000 Body ££889999 300mm f2.8G AFS VRII ££44,,226655 WT - 4B Transmitter ££553399D7000 + 18-105mm VR ££11004499 400mm f2.8G AFS VR ££66,,999999 GP1 - gps unit ££118899D5100 + 18-55 VR ££668899 500mm f4G AFS VR ££66,,115533 MC-30 /MC-36 ££6699//££114455

H4D - 31 + 80mm HC ££99,,449999H4D - 31 + CF Lens Adapter ££99,,449999H4D - 40 + 80mm HC ££1133,,993333H4D - 40 + 35-90mm ££1177,,773300H4D - 50 + 35-90mm ££2244,,338888H4D - 40 body ££1122,,887777H4D - 50 body ££1199,,553366H4D - 60 body ££2277,,998844CFV-39 for 500 series ££99770099New CFV-50 for 500 series ££1111,,33336628mm f4 HCD Lens ££33,,11226635mm f3.5 HC Lens ££22,,66662235-90mm f4 -5.6 HCD Lens ££44,,99662250mm f3.5 HC II Lens ££22,,991100HTS Tilt+ Shift Adapter ££33,,77774480mm f2.8 HC Lens ££11,,771111100mm f2.2 HC Lens ££22,,337700120mm f4 Macro HC II Lens ££33,,331100150mm f3.2 HCN Lens ££22,,447788210mm f4 HC Lens ££22,,558866300 f4.5 HC Lens ££33,,008833

EOS 1DS MK III ££55,, 339999 EOS 550D Body £30 cashback ££551199 TSE 17mm f4L ££11,,999999 2 X EXTENDER II ££228899EOS 1D MK4 ££33,,779999 EOS 550D+18/55 IS ££664499 TSE 24mm f3.5L II ££11,,777799 300mm f4L IS ££11,,221199

22 YYeeaarr WWaarrrraannttyy --11DDSSMMKK33 ++ 11DDMMKK44 EOS 600D Body ££661199 24mm f1.4L II ££11339999 400mm f5.6L ££11,,1166005D MKII Body ££11,,889999 EOS 600D+18/55 IS ££668899 50mm f1.4 ££330099 400mm f2.8 L II IS ££99,,9999995D MK II + 24 -105mm IS ££22,,559999 10-22 EFS ££669955 85mm f1.2L II ££11,,884499 400mm f4 DO IS ££55,,3344445D MK II + 17 - 40mm L ££22,,449999 17-55mm EFS ££884455 70-200mm f4L ££553399 500mm f4 L II IS ££88,,9999995D MK II + 24-70mm f2.8L ££22,,884499 17-85mm EFS IS ££338899 70-200 f4L IS ££992222 600mm f4 L II IS 1100,,9999995D MK II + 16 - 35mm f2.8L ££33,,119999 18 - 200mm EFS IS ££ 443399 50mm f1.2L ££11,,333355 1.4 X EXTENDER III ££447799EOS 7D Body ££11,,334499 60mm Macro EFS ££338800 70-200 f2.8L IS MKII ££11,,999999 2 X EXTENDER III ££447799EOS 7D +18-135mm IS ££11,,559999 16- 35mm f2.8L MKII ££11,,224499 100-400L IS ££11,,224499 430EX II Speedlite ££221199EOS 7D + EFS 15 - 85 IS ££11,,889999 17-40mm f4L ££666622 70 - 300 IS ££445577 580EX II Speedlite ££339999

FFRREEEE BBAATTTTEERRYY WWIITTHH EEOOSS 77DD 24-70mm f2.8L ££11,,114499 70-300 f4-5.6L IS ££11,,226699 MR14 EX Speedlite ££447799EOS 60D Body ££886699 24-105 f4L IS ££998899 100 f2.8 Macro ££445566 BG-E6 GRIP - 5D MKII ££220099EOS 60D + 17 - 85 IS ££11112200 24-105 f4L IS White box ££779999 100mm f2.8L Macro IS ££777799 BG-E7 GRIP - 7D ££114411

USED EQUIPMENT WANTED quality photographic kit for PX or Commission SaleTripods & Heads

Bowens 200/ 200 Kit ££449955Bowens 400/ 400 Kit ££556644Bowens 200/ 400 Kit ££556644NEW 200/200 Travel Pack Kit ££885599NEW 400/400 Travel Pack Kit ££994400Travel pak - Small ££447733Travel Pak - Large ££553388Ringlight Converter ££332211Fresnel 200 Spot ££449999Pulsar + Bowens Trigger card ££220033Pulsar Radio Trigger Single ££114411Pulsar Radio Trigger Twin ££223333

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NEWLEICA X1

LEICAX1

• 12.9 megapixels• LEICA ELMARIT 24 mm f/2,8 ASPH• 2.7" LCD screen• 11 AF segments• Simple Handling, Complete Control

£1395.00Ever Ready case £160.00X1 Viewfi nder £259.00X1 handgrip £90.00X1 Battery BP-DC8 £70.00

LEICA M SERIESLEICA M9

M9 with18 Million Pixels, allows the utilisation of the full 35mm format.

M9 Black Body £4900.00M9 Grey Body £4900.00

LEICA 35mm£3500.00MP Body Black or Silver

LEICA D-Lux 5£599.00A true Leica, not only in terms of its elegant design but also in its superior optical performance.

D-Lux 5 AccessoriesD-Lux 5 battery £63.00D-Lux 5 EVF-1 Viewfi nder £275.00D-Lux 5 Handgrip £63.00D-Lux 5 Leather ever-ready case £135.00

NEW LEICA V-Lux 2£649.00

V-Lux 2 Outdoor Case £135.00

The super-zoom compact for travel and nature photography.

USED & EX DISPLAY LEICAVery rare, very collectableUsed M6 Titanium Body, M 35mm f1.4 Summilux Titanium, M 90mm f2.8 Elmarit Titanium, 2x Filters Complete Kit £4500.00

X1 ACCESSORIES

New fi rmware has improvedthis camera further

Ex-display M7 A la carte body

£2500.00

M LensesM Tri Elmar 16-18-21mm f4 & Viewfi nder Set £3999.00M 18mm f3.8 Super Elmar ASPH £2200.00M 21mm f1.4 Summilux £4399.00M 21mm f2.8 Elmarit £2999.00M 24mm f1.4 Summilux £4399.00M 24mm f2.8 Elmarit £2699.00M 24mm f3.8 Elmar ASPH £1699.00M 28mm f2 Summicron £2799.00M 28mm f2.8 Elmarit £1399.00M 35mm f1.4 Summilux ASPH £3440.00M 35mm f2 Summicron £1999.00M 35mm f2.5 Summerit £1179.00M 50mm f0.95 Noctilux ASPH £7348.00M 50mm f1.4 Summilux £2550.00M 50mm f2 Summicron £1400.00M 50mm f2.5 Summarit £949.00M 75mm f2 Summicron £2380.00M 75mm f2.5 Summicron £1179.00M 90mm f2 APO Summicron £2600.00M 90mm f2.5 Summarit £1179.00M 135mm f3.4 APO TELYT £2290.00M Macro Set 90mm f4, Angle Finder M & Macro Adapter £2750.00M FlashgunsSF24D £260.00SF58 £539.00

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Larry Sultan

Peter Silverton looks at the lifeof Brooklyn-born photographerLarry Sultan, whoseextraordinary images capturedthe ordinary in American life andwere celebrated by the art world.

Larry Sultan was born on 13 July 1946, inBrooklyn. Three years later, his parentsmoved to what would become hisinspirational landscape, California’s SanFernando Valley. Mostly, he photographedhomes. Or rather ‘homes’, turning images ofpeople and places into ideas of peopleand places. An obituary described hispictures as “engaging ideas of truth, fantasy,and artifice in the context of home andmiddle-class domesticity”.If that makes his work sound dry and abstract,

it’s not. It is saturated with emotion, personality,jokes and the deepest, most personal of colourpalettes. You wouldn’t mind living in a LarrySultan picture. Wallpaper* magazine figured thatout and used him as its regular star photographerof fashionable and quirky interiors. He alsoworked for W and Vanity Fair.He came to photography from the art world –

with a political science degree, too. In fact,

despite a successful commercial career, he wasalways part of the art rather than the photographicworld. From 1988, he was a professor on thephotography programme at California College ofthe Arts in the San Francisco area.His first published work was a book, Evidence,

done in collaboration with artist Mike Mandel.It was a collection of 59 uncaptioned photographsthey’d dug out from the archives of governmentdepartments, big companies and researchinstitutions. They are really odd pictures. A manin a space suit face down on an office floor.A gloved arm holding a loop of rope. They havebeen described, from an art world perspective, as“a seminal foundation for a new conceptualpractice based in photographic mediums thatattempt to decentralize the once-triumphedpinnacles in photography-as-art: narrative andauthorship.” A good point badly made.Right away, even though he never actually

clicked the shutter, there is, in Evidence, theessence of Sultan’s photography and style: witty,funny even, finding the surreal in the ordinary,rooted in (and fascinated by) daily American life.His next major project was photographing his

ageing parents, Irving and Jean, at home.The book, Pictures from Home, published in1992, also included genuine Sultan familypictures, stills from home movies and his parents’comments on being photographed by their son.Mostly, they didn’t like it, particularly the wayhe got them to pose and not smile.Often viewed – and described – as critiques of

the suburban life, the pictures are far morecomplex than that. When we look at old Dutchmasters’ interiors – Vermeer’s Soldier and aLaughing Girl, for example – we don’t see themas sardonic commentaries but as richly detailedand worked studies of life as it is lived, withall its contradictions, of power, lust, status and,well, chair design and fashions in wall covering.So, too, with Sultan’s pictures. The apple green

wall and matching shag pile carpet of his parents’home is a thing of wonder. Honestly. To see hiswork as merely ironic is to miss its true irony.

As with Eggleston, a surface sheen of ironyconceals – yet, in its knowing superficiality, hintsat and echoes – a deep level warmly free of irony.This is something Sultan said: “I realise that

beyond the rolls of film and the few goodpictures, the demands of my project and myconfusion about its meaning, is the wish to takephotography literally. To stop time. I want myparents to live forever.” Which makes me, at least,think of Practising Golf Swing – his father doingjust that in his shorts, in a room with the TVon in the corner and the net curtains drawn.And of what Irving said about it, too: “It’s such ashitty swing that I cringe every time I see it.”Around the turn of the century, Sultan took the

pictures for his next book, The Valley – images ofporn films being made in the San FernandoValley, which is where most of them are made, inrented houses just like the one he grew up in.There is no sex in these pictures. Well, probably

not. Sometimes, there seem to be things going onin the bushes. You peer at them, strainedly, ofcourse. And you hear Sultan in your head, going:gotcha. The all-too-human drive to look at otherpeople having sex has pushed you into a moraltrap. And you also think: there goes a youngerSultan hearing odd noises coming from hisparents’ bedroom.His last major work used day labourers, hiring

them and setting them against a landscape of hisadult years – the edge of the Bay Area suburbs.The act of paying was as central to the image asanything done in the camera. Which raises themain question about Sultan’s work: is it dependenton exposition? If we didn’t know that it was hisfather practising his golf swing (in his underwear)and if we didn’t know that his father bitchedabout Sultan pushing him to do it, what then?My answer? It would still be a great picture,echoic and universal – “planted squarely”, asSultan put it, in “that rich and fertile field thatstretches out between fascination and repulsion,desire and loss.”He died on 13 December 2009, in California.

He was in his own home. PP

GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK

“...witty, funny even, finding the surreal in the ordinary,rooted in (and fascinated by) daily American life.”

legend1946-2009

PP - LEGEND - JULY 03/06/2011 16:44

Professional photographer uk 2011-07

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Transcript of Professional photographer uk 2011-07