Master Photography May-June 2017

Master Photography
May/June 2017 • £7.95
THE JEWELLED MESSENGER – BY JULES HUNTER LMPA

MPA5617
2 • MASTER PHOTOGRAPHY MAY/JUNE 2017

MasterPhotography
Cover: by Jules Hunter BA (Hons)
LMPA. The Jewelled Messenger. Master Photography
May/June 2017 • £7.95
Our thanks to Jules for her help

in the completion of this last
Vol 14 No 1 • May/June 2017 edition of Master Photography
in its present form, and for her
4 From the Chair/In with the new, out with the old interview with Josh Redman (page
36 onwards) which exemplifies the
6 News role MPA members should be able
10 Print and Prosper to play in the creation of their own
David Kilpatrick argues the case for hard copy and the magazine – to produce an excellent
printed page in the face of the digital media tsunami. article when you are not trying
to sell anything or sponsored to
12 The Photography Show 2017 – MPA Report THE JEWELLED MESSENGER – BY JULES HUNTER LMPA
provide content.
CEO Clare Louise sums up a show of growth and progress. MPMayJune2017.indd 1 28/04/2017 17:37
16 Master Photography Awards 2017/2018

New logos, new awards, new categories – it’s in with BROUGHT TO YOU WITH THE SUPPORT OF
the new for the annual battle of quantity and quality, OUR ADVERTISERS
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24

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32 Interview: Josh Redman FINE ART PAPERS FUJI POSTER
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Gill Shaw AMPA talked to the organiser and two featured
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CAMERA MODEL: ACS CONVERTED NIKON D70IR 720NM
46 Mentor Profile: Mike Ward AMPA

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52 Field Test: Elinchrom ELB 1200 ffifififififiYfififififififififififififififififififififififififififififiwfiISOfifififififififififififififififififififi
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62 MPA Regions AND THE
Watch your Facebook pages and newsletters for events WINNER WASÖ
planned later in 2017. CANSON BARYTA
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MASTER PHOTOGRAPHY MAY/JUNE 2017 • 3

www.amimage.co.uk From the Chair:
email: info@amimage.co.uk
out with the old, in
Units 2-3 Stewartfield industrial estate
with the new – the
Edinburgh EH6 5RQ MPA renaissance
t:0131 553 3548
W
ell… we come to the end of an era, another chapter pure photography, new open categories that will allow
in the history of this amazing association that we any photographer to put their work alongside those of the
s for digital and film
all own. This will be the last Master Photography professionals, street photography being recognised on its own
magazine edited by David Kilpatrick Hon.FMPA and published by for the first time. This is a thrilling time for us all.
Icon Publications Ltd. The awards event, October 8th and 9th, will be two days
After 22 years association with Icon, your board has decided of learning from the masters in our industry. On the Sunday
the time is right for change – for a new fresh, young look to our there will be a large trade show and lots of short punchy talks
magazine and our association. (followed by the awards dinner) and on Monday, masterclasses
I would like to take this opportunity on behalf of the with the best speakers around. This will be learning and
board of directors to thank David for his sterling work and training at its best for everyone who wants to improve their
loyalty on our behalf over these 22 years. I’m sure he has seen photography and their business.
many changes in that time within the board structure and
C, foam board etc
administrations, and through thick and thin has given the
Regional regeneration
membership a regular read.
Change is inevitable in various forms, and we as an Another change that has started to take us forward is the
association have probably changed more things in the last four exciting regeneration of the regions around the UK. As your
scount
months than in the last four years… Chairman I visited four different regions in a two-week period
Maybe the magazine is the biggest change of all, but we in April and each one was exceptionally supported by the
feel it is necessary to do it now, as we are looking towards our members with many new faces coming along for the first time.
members
future growth within the industry.
This year’s awards will be incredible, but only if the
The quality of the speakers at all regional meetings is now
outstanding in quality, and for as little as £10 on the door
membership gets involved – new categories to promote everyone learns so much for so little.
If you have not yet visited your local region, please make a
point of doing so. You will be really pleased you did as they are
great experiences and if you need help just drop me an email
Focus on and I will direct you to the right place and person.
Our new monthly image competition is into its second
Insurance month with a huge entry level in April which I’m sure will
be bettered this month. If you want to enter just click on the
link in my weekly chairman’s newsletters. It is only open to
members of the MPA and its free, as this is a membership
benefit. It is all about getting more help and advice and getting
better as a professional, all part of the change.
Communications
Insurance Endorsed by the MPA
My weekly Chairman’s newsletters are being really well received
Discounts available to MPA Members with so many positive comments of how you are feeling more
Towergate Camerasure looks after the insurance needs of more professional involved and informed on everything that is happening,
photographers than any other broker in the UK. We pride ourselves on providing a
personal service to tailor the right insurance package to meet our clients' needs, from you now get to hear about everything that is current and
newly qualified professionals to established studios. happening in your region and from your board.
As a part of the Towergate Group, the largest independent insurance intermediary in Another change is the MPA Forum that has now been set
Europe, we have the market strength to deliver highly competitive premiums.
up for members, so they can seek advice and help from other
Specialist covers for photographers include:
members. This is another membership advantage so members
• All risks including Accidental Damage and Theft
• Public Liability can get involved with each other across the world as our
• Employers Liability membership is growing both in the UK and overseas in leaps
• Professional Indemnity
• Shoot / Production insurance and bounds.
PI from £60, and up to a 40% discount on other covers available to MPA Members. All this positive and exciting change is just a small part of
For a free no obligation quote, contact us on your new MPA moving forward and I look forward to meeting
more of you as I visit all the regions around the UK this year.
I look forward to writing the leader foreword in our new
Tel: 0870 411 5511 publication in July – so until we chat again, keep busy and
Email: camerasure@towergate.co.uk smiling!
Towergate Camerasure products are underwritten by one of the UK's largest insurers Norwich Union – Ray Lowe Hon FMPA, Chairman
Á
Towergate Camerasure is a trading name of Towergate Underwriting Group Limited.
Authorised and regulated by the Financial Conduct Authority
Calls may be recorded for training purposes
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NEWS Send your news releases & events to richard@rtkmedia.co.uk
PLAN YOUR YEAR Nikon celebrates 100

NIKON is to offer commemorative
May 15th-16th 2017
models and goods to celebrate its
The Newborn Photography Show
100th Anniversary on July 25, 2017.
Windmill Village Hotel
The Anniversary range, which
Fillongley, Coventry
feature the 100th Anniversary logo
thenewbornphotographyshow.co.uk
and special finishes and detailsra-
May 23rd-24th 2017 tive editions of three binoculars.
Masterclass workshop with Greg A special collection of commem-
Moment and Dumitrel Rada, orative goods will also be available, Sigma 100-400mm Tamron 10-24mm VC
London see www.nikon.com/100th/ ƒ5-6.3 DG OS HSM Di II VC HLD
D5 100th Anniversary Edition:
June 5th 2017
dark metallic gray finish and a THE retail price of the new Sigma TAMRON has introduced a new
MPA Licentiate Judging
stamp noting Nikon’s contribution 100-400mm F5-6.3 DG OS HSM will 10-24mm F/3.5-4.5 Di II VC HLD
Contact MPA Head Office 01325
to the study and exploration of be £799.99 (include VAT) in Sigma, for APS-C DSLR cameras. It claims
356555.
space, anniversary booklet. Canon and Nikon mount available the largest focal length range in its
June 15th 2017 D500 100th Anniversary Edition: from this month. classm it updates the earlier lens
Food Photography training metallic grey finish and commemo- The lens claims top perfor- of a similar specification to include
Aspire, Burton-in-Kendal, LA6 1NJ rative logo, exclusive metal case mance with the specification and VC (Vibration Compensation),
www.aspirephotographytraining.co.uk with logo and serial number, spe- functionality of a more expensive Moisture-Resistant Construction
cial body cap and leather strap. unit, but keeps a compact size with and Fluorine Coating, and the first
May 29th 2017-June 2nd 2017
The NIKKOR 70-200E 100th uncompromising image quality implementation of Tamron’s new
England and Wales Schools half
Anniversary Edition: comes with A Push/Pull zoom mechanism HLD (High/Low Torque Modulated
term holiday period
the individual glass elements that can take over from the regular twist Drive Motor). Along with this goes
June 28th 2017-Aug. 15th 2017 make up its internals, a special dis- ring zoom (just do it) and the lens a redesign of the lens itself to re-
Scotland Schools Summer Holiday play stand and case. hood ios also designed to allow semble the full frame SP series.
NIKKOR Triple ƒ2.8 Zoom Lens this. The new lens is coded NoB023 and
July 26th 2017-Sept. 5th 2017
Set 100th Anniversary Edition: the The lens has a macro setting and comes in Canon and Nikon mounts
England and Wales Schools
same commemorative serial num- a new optical stabiliser system. only.
Summer Holiday
ber is engraved on all three lenses. www.sigma-imaging-uk.com www.intro2020.co.uk
(some from July 17th)
Nikon 100th Anniversary Crystal
October 7th-22nd 2017 Creation Nikon Model I: Swarovski
Scottish Schools Autumn Break crystal reproduction of the first
(may be 1st or 2nd week) Nikon 35mm camera from 1948. 135mm Zeiss for Sony FE
Nikon 100th Anniversary Pin
October 8th & 9th 2017 THE NEW Zeiss Batis 2.8/135 is the first
Collection: a collection of lapel
Master Photography Awards and 135mm AF focal length for Sony’s Alpha 7
pins replicates Nikon's most his-
Masterclass Day system with E-mount. Like all lenses from
toric and popular products, as well
Jury’s Inn Hinckley Island Hotel, the Zeiss Batis range, this new addition is
as the corporate logo, over the past
Leicestershire. an AF design. An optical image stabiliser
century.
October 23rd-27th 2017 Nikon 100th Anniversary has also been incorporated into the design,
England and Wales Schools Miniature Nikon F Camera: faith- as with the 85mm ƒ1.8 model introduced
Autumn Break fully reproduced 1/2-scale model. last year. An OLED display enables visuali-
(some schools, 16th-20th) Nikon 100th Anniversary sation of the depth of field. Dust and dirt
Premium Camera Strap: best Italian shielding protects in adverse conditions.
December 18th-Jan. 5th 2017/18 The lens uses 14 elements in 11 groups,
leather that “improves with use and
England and Wales Schools an unusually complex design for a 135mm
age”.
Christmas break ƒ2.8, for ultimate sharpness. Available now,
Nikon has also announced the
Dec. 22nd-Jan. 7th 2017/18 new D7500 – see facing page. the RRP is £1,749.99 (inclusive of VAT).
Scotland Schools Christmas Break www.nikon.co.uk www.zeiss.com
Print your own cards for all Special Occasions with 50 x A5 or 25 x A4 Imajet Pre-Scored Satin-Matt
239gsm Cards with Envelopes...only £12.98 Sign up for enewsletter for special offeres & promotions
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FOTOSPEED SIGNATURE PLATINUM ETCHING 285 ALSO AVAILABLE IN PANORAMIC SHEETS FOR A4 AND A3 PRINTERS

Newsdesk for f2 Cameracraft and all Icon web and print media
First seen at The Photography

Show, Sigma’s new ciné primes
Fuji GFX 50S Lenses Sigma Cine range expands.

£TBC £TBC
Fujifilm Sigma Imaging (UK) Ltd
ALREADY shaking up the medium format digital world, Fuji’s GFX family FEATURING metric or imperial scales, optional fully luminous marking and
continues to grow with the unveiling of the latest roadmap for FUJINON GF geared drives for focus and zoom where applicable, Sigma’s aggressive
lenses. The previously announced six lenses, three of which are available push into the movie marketplace continues with the addition of the 14mm
now, have been joined by an additional telephoto prime lens and tele con- T2 FF and 135mm T2 FF high speed prime lenses intended for movie mak-
verter. Although no details are given on focal length, with the current range ing with DSLR, movie and mirrorless cameras.
extending from 23mm to 120mm there’s plenty of scope for traditional 645 Derived from the award-winning Art series lenses, Sigma’s Cine options
formats around 150mm to 200mm. The eight lens lineup anticipated by are available in Sony E, PL and Canon EF mounts and are naturally support-
2018 should cover most photographers’ needs, and that’s without taking ed by mount – and focus scale – conversion services to allow the invest-
into account the existing range available via adaptors. ment in glass to transcend platform choices.
www.fujifilm.com www.sigma-imaging-uk.com
Nikon D7500
£1299
Nikon
NIKON’S position in the careers and camerabags of professionals around

the world is undeniable, with countless iconic images captured through the
lens of venerable F-series bodies in the hands of photojournalists through
to the groundbreaking series of DLSRs. 2017 naturally brings new models to
the range, with the D7500 marking the latest step in the prosumer SLR cat-
egory. Unusually the pixel count falls backwards from the preceding model,
trading resolution for sensitivity in the form of the D500’s 20.9Mp sensor
and an astounding ISO 1,640,000 extended capability. Nikon’s first engi-
neers and technicians would be proud! 4K video, electronic stabilisation, an
articulated monitor plus true optical pentaprism finder and a host of con-
nectivity and control options ensure the sweet spot of cost, size and per-
formance first set by the D7000 remains intact; 8 fps performance, 51-point
3D tracking AF and 180K pixel metering also feature in the £1,299 body.
Nikon have also announced cashback schemes on existing models, with the
D3400 and D5600 getting £45 rebates and lenses ranging from £25 to £130,
until August 4th 2017.
www.nikon.co.uk

NEWS
Lomography LOMO’INSTANT Automat Glass
£169
PUSHING the boundaries of Instax photography further, Lomography’s

Instant Automat Glass was available to demo at The Photography Show
this year, and is now shipping from stock. 2016’s Kickstarter launch of the
Automat saw refinements to the inexpensive instant, including a lens-cap
remote trigger and easier readout of remaining frames. The Automat Glass,
as the name suggests, finally puts some decent optics between the subject PTO 2018 Lineup
and Fuji’s remarkably high-resolution film. Initially available in black-and- £1045
orange Magellan design, the package includes a close up lens and splitzer Photo Training Overseas
attachment. The multi-coated six-element ƒ4.5 wide angle (21mm equiva- ONE OF the most successful and
lent) lens is currently unique in the low-cost Instax market, with even Leica’s enjoyable training events, Photo
Sofort still using plastic lenses. We tried out the Automat Glass in March, Training Overseas continues into a
and predictably every frame was kept by the subjects - the image quality is 4th decade with the 2018 destina-
markedly better than the conventional Lomo’Instant models. tion of Madeira. Escaping British
www.lomography.com Winter for sub-tropical sun is al-
ready appealing, but your week
in warm weather comes with an
Photo art made from the GoPro and Sennheiser Rock the Mic intense programme of speak-
sands of time… Sennheiser MKE-2 elements. ers, including Saraya Cortaville,
Sean Conboy, Gerry Coe, Brett
GLASS is one of the most durable materials ever MATCHING the robust reputation of the ubiquitous GoPro Florens, Paul Fowler, Guy Gowan,
invented. ow thanks to leading photo wall art is essential for any accessory, and Sennheiser have gone Stu Williamson and John Young
creators Adventa you can assemble for your cli- for lifting the audio capability of the HERO4 to match the alongside our very own Ray Lowe.
ents a new contemporary sealed-in product to audience-pleasing video. The MKE 2 elements microphone There’s an opportunity to promote
last for generations – the Adventa Glass Mount has been developed to offer traditional Sennheiser qual- your own expertise too, as there’s
Pro. The design lets you open the sealed back, ity in a wide range of environments, including underwa- room in the schedule for speakers
clean the glass perfectly and then close it. You ter, and is verified by GoPro; it incorporates a rear case on Album Design and Layout, and
can seal it with optional adhesive strips to ensure mounting that preserves the environmental sealing of the Social Media. Supported by re-
it stays perfect. The front shows off the framed compact camera. Internal shock mounting is coupled to a spected trade partners like Loxley
image with a black border behind high gloss weather-resistant windshield to ensure good sound quality Colour, Fuji and The Flash Centre/
toughened safety glass. At first glance it could be in all environments Elinchrom, PTO has proven time
an iPad or a computer screen, with two sizes of with minimal and time again to be an invaluable
6 x 8” (a desktop frame with light blocking easy noise trans- learning, networking and relaxa-
fit clip-on easel stand, which won’t wear out like fer from the tion event. If you want to extend
a strut mount) or 12 x 16” (a wall art frame with GoPro itself. it to a holiday, a second week is
portrait or landscape hanging clips included). At £179 typi- available giving time to explore the
For further information see: cal street price, local colour and take that inspira-
www.adventa.com and search the catalogue it’s an affordable tion a little further. Book now with
for Glass Mount Pro. You’ll also find the full rugged solution for action a deposit of £60 and you have six
range of Adventa products including QuickPro videography. months to pay the balance for this
Art Wrap system and Vision Wall acrylic panels. en-uk.sennheiser.com all inclusive package.
Sony Alpha 9 Right: new 100mm ƒ2.8 STF

£4500 portrait lens, and 85mm ƒ1.8
Sony
MIRRORLESS continues to gain ground, with Sony achieving strong sales

in stills and video markets, and their latest full-frame offering looks certain
to continue that trend. The 24.2MP CMOS sensor uses a new “stacked” archi-
tecture - not, as you might think, stacked sensels, but a single module con-
taining sensor, buffering and image processing in the same unit. Avoiding
the need for external interconnects and circuitry, this innovative new de-
sign offers faster processing and reduced noise.
The new camera offers many capabilities that are not possible with a
modern digital SLR camera including high-speed, blackout-free continuous
shootingiii at up to 20fps, 60 AF/AE tracking calculations per second, a fast-
est shutter speed of up to 1/32,000 second and much more.
The industry-leading speed and silent shooting is combined with a
focusing system that features 693 phase detection AF point covering ap-
Above: new A9 proximately 93% of the frame. The new α9 also features a vibration free,
Below: new 100-400mm zoom fully electronic, completely silent anti-distortion shutter with no mechani-
cal mirror or shutter noise, making it an ideal for any shooting situation that
demands quiet operation (weddings, concerts, court proceeding, television
and movie sets for example). A new Z battery has approximately 2.2x the
capacity of the earlier batteries, and there are dual SD media card slots, one
supporting UHS-II cards. An Ethernet port (wired LAN terminal) is fitted to
enable sports event connection and tethered shooting is a key point of the
new camera.
www.sony.co.uk

PRINT
W
e have produced
a magazine of the
highest quality
over the last three years, since
incoming MPA CEO Clare
Louise approved a suggestion
to go bi-monthly and make
the production match the
AND PROSPER
the ColorMunki Photo, the
DataColor Spyder and other
devices producing this maga-
zine would be a hit and miss
business. My Epson 3800 re-
lies on profiles I create myself
with the ColorMunki as well
as custom profiles made by
relaunched f2 Freelance Pho- Fotospeed, Permajet and Mar-
tographer. At The Photography rutt alongside Epson’s own
Show 2014 we unveiled this very good off the shelf ICC
format, and it has been most data.
successful in a market where Well, the prints when
print media has generally delivered fell short of my
been declining. expectation. They were not a
Why? match for my profiled display
Because hard copy – the or in-house printing. I had
printed image – is the means never sent a test file to Loxley
by which nearly all our MPA or created a custom profile
members earn their living. as I would for a new inkjet
Only a few make a good printer. Very quickly, we went
business from purely elec- through the process and fixed
tronic delivery of still images, the problem to ensure my
whether it’s commercial or files and their prints looked
social. Even when they do, a identical.
final printed version is often It was interesting because
the objective, from the house normally, I just don’t see
sale brochure to national my work printed (except on
magazines and newspapers. magazine pages). Later on, I
Hard copy rules the day. was asked to do some fine art
It is how the MPA’s annual black and white paper tests.
awards are ultimately judged Armed with the materials
– there is no category for and the brief, I went for A2+
Miners’ strike era negative, 1974. 10 x 8 print, 1977. Scan, 2005. Harman
purely digital work, every im- size which is larger than 20 x
FB AI Gloss archival inkjet print, 2007. Photo on this page, 2017. ©DK
age must be printed for a final 16. Some of the older photo-
decision. As magazine editor, of international importance they have been really useful graphs were scanned from A4
I have avoided entering or pretending to be a pho- over the years for making or smaller prints made in the
awards and for many years tographic artist. I just take showcards… they simply 1970s for national newspa-
considered myself disquali- images which are intended for didn’t have the quality look pers and picture agencies. It
fied to do so. Then in 2009 newspapers, magazines, books which MPA award-winners was amazing how well these
I was told to do so, because and web media. needed. The flatness, the sur- enlarged over four times to
MPA was losing ground in the As the owner of an Epson face, the overall appearance create striking big wall art (if
editorial and press photog- 3800 printer, my first step fell short of the mark. Most you can call it that).
raphy field, and the process was to make 20 x 16 inch awards entries at that time After this I started making
is completely anonymous. I prints from the images which were finished prints which prints more often, including
picked up a bunch of merits had been selected for print could have sold to a client for a local exhibition of sixty
and the overall UK Press/PR/ judging. But this was when hundreds. framed prints in 2012. People
Stock title, which surprised mounted work was required, So, for the first time, I were, indeed, very happy to
me. and I quickly found that my placed an order with Loxley pay for these relatively simple
In the process I had to old Ademco heated press Colour for mounted 20 x 16 products – a routine 20 x 16
do something unusual. I mounting skills had been lost prints from editorial pho- oak wood frame and aperture
just don’t print my images. along with the equipment. I tojournalism. I use colour overlay with an A3/12 x 16 or
I am not in a camera club purchased some Ilford Galerie management of course: smaller print. It wasn’t even
and I’m not covering events pre-mounted pearl sheets, and without the i1 Display and a fine art project, and used

Epson Professional Lustre pa- If you have not yet seen the full 50 megapixels). You
per which is not fibre based. prints made by Graphistudio’s will then be making metre-
Today, I would never DreamLabo system, it’s worth wide portraits, prints as big
consider wasting my time getting hold of the samples (four as the oil paintings lining the
making sixty prints on this paper types, with the high gloss a staircase of your local stately
paper. I would pay the extra clear winner for sheer saturation, home, with millimetre-fine
up front to use something but a warm toned natural cotton detail.
like Permajet Smooth Baryta rag included). The colours and A very fine photographer
Gloss (recently introduced) archival permanence go beyond sent news of his success to us.
or Epson Traditional Photo photochemical process standards. The information and pictures
Paper, another fibre-based were on a CD. That was a
baryta. It’s the difference reminder too. It was the first
between a two-figure sum for CD we have handled in over
a framed print and a three- a year. The computers no
figure sum, even for ‘local longer have CD drives. The
view’ category images. For the hardly-used add on Samsung
portrait sitter it could be the CD drive struggled to read
difference between a three- both copies we were sent.
figure order and a four-figure Copying failed two or three
one. times. The CD didn’t mount
Recently, the whole busi- at all between going AWOL.
ness of wall art and decor All your digital files, no
printing (as opposed to what matter how well you copy
I’ll call fine art) has been them and archive them, are
transformed by new media. only as good as a few undam-
My favourite print made over aged bits holding the key to
the last few years of testing read them. If some ransom-
services is a waterfall view ware criminal manages to
which went on to a Welsh encrypt your PC and every
slate, printed by the Acrylic disk attached to it, either your
Picture Company. Since work or your bank account
then image transfer on to may be gone for ever. The
slate, metal (as with Loxley’s same applies to your clients.
Alumini), wood, marble and Social media and cloud stor-
many other substrates has to do is print a handful of message is – get this right, get age is no permanent answer:
become easy to find. digital camera images with the wall print and its mount- we have already see entire
A comment was made, on a gamut making full use of ing and framing to the right collections disappear, websites
the MPA’s member-only Face- AdobeRGB on any regular level, and you could be mak- lost, cloud archives erased as
book group, that really posh photo printer, and also on ing individual photographic accounts change and provid-
clients simply wouldn’t have their HD print system. It’s prints worth not hundreds ers change hands or close.
an acrylic or a metal print like the difference between but thousands. Ultimately, it will be the
mounted on the wall. I would 1970s first colour television Along with this profes- hard copy print, the album or
disagree; clients owning really and a current 4K HD screen! sional photographers should the wall print or the shoebox
old traditional houses might It is also something we can think hard about the cameras, full of loose 6 x 4s which sur-
not, but a quick peek at the not show in this magazine. and sensors, used to capture vives into the next century.
London luxury housing mar- You’ll have to ask Jeremy the original image. Over the As will this magazine, and
ket would show that prints Price and his team to send years of producing this maga- all the copies of the MPA’s
like this are ideal for display you or show you samples. zine our greatest problem has magazines over the years
in modern interiors. There Originally meant for album been the inadequate size of which we have lodged with
are photographers who don’t pages, the HD printing was the finished files. There have the libraries of deposit in
say much about their work or rapidly taken up for boxes of been pictures we wanted to England, Scotland, Ireland
clients for good reasons but pre-mounted prints. It’s also use as double page spreads and Wales for permanent
sell sets of the highest quality possible to use it for somewhere the largest available file preservation. Seven of every
mounted images to develop- thing like MPA Awards final was only suitable for a half issue, going to the different
ers and hotel chains. In some prints. It is as close to the ex- page. There have also been major archives to be kept for
cases one single order of this perience of seeing the image plenty of pictures intended the future. It’s one of the
kind could well exceed the on a good computer screen as for single column use which reasons I love working in
annual turnover of a small a print can get. arrive in wall-poster size. physical print and not just
town social studio. Then, in contrast, con- New medium format cam- the e-magazine world. It is
At The Photography Show, sider work like the examples eras with 50 megapixel sen- real. You are holding it. Even
Graphistudio took over the used in this issue from Jules sors, whether from Hasselblad if just a few copies outlast you
running of the Pro Lounge. Hunter. Because she is aiming or Fuji or Pentax or Phase or me, others will open these
One of their big talking- to evoke the feel of old paint- One, rapidly converge in pages again – and others
points was the HD print, cre- ings her print processes don’t capital investment cost with will value the prints, albums
ated on their Canon Dream- need to have a huge gamut, higher end DSLR kit. Work and books that you sell your
Labo system. I’ve seen this but they do need to have with something like the Fuji- clients.
now at a couple of regional spot-on colour management film GFX 50S and don’t waste – David Kilpatrick
promotions too. All they have and a physical presence. The the sensor (compose to use Á
The stand that delivered! MPA’s
presence at The Photography Show
boosts membership by over 10%
including eleven new LMPA passes.
W
hat a show! This is by our new Cherubs Director
one of my favourite Paul Inskip LMPA, we saw a
times of the year new and improved Cherubs
and has been for many years, Programme wowing photog-
both as a photographer and raphers at the show with an
as CEO of the MPA. This year educational programme and
was no different, with the carefully managed postcode
show exceeding all of our areas. Cherubs has now be-
expectations. come an invaluable platform
The stand, as always, to grow a successful portrait
looked amazing as we proudly business from. The Cherubs
showed off some of your community continues to grow
work, with images displayed from strength to strength,
selected from our awards with Paul’s unwavering pas-
entries. The positivity on the sion to helping members suc-
stand was utterly magnificent The MPA stand at The Photography Show 2017 looked amazing with large ceed and Rays enthusiasm to
and certainly contributed to prints on display from the awards. Bottom, Paul Inskip tells prospective not only support Paul in his
the success of the sign-ups Cherubs members what’s on the table. Photos ©MPA. role, Ray continues to share
at the show. We reached a his wealth of knowledge to all
record number this year, and who are open to learning.
with the new systems that Cherubs has quickly
have been implemented, we stepped into its new lease of
were able to cut down our life and the future is definite-
after show follow up work by ly bright. Of course, none of
more than half. Processing this could be possible without
each membership at the show the help of our Cherubs
also meant conversion of Ambassadors and Cherubs
show sign-ups reached 100%. Members who help Paul as he
Of course, this now means drives Cherubs forwards in its
we have many new and eager new direction. We would like
members looking for men- to extend our heartfelt thank-
tors – please let us know at yous for all their help at the
head office if you can offer us show and continued support
your time and fellow mem- to – Paul Inskip, Helen Rushton,
bers your knowledge, as we go Steve Reid, David Loney,
from strength to strength we Michael Shilling, David Doyle,
continue to need your help. Garry Stacey, Rose Stacey, Collin
We really must say a Davies, Gary Orgles.
tremendous thank you to all If you would like to find
those who helped out on our out more about how The Busi-
stand over the four days of ness of Cherubs works please
the show – Amanda Buckle, contact Paul Inskip –
Ray Lowe, Paul Wilkinson, Paul@thebusinessofcherubs.co.uk
Paul Cooper, Steve Howdle, The show was Ray’s first
Richard Bradbury, Steve Walton, major public engagement as
Greg Moment, Ross Grieve, Chair since his appointment
Karen Massey, Mike Ward, Ian and his passion for our As-
Boichat, James Musselwhite, sociation was at the forefront
Melanie East, Jules Hunter. of our presence at the show.
Without your support and Ray spent much time meet-
contribution we couldn’t ing members old and new,
achieve the levels of success connecting with Regional
that we do. Your passion and Chairs and heading up the
dedication to the association EGM answering questions
does not go unnoticed by us and listening to members as
here running the MPA, and the MPA takes its next steps
the new members signing up. on this ever evolving journey
Cherubs made its debut we are on. Ray’s enthusiasm
to The Photography Show in is infectious, his motivation
its new format, headed up inspirational, we are seeing

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the regions go from strength
to strength, a huge contribu-
tory factor to the success of
the show. I am sure I am not
alone as I take this opportu-
nity to thank Ray for all his
hard work and dedication to
the MPA.
Keep a look out for your
regular chairmans missives,
Rays regular communication
with members on all matters
MPA. You can also contact
Ray direct on:
ray@raylowephotography.co.uk
Once again this year we
had some amazing speakers
at the show, we kicked off
with our first speaker, Greg Photographs from the show by editor David Kilpatrick: above, the MPA stand attracts visitors. Below, Graphistudio’s
Moment AMPA, a relative excellent Pro Lounge meeting place; Calumet’s busy retail stand highlighting Sigma and other brands; and
newcomer to The Association Fotospeed’s stand where large format prints spilled out into the walkway.
whose wedding work cele-
brates all the reasons why he’s
not only gained an Associate-
ship in weddings and won
many awards for his work,
it also exudes the elegance,
gracefulness and the passion
of a photographer who shoots
from their heart.
Greg demonstrated simple
yet effective techniques that
can be implemented in our
everyday photography to step
up our creativity. Greg, from
Poland, follows up his session
at the show with a May 24th-
25th wedding workshop with
Dumitrel Rada in London for
which MPA members receive
discounted entry. There are work, and what better way to
limited spaces available, to do that than with a highly
find out more information regarded expert in this field.
about the event both in the With a fellowship under his
UK and Internationally you belt in Portrait Photogra-
can connect with Greg here: phy and a large portfolio of
www.moment-workshops.com awards, Paul’s humour, as
The first day of the show always, ensured the event
ended with our very own was both educational and
Paul Wilkinson FMPA, who lighthearted and a really great
held a Capture Birmingham place to be.
session at the new NEC Re- For those of you who
sorts World. Whilst his time didn’t get chance to see Paul’s
as chair has ended, Paul’s session you can buy his book
dedication to the associa- Mastering Portraiture on Ama-
tion and passion for sharing zon, where page after page
knowledge is still at the core Paul shares his expertise, pas-
of all of who he is, and again sion and creativity in the art,
I am sure I am not alone in educating the reader in all
thanking Paul for his valued aspects of creating the perfect
input into the MPA as he portrait. You can also see Paul
continues his journey with in action across the regions
renewed vigour and passion this summer. Make sure mak-
as the Central Regional chair. ing one of Paul’s seminars or
Paul’s session pulled in workshops is on your list of
dedicated photographers must do’s this year:
who were keen to improve September 4th
their environmental portrait East Midlands Region

September 20th our current MPA president, East AMPA, Kate Cooper FMPA
South Central Region Fellow of the MPA and light- and Steve Walton FMPA with
Richard Bradbury FMPA ing guru, along with crea- regional Director Collin Davies
took to the Behind The Lens tive photographer Stephanie LMPA at the helm ensuring the
stage, interviewed by Paul Thornton AMPA, an up and efficient running of the day.
Wilkinson. Richard shared his coming name in the industry, Mentoring and Quali-
fascinating story of shoot- are regular speakers at the fications is all a result of
ing extraordinary images of show, sharing a wide range the voluntary work by our
extraordinary people for the of knowledge and creativ- members who are dedicated
world-famous Guinness Book ity with all those who enter to helping others succeed and
of Records. Richard, a Fellow their space. Both Steve and committed to helping the
of the Association and our UK Stephanie will be making a MPA be the premier qualify-
Commercial & Creative Pho- number of trips to the regions ing body for the professional
tographer of the Year 2015/16 during the rest of Steve’s term photographer. We are always
Melanie East receives her Newborn
as well as a multi award as President so be sure to looking for new mentors, if
Photography Certificate from Clare
winner, held nothing back book in and be educated and you are an AMPA/FMPA and
Louise, above. Mikaela Rackham,
as he told the story behind motivated in style. are passionate about helping
below, gained her LMPA, seen with
each image and his thought www.thorntonhowdle.com others then please contact
President Steve Howdle.
processes for each shoot. Keep At the show we had a head office to find out how
an eye on next year’s Region- number of candidates submit you can be more involved in
al Events for a chance to see for their Licentiate qualifica- this valuable part of our com-
Richard in action sharing his tions, and with a 78% pass munity.
passion. You can follow his rate this year we would like In our quest to help oth-
blogs and workshops/events at to congratulate all our newly ers, Steve Walton FMPA joined
www.richardbradbury.com qualified Licentiate Members by David Calvert FMPA and
I was honoured to be asked for their wonderful achieve- Deborah Selwood AMPA, along
to be a part of the Women In ment. Taking the first step to with other associations at
Photography networking ses- professional qualifications is the show, donated their time
sion at the show, where key often the hardest, it is your to help students at the show
women in the industry were response to the outcome that take their work to the next
able to offer advice to women AMPA , one of the UK’s leading determines your future suc- level and offered advice and
just starting out or looking to Newborn Photographers. The cesses, for those who were not hints and tips at the student
take their careers to the next team has put together the successful this time, keep go- portfolio reviews.
level. With around 20% of certification to ensure pho- ing, from my own experience My lasting memory of
our amazing industry being tographers are educated in all of submitting an unsuccessful this years show is, without a
made up of women, it was areas of safety when shooting qualification panel, the drive doubt, that strong sense of
great to be given the oppor- Newborn Photography. I had to succeed and all I learnt in positive community spirit
tunity to help more female the pleasure of interrupting succeeding far outweighed that we have built over the
photographers step up and Melanie’s Live Stage session my initial disappointment. years that comes to the fore at
become more involved. at the show presenting her Congratulations to – Dan events like these. The passion
I also had the privilege with our first Newborn Safety Adams LMPA, Imelda Bell LMPA, of our members for our As-
take up a slot on the Behind Certificate. To find our more Karen Fuller LMPA, Kim Gunn sociations success is enviable
The Lens stage with my latest about how you can gain your LMPA, Hayley Hadden LMPA, and never ceases to inspire
seminar ’Turn On The Light Newborn Certificate contact Graeme Hewitson LMPA, Nevina me as I watch this build year
Your Passion Is Calling’ put membership@thempa.com Holland LMPA, Jamie Morgan on year. It’s a magical time
together to explore our chal- Melanie, an advocate of LMPA, Mikaela Rackham LMPA, for our association, and our
lenges as creatives and inspire Newborn Safety, took to the Sharon Wallis LMPA, Selina members and I have never
us to connect to our passion Live Stage to demonstrate the Walton LMPA. been prouder to belong to the
and follow what lights us up. art of creative posing whilst It is no mean feat gaining MPA.
If you didn’t have chance to working safely in newborn a qualification, a candidate’s See you all at the show
see this, I’m speaking at a photography. Melanie’s first level of success is determined next year!
number of regions over the book, The Art of Newborn by their ability to continually Á
coming months and would Photography, is now on sale push themselves to improve.
love to see you there. online at Amazon and in We would like to thank all of
May 8th 2017 Waterstones Bookstores. Mela- our mentors, especially Carol
West Midlands Region nie’s commitment to safety Taylor AMPA, Alexandra Lord
June 27th 2017 in Newborn Photography AMPA, Melanie East AMPA, Ray
East Anglia Region is at the heart of her book Lowe Hon.FMPA and Hossain
July 3rd 2017 as well as her inspirational Mahdavi FMPA who dedicated
Welsh Region craftsmanship in this genre of their time mentoring to en-
September 20th 2017 photography. A must read for suring this year’s candidates
South Central Region all newborn photographers. at the show gained the suc-
Just before the show we Steve Howdle and Steph- cess they deserved.
launched our Newborn Safety anie Thornton put together We must also thank our
Certificate. Our qualifications an amazing session on ‘Work- Qualifications Team this year,
team, headed by Paul Cooper ing with a Creative Team’ headed up by Eric Jenkins Hon.
Hon.FMPA , has been working covering posing, styling and FMPA, the team consisted of
extensively with Melanie East lighting. Steve Howdle FMPA, Paul Cooper Hon.FMPA, Melanie Ray Lowe by RTK/Fujifilm GFX 50S

Photographed by David Kilpatrick. Sony A7RII, Voigtländer Hyper Wide-Heliar 10mm ƒ5.6

T
his year’s awards will see changes requested by members sent out to the respective recipients for Merit Wins, Awards of
and some additions of our own. After listening to mem- Excellence and our top title winners. These badges of success
bers’ feedback regarding the re-introduction of the Bronze can be shared across social media, displayed on websites, used
and Silver Awards, the Competitions committee has removed in advertising and displays to celebrate your success and use as
those titles and replaced all our category winners with The a tool to raise more public awareness of your achievements.
Gold Awards – celebrating the achievement of all our category As always, we are really excited about this years entries and
winners equally. can’t wait to see your images coming in – with entries coming
We will still have the highly coveted titles of Wedding from across the globe, our prestigious awards are celebrated
Photographer of the year, Portrait Photographer of the year, by photographers all over the world, our standards high. We
Commercial & Creative Photographer of the Year and these too celebrate the success of our merit winners as much as our top
will be classed as The Gold Awards. titles and encourage all our members to enter and join us as we
Our awards will finish with top award titles UK Master Pho- recognise your mastery and revel in your success.
tographer of the Year and Overseas Master Photographer of the For those of you new to entering awards, remember every
year only, celebrating the absolute best of our members work. winner started off where you are – join in and discover your
The title Master Photographer of the Year has been removed. potential as you push yourself to be your absolute best. Use the
This title was decided between UK Photographer of the Year monthly awards for aspiring and Licentiate members, and your
and Overseas Photographer of the Year in recent judgings. It regional awards, as your first steps. Learn from the invaluable
was felt that the awarding of this title demeaned the incredible knowledge shared in print critiques and live judging.
achievement of both the UK Master Photographer of the Year To get the 2017/2018 Awards started we will be giving away
and Overseas Master Photographer of the Year. a pair of dinner tickets to our first entrant of the competition.
When looking through the categories and criteria you will Look out for notification of the moment the on-line portal
also notice more changes, after extensive research we have opens for entries!
brought them in line with other major global competitions Let’s make this our best year yet and celebrate all of our
to ensure that the Association is at the forefront of industry successes… The Master Photography Awards, A Celebration of
awards. We also open this year’s awards with some exciting Mastery.
new categories which we will be explaining in more detail over – Clare Louise FMPA
the coming weeks. Chief Executive Officer, MPA
We have designed new logos for our awards which will be Á
“Show us your pure unadulterated photographic skill” – Paul Cooper FMPA
I
know it’s a cliché, but this year’s awards are going to be the best yet. Why? Because the MPA is evolving, and the members who
have stuck with us are forward-thinking photographers producing world-class images. I’ve stepped into the role of Chairman for
the 2017 competition and although I’m firmly of the belief that “if it ain't broke then don't fix it”, I do want to ensure that our
awards continue to be lauded as the best in the industry. And the only way to do that is through continuous change and improve-
ment.
So when compiling your entries for this year, don’t use previous winners as a reference point. Instead of copying the style of
previous gold winning images, show the judges what you can do with your own creative thinking. But bear in mind that ultimately
we are an association of photographers, and it is pure unadulterated photographic skill that will attract the highest scores in 2017.
– Paul Cooper FMPA, Chair, Master Photography Awards 2017/18
Á
Online Entry Deadline July 31st 2017
Online Judging August 4th–9th 2017
Notification for Print Submission August 11th 2017
Prints to HQ Deadline September 7th 2017
Open Print Judging September 11th & 12th 2017
Awards Presentation October 8th 2017
COMPETITION GUIDELINES 2017 UK & Overseas – qualified MPA members only
Commissioned: this simply means that someone paid you Creative Wedding
to create the image or asked you to create the image with Classical Wedding
the intention of purchasing the image/print. Reportage Wedding
Creative Portrait
Un-Commissioned: this means that, while no-one asked Classical Portrait
you to create the work, it was still created with the intention Studio Portrait
of commerce e.g. Fine art prints for sale, use on a stock Family Portrait
library, at events where the person photographed may (or Lifestyle & Location Portrait
may not) buy a print of file. Boudoir
Under 5s
Personal: personal work is defined as images with no Newborn
commissioning client and the images were not intended for Animals
resale. Fine Art/Pictorial*
Commercial Fashion & Beauty
All entries into the Qualified Members Only categories Industrial, Architectural*, Commercial & Advertising
MUST be from commissioned or paid work unless you see Landscape*, Travel*, Nature & Wildlife*
an asterisk after them in the listings on the right. Press*, PR* & Events*
Licentiate Photographer of the Year
Note that none of the social photography categories allows
un-commissioned personal work to be entered. However, UK & Overseas – open to all photographers
this does not rule out speculative sittings, promotional (including MPA qualified members except for Aspiring Member
free sittings, and work undertaken at the photographer’s and Student Photography)
initiative. If the results have been offered for sale to the
client they are eligible for entry. This applies even if the Bride Image of the Year
client did not buy the image concerned. Street Photography*
Beauty & Places*
Landscape/Travel/Nature/Wildlife; Press PR & Events; Black & White*
Architecture only within the Industrial/Architectural/ Aspiring Member*
Commercial/Advertising category; Fine Art/Pictorial – all Student Photography*
are open to un-commissioned work. This does not mean Creative Photographer of the Year*
personal work. The images should have a commercial
intent, and should have been available to license or to Open Category – UK Cherubs Partners only
purchase as prints during the entry year. Cherubs

Guidelines for MPA Member Only categories
What is meant by ‘Creative’?

For both Wedding and Portrait categories, this description
is used instead of Contemporary, Portrait Art Fashion or
Avant-Garde which have been used in past years.
Creative Wedding
Wedding images created at any time other than the day of
the wedding ceremony MUST be entered into this category.
This includes pictures taken at locations remote from or
unconnected with the wedding venue, such as beaches/
landscapes/studio at a distance from the event requiring a
separate session. Creative Wedding may include pictures
taken at any time, including pictures using models and
commissioned by venues, for editorials or other third
parties. Composite images must also be entered into this
category. Please note that bridal fashion commissioned
work for designers or dressmakers should also be entered
into this category.
Classical Wedding
Restricted to images that are commissioned and are
traditional and un-manipulated. Images must be taken on
the wedding day. Minor retouching such as blink removal
is acceptable but composite images, for example where
a couple are superimposed on to a completely different
location, are not accepted and should be entered into
Creative Wedding category.
Reportage Wedding
This category is restricted to images taken on the day(s)
of the wedding ceremony and must be taken from
commissioned weddings. Home, gardens, function
By Johnson Wee – Wedding Art & Fashion Merit from the Master Photography rooms, ceremony venues, parks, photogenic locations or
Awards 2016/17 (2017/18 category: Overseas Creative Wedding). public spaces accessible on the day of the wedding are all
acceptable. So is coverage of any extended gathering or
party surrounding the wedding ceremony - for example,
weddings where several days of gathering or rituals are
involved, weddings on cruises or at destinations abroad
such as beach weddings. The Bride or Groom does not have
to be present in the image. This category can be used to
enter images of guests and documentary style images.
Creative Portrait
Commissioned personal portraiture, even if it has has
the look of fashion, should be entered in this category
and not in Commercial Fashion & Beauty. If you, a stylist,
accessoriser, costumer designer or make-up artist style a
portrait and this contributes substantially to a private and
not commercial commission, it belongs in this category
or in the Fine Art/Pictorial class. There are grey areas – if
a professional clown wants a promo shot, it’s probably a
Classical or Studio portrait despite make-up and costume.
Classical Portrait
Classical refers to portraits which do not rely on make-
up, hair, styling or similar additional services (see above
note). The focus here is on the traditional disciplines of
portraiture, lighting, posing and composition.
Studio Portrait
By Lisa Beanie – Portrait Art & Fashion Merit from the Master Photography Images entered can be either Creative or Classical portraits
Awards 2016/17 (2017/18 category: Creative Portrait). specifically taken in a studio setting. This category can

include family portraits and groups. Judges are looking for Newborn
saleability, exquisite lighting, flattering posing, maximum Commissioned work of babies under 14 weeks. Composites
engagement between subject and photographer, and are expected in this category.
minimal post production. It's about raw photography in
a fully controlled studio environment where the image is Animals
created ‘in camera’. Post-production should be limited to Includes pets and livestock, domestic and farm animals,
basic colour/density corrections and cosmetic retouching riding or working animals. Any animal owned by the client,
of blemishes. No composites or ‘warping’ of subjects. whether private or a breeder or farmer is eligible. This
category is neatly summed up by saying that if the subject
Family Portrait depends on a human, it belongs here – domestic pets, farm
Images with two or more generations of one family present. animals, zoo exhibits, captive birds, horses and so on.
From two individuals to group size.
Fine Art & Pictorial
Lifestyle & Location Portrait Images entered into this category must have been taken for
Environmental or editorial style portraiture in which the their artistic merit – creative art, to be appreciated primarily
subject is placed in context, in their home or workplace, or solely for their imaginative, aesthetic, or intellectual
or reflecting their interests. This is also the category for content. This category can be un-commissioned work but
outdoor portrait work, where you take your subject into a must be taken with the intent to sell
setting such as woodlands, or urban architecture.
Commercial Fashion & Beauty
Boudoir Model portfolio and hair stylist, makeover commissioned
Portraits that celebrate the beauty of the human form. This work. Please note that personal work or TFP (time for
category may only include the exposed form including photos) using models and involving no commission or
nudes, semi-nudes, subjects in lingerie and photographs payment must not be entered in this class. Images should
that are consistent with the Boudoir genre including show clothing, jewellery, make-up, hair or any other
women in a robe, wearing her husband’s shirt etc. This fashion and beauty accessory. Please note bridal fashion
category may include images featuring the exposed male photography must be entered into Creative Wedding. Bridal
form as well. Fashion photography will not be allowed in the Fashion &
Beauty category.
Under 5s
Subject must be under the age of 5 years old when the Industrial, Architectural, Commercial & Advertising
photograph was taken. Images must be of a specific commercial, advertising,
architectural and Industrial nature. Images entered should
be commissioned, except Architectural, which may be
entered if taken for commercial intent and made available
for license or to purchase during the time frame set out in
the rules for entry.
Landscape, Travel, Nature & Wildlife

Open to un-commissioned work, taken with commercial
intent and should have been available to license or to
purchase as prints during the time frames in the rules of
entry. This category can include images taken showing
features of the land for aesthetic purposes, images taken to
display natural elements such as plants, close ups, textures
and images documenting animals in their natural habitat.
Animals that are fed by humans in zoos, farms or enclosures
should be entered into the pets and livestock category.
Travel Images should be of photojournalistic nature and
document an environment or culture of an area.
Press, PR & Events

Images should be commissioned work. Event photography
should have been taken at an event capturing the
essence of both the subject and event simultaneously.
Press & PR images should have been taken of the subject
matter for the purpose of publicity, these can be either
photojournalistic or styled images.
Licentiate Photographer of the Year

For Licentiate (LMPA) photographers who have been
qualified three years or less on July 31st 2017.
Left: Architecture Award of Excellence, 2016/17, by Giles Christopher.

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Bride Image of the Year These can be both un-posed or styled and controlled
This image can be taken on the wedding day, pre or post shoots where the people are the prime subject of the
wedding. It must show a real bride and be commissioned image.
work.
Black & White
Street Photography Images must be black & white, and can be of any subject
This category is all about being the observer of the streets. matter. Images that are sepia, spot coloured will not be
Street Photography is conducted for art or enquiry and accepted into this category.
features un-manipulated chance encounters and random
incidents within public places. Photographer will be judged Aspiring Member
based on their ability to capture the real-world essence and For members who are not yet qualified or are aspiring
energy of a person, object, or location. members to the Association. Members can not enter this
category for more than two consecutive years.
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photographer a place to flourish and gain recognition as promoters records of entry shall be the definitive record.
they take the next steps of their journey. Judges are looking ✱ All overseas entries delivered to Head Office MUST have customs &
taxes already paid by the sender – The MPA will NOT accept liability for
for good composition, lighting, unique viewpoint and any monies due & delivery will be refused which could result in images not
creativity. This year the brief is ‘Reality’. being judged.
Preparing for Digital Entry
Creative Photographer of the Year Entrants are required to upload a digital file for each image entered.
This is for personal work and can be of any subject, Specification: maximum 4500 x 3600 pixels, minimum size 2400 x 3000
pixels, maximum of 5MB compressed JPEG data.
composites are accepted. This category is to allow entrants When your image is uploaded you will automatically receive an email
creative freedom, and an opportunity to express their confirmation of your reference number for that image.
creativity. If you are successful at the Digital judging stage:
You will be notified of acceptance of any image(s) to the second (print)
Cherubs round of judging. At this point you need to arrange for your image to be
printed and delivered to MPA HQ by the closing date given. The reference
This is open to Cherubs Partners only. All images must have number only must be placed on the back of your print entry, together with
been taken on a Cherubs Session. The overall winner will your MPA membership number. MPA HQ can provide details of labs which
be taken from the highest accumulative score of their top offer to add this information and undertake direct delivery on your behalf.
scoring three images. Each print must be a minimum size 20 x 25cm/10 x 8", maximum 30 x
25cm/12 x 10", and un-mounted. Prints will not be returned.
COMPETITION RULES 2017 You may use lamination or textured papers. You may not enter sheet
✱ There is no limit to the number of entries you may submit metal, acrylic, canvas, fabric or wood (etc) media.
✱ Any image which has already won a major award or title from any other It is advised a copy of each entered image along with the designated
Professional Photographic organisation is not permitted computer generated reference number is saved by the entrant as these
✱ Images previously entered for MPA national awards are not permitted, details will be used when confirming images selected into the second
including reworked images round.
✱ Images produced on photographic workshops/seminars are not Cost per Entry
permitted. Some categories must be from commissioned work. Non- UK/EU zone: £9.99 inc. VAT per image.
commissioned work in the Nature/Wildlife, Landscape/Travel, Press PR Entries from outside UK/EU zone: £9.99 (zero VAT).
& Events, Architectural and Fine Art/Pictorial categories must have been
offered for licence or sale. Awards Presentation
✱ Photographs that have been knowingly or subconsciously plagiarized All trophies will be presented to winners at the Annual Awards Gala ‘A
will be disqualified. Copying or emulating a pose, style or concept is Celebration of Mastery’, October 8th 2017, Hinckley Island Hotel, Hinckley,
not considered plagiarism. Copying a photograph where all or 90% of Leicester, England, United Kingdom. Anyone not present will be required
the elements are exactly the same (ie subject matter, pose, location, to pay any postage costs for trophies in advance should they wish to have
concept, crop, finishing etc.) may be considered plagiarism if not enough them couriered to an alternative address.
elements are considered different. Achieving elements from a painting in Á
a photograph is not considered plagiarism as the execution to achieve the
desired result is of a different artistic discipline
✱ All images, and all elements of an image if a composite, should have
been created/produced between June 1st 2016 and July 31st 2017.
✱ Metadata will be checked and if found outside of the specified
production date range above, images will be automatically disqualified
from the competition.
✱ Entrants may submit each image only once and may NOT enter the
same image in more than one category in either Member or Open
Categories
✱ By entering, the photographer acknowledges that employer, client
and/or subject have copyright release or model release giving permission
for the image to be published or exhibited in connection with these
awards and that he/she is the Author of the work as defined in the Design,
Copyright and Patents Act 1988
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Photographers Association in any of their printed material, publications or
electronic media
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the awards judging and no payments returned
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entered into
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appropriate category
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submitted, which in the Association’s opinion, contravene legal guidelines
on public decency or which would bring the Association into disrepute
✱ The closing date for entries for digital files is midnight July 31st 2017
(00:00 hrs August 1st 2017). When notified, prints will need to be received
at MPA Head Office no later than September 7th 2017
✱ Prints will NOT be returned
✱ Information correct at time of publication – the MPA reserves the right
to amend any of the above without notice
✱ Events may occur that render the competition itself or the awarding
prizes impossible due to reasons beyond the control of the Promoter
and accordingly the Promoter in its absolute discretion vary or amend
the competition / promotion and the entrant agrees that no liability shall
attach to the Promoter as a result thereof
✱ Responsibility cannot be accepted for entries lost damaged or delayed
in transit. Proof of postage will not be accepted as proof of entry. The

INSPIRED BY
Inspired by the works of Joseph Wright of Derby, one of the great provincial painters of the English Enlightenment, ‘Ava’ is typical of Jules Hunter’s
disciplined approach to tradition.

FINE ART
The journey so far,
as told by Jules
Hunter to editor
David Kilpatrick
S
ometimes a late entrant lit portraiture of young ballet
into a creative career dancers (students) and for
brings not only a wealth subtle references to an eclec-
of other experience but a tic taste in classical, renais-
sense of urgency to match sance, baroque, picturesque
that of the teenager. For most and modern art. Where some
of us, a week or two is an photographers create the oc-
infinite amount of time at casional pastiche of a known
five years old, a measurable painting, she’s taken the keys
window to work or play at fif- of colour, light, pose and
teen… and the expiry date on composition and used them
your next ready meal at fifty. to unlock doorways to new
Jules Hunter has passed images.
that waymarker but at The painterly references
sixty-plus she’s fired up like are so deeply embedded
someone a third of that age, they are cultural and not
enrolled and ready to pursue contrived – coming from her
her Master’s degree in Fine Jules Hunter’s new studio in Worksop is own unique culture, a one-off
Art Photography at one of the like a blank canvas waiting for the artist. background.
UK’s most photographically Below, she is photographed with her “I believe my interest in
renowned universities, Trent. retro-friendly Nikon DF digital SLR and visual arts stems from my
Simultaneously, she’s open- genuinely retro old art encyclopaedia childhood”, explained Jules.
ing a new studio in a heritage which she has kept beside her for 56 “As a family we travelled
railway station building in years. Right, ‘Hope’ by George Fredrick to Cyprus, Malaysia and
Worksop and unless some- Watts, one painting from this book Singapore with my father’s
thing is seriously amiss with singled out as inspiration. postings until I returned to
professional standards should England at the age of four-
be looking at a Fellowship teen.
before she gets that degree. “Moving from country to
She already holds a BA (Hons) country every four years or
in the subject from Derby, so, as a young child I quickly
where she enrolled at 48 to learnt to adjust as most of us
be taught by the great John did – it was the norm, never
Blakemore. having long-term friends or
There was a time, dear a base, changing schools, not
reader, when a degree such as allowing yourself to become
a BA (Hons) in photography attached to anything or any-
entitled the holder to profes- one. Personal items were pre-
sional body Associateship the cious however, and at the age
moment they started employ- of five in 1960 I was given an
ment or trading. That’s how old heavy encyclopaedia of
nearly all the AIIP/ABIPP pho- The Masters of Famous Paint-
tographers your editor grew ings.
up with obtained their letters. “This has remained with
But Jules remains an me for 56 years. It is my con-
LMPA, even if an award-win- stant inspiration and source
ning one, and she’s shining for most of my portrait pho-
example of how deceptive tography. In particular, one
qualifications can be today. painting by George Fredrick
Licentiateship used to be giv- Watts called ‘Hope’. Grow-
en for ‘work of merchantable ing up I knew nothing about
quality’ and anyone creating metaphors or symbolism, art
new approaches, bodies of or conversations. My environ-
work, and uniquely personal ment was regimented and
styling would be expected to disciplined, children were
belong to a higher circle of seen and not heard and most
our photographic inferno. definitely not to be conversed
In the last few years she’s with, any flighty ideas or free-
established a reputation for dom of thought were soon
the most carefully posed and put to bed.

The self image
Jules has been working on projects which reflect how others see us,
and how we see ourselves. Above, from her dissertation and exhibition
on Reversing the Negative Imagery of Disability and Disfigurement within
the Social Media. Right, from the current work destined for her MA
degree – the Lady Garden project (no explanation needed).

“Nevertheless, despite the codes and representation. Life Italy with no rationale, no ap- stimulated my craving and
noticeable despondency in to me would never be this preciation of why except that thirst for knowledge.
the painting it actually com- stimulating, or so I thought. she had met a few Italians in “I returned to England and
forted me. The soft bluish- “Returning to England in an hotel where she worked. stayed, embarking on a career
grey background stimulates a the 1970s was a shock, a dis- “It appeared I couldn’t specialising in psychiatric
melancholy mood; her pos- appointment. Grey, cold and shake off my peripatetic nursing, later retraining as an
ture bent over and humbled, unfriendly. I left school and upbringing. I found work operating theatre practitioner
but not yet broken, holding home at 16 with no formal as an au-pair and teaching (I still do a few hours a week
on to a single string of the qualifications: my salvation conversational English. For and maintain my service re-
lyre… in some way I identi- at this time until I decided to once I was grateful for my cord). I worked in the home-
fied with the vulnerability of work in Italy was my friend strict upbringing and use less sector tackling drugs,
the girl in the painting. Maureen Rogan and her fam- of grammatically correct alcohol and body dysmorphia
“Conversely, the years ily who took in this rebellious vocabulary. Living amongst – and alongside people with
spent in the Far East sur- and almost feral teenager. Italians was so very different varied disabilities.
rounded by over-saturated Maureen was my first intro- from my own background. “My studies and practice
explosion of Asian colours, duction into photography The openness, the gusto for within the operating depart-
imagery and culture have also although it would be 30 years life… it was impossible not to ment in anaesthetics and
become deep-rooted within later I would actually pick up be not to be affected by the scrub allowed me to gain
in my life and senses; lead- a camera for myself, we have passion. The people welcomed great insight into the work-
ing me to believe that visual remained steadfast friends for me without reservation; Italy ing of the body, an apprecia-
imagery is able to cross so over 40 years”. was full of life, art, sculpture! tion of anatomy especially in
many unspoken boundaries In her early 20s the travel I was privileged to travel to the field of cosmetic surgery
– reaching out to a multitude bug bit Jules so she embarked Venice, Rome and the most and the desire to sculpture
of audiences, through colour, on an adventure travelling to beautiful of all, Florence. This of one’s given form. These

variables all impressed on untamed garden, listening
my portrait photography and to him talk of poetry and
philosophy. books whist smoking his be-
“One summer I found loved Camel cigarettes whilst
myself alone in the Photogra- complaining they are hard to
pher’s gallery, London, having come by these days!
a coffee in awe of the images “I was especially drawn
that surrounded me. The to portraiture. My nursing
book I was revisiting at the had a great effect on how I
time was Jonathan Livingston saw, related to concepts about
Seagull by Richard Bach – We beauty, social acceptance,
can lift ourselves out of igno- art and photography. One
rance, we can find ourselves photographer in particular
as creatures of excellence and excited and intensified my
intelligence and skill. interest; Diane Arbus. I was
“I thought – this is what amazed by her personal
I want to do. I had a Nikon detailed sketchbooks, exposed
FM2, some Ilford film, and alongside negative, drawings
began taking photographs of were what appeared flights
people. of ideas, jargon scribbled
“A couple of years later I amongst reminders to pay
applied to Derby university taxes and dentist appoint-
at the age of forty-eight I was ments.
accepted onto the Fine Art “Arbus was a persuasive
Photography degree course woman who photographed
on my portfolio, dreams and the less than ordinary. Her
enthusiasm! Having never portraits of the underworld
studied art or photography formed a ‘contemporary
this was in itself an achieve- The “Little" Music Box, redesigned by Jules and constructed by Dale Shields anthropology’ of eccentrics,
ment. I sold my house, gave of Crow Studios Derby as a background for ballet student portraits. This is gays, transvestites, so-called
up my job, and traded in my an ambitious and portable concept in every way. freaks. Her work became the
pension all to follow a whim. basis of my research explor-
“The degree work opened ing, ideologies between social
my life to the history of acceptance, appearance,
art/photography, lectures, identity, belief systems and
contemporary imagery and reality.
philosophy. I treasured the “Gathering all my pre-
writings of Roland Barthes, vious and newly attained
philosophies about the hid- knowledge, experiences and
den message, semiotics, the understanding of theoretical
narrative of the image. I was values I began my disserta-
discovering there was more to tion which explored how
just seeing a photograph. we view or interpret people
“The three years I spent at with differences. I suggested
university took me to a world that we learn and conform
of, seminars, workshops, de- to social ‘norms’ associating
veloping film in darkrooms, disfigurement and disabilities
and being tutored by the with badness or evil, nurtured
great Bohemian, humanitar- from an early age to fairy
ian and print maker John tales and films where the
Blakemore. I watched him portrayed a disfigurement. My
dodge and burn like a com- final body of work was titled
poser of music with fluttering Reversing the Negative Imagery
fingertips, dropping the im- of Disability and Disfigure-
age from one tray to another, ment within the Social Media
gliding along the darkroom… and gained me a first class
he produced breath-taking honours degree in Fine Art
prints effortlessly. There was photography.”
I, bungling along counting During her university
out loud, one elephant, two Above: dress by Ditzy Boo Boutique, model Rachel Taylor, make-up by holidays Jules travelled to
elephants, not mastering the Rachel Elizabeth. Pre-Raphaelite inspiration courtesy of Dante Gabriel in Sarajevo after contact-
tonal range test strips and Rossetti. Model, Eden Curzon. ing one of the female judges
learning the hard lesson not involved in the horrors of the
to lick one’s fingers after dip- Facing page: an image inspired by Julia Margaret Cameron and days gone Bosnian war and the crimes
ping in the fixer. by. “Slow shutter speed whilst sitter turned, here I was exploring what I committed. “I was concerned
“John and I have remained could do with natural light and movement. Although this didn’t reach any that even after ten years the
friends and I pop in for a award it remains one of my favourites and has sold as a prints. For me savagery of the leaders was
strong coffee sitting in his personally this image is cathartic and emotional.” still being examined. I was

allowed to sit in the courts “However, coming from
amongst survivors and wit- the ‘fine art photography’
nesses, listening to their background what I gained
ordeals. I was also invited by in enthusiasm and passion I
the curator of the museum lacked in technical ability in
opposite the notorious Holi- some areas so I embarked on
day Inn and ‘Snipers Alley’ a mentoring course with Gary
to take photos of the few ar- Hill. With his tutoring and
chives which remained. Peo- patience I finally felt I could
ple of all races and religions execute my photography
remaining here to keep the ideas with greater proficien-
history of Sarajevo alive, The cy. Gary and I have contin-
Serbs were not only trying to ued a wonderful friendship
eradicate a nation by geno- and many a happy discourse
cide they were also destroying on the subject of what consti-
any evidence of their histori- tutes Fine Art. That has fasci-
cal existence! nated me enough to continue
“Taking my work back I my education to MA level at
held my first exhibition at Trent University.
Derby Art gallery, entitled “The MPA has introduced
‘Ten Years Later’, in 2006. My me to so many people and
next exhibition was at The new friends, and is continu-
Waiting Rooms, Brick Lane, ally taking my work forward.
London in 2007 and was Trevor and Faye Yerbury’s
based on my degree por- classical training allowed me
traits.” to revisit my fondness for the
Jules went on to practise era of traditional filmic con-
as a professional from Crow temporary styled photogra-
Studios, in Derby, and held Classic ballet – Bethany Johnson from Hannah Alexandra Academy of phy. Recently, having been on
an exhibition ‘The Reclama- Dance, Derby, by Jules Hunter, Philter Photography. a refresher newborn course in
tion of Gaia’ which looked at Italy with Melanie East and
how we discard rubbish and photographic artist I am to- I founded and work collabora- Jeremy Price at Graphistu-
mother nature’s abilities to day without those early steps tively on ‘Bumps to Cuddles’, dio’s Castle Ceconi, to say we
reclaim. Then in 2014, she and friends”, she says. incorporating bump-casting delegates were ‘blown away’ is
was commissioned by Tran- “Lisa Visser was my first with newborn shoots. an understatement! Alexandra
scend of Derby to photograph mentor and has remained a “Throughout these last Lord, Fran Stephenson and
a set of portraits which told great source of support, she two years I have continued Clare Louise are inspirational
the lives of persons who had guided me towards gaining with updating my photogra- friends who are there at times
decided to live their ‘true’ my Licentiateship and was phy skills believing that my when one doubts oneself. I
role, as part of educating so proud of me when I won work was never quite ‘there’. wouldn’t have met them at
the public portraying Trans Fine Art and Pictorial Photog- I’m sure many photographers all, if not for the MPA.”
people in a positive way. ‘The rapher of the Year in 2015. feel the same; the quest for So where does this leave
Narratives’ was a collaborative The same year I won East originality and individualism Jules at what she describes as
concept showing the diversity Midlands Photographer of in a world over-saturated with the ripe age of 61?
within a community, hop- the Year and Under 5s. It was imagery, how can one find an “Moving forward after a
ing to bring about a better also the year I was chosen innovative body of work that quiet beginning this year…
understanding and awareness to photograph Kevin Paul, hasn’t been thought of or ac- I’m hoping to move to my
that would help break down celebrity tattooist/actor for his complished? new studio where I can re-
barriers, and was shown at biography book cover. “For this reason, I am invent my work, combine the
Birmingham Art Gallery that “Last year started success- grateful and so very fortunate necessity of earning enough
year. fully as the featured artist that I have met and work through my commercial work
This was also when Jules with my award-winning with some amazing people to support my photograph-
joined the Master Photogra- published in Derbyshire who have had such an effect icy art. Exciting times ahead
phers Association and – rec- Life. This led on to the on my work as a photograph- too, planning my Associate-
ognising the need for a sound magazine booking me for a icy artist. As an example ship panel, moving forward
commercial basis – became fashion shoot resulting in a take the Hannah Alexandra into the realms of becoming
a Cherubs Partner. “Cherubs four-page article. Dance Academy in Derby. perhaps the First Mam-ship
was a great learning curve “In January 2016 I was Their dancers – and owners in the MPA (Fellowship!) and
into the world of commer- nominated by Derby LBGT Fiona Watson and Alexandra commencing my Masters de-
cial photography – supported and won Derby and Derby- Mahjouri – are my constant gree (in Fine Art Photography
by Ray Lowe, Paul Inskip shire Inspirational Women inspiration and instruments and Philosophy).”
and Clare Louise and ALL Awards (IWA) 2016 in the cat- for my ballet projects. The What next?
the members I started on egory of Inspirational Woman concept of The Little Music “Hopefully to lecture, to
my journey in how to sell in ARTS for my charitable Box, a studio setting prop I inspire students, and to learn
my photography. Cherubs work. designed and commissioned, from them too.”
became my extended fam- “I embarked on further was brought about by my Á
ily and I don’t think I would training in maternity plaster- love of dance and old master See:
have been the commercial casting – Claire Bradshaw and paintings. www.philterphotography.co.uk

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THE NAKED FACTS
Jules Hunter interviewed Kobal prize-winner Josh Redman about his striking portrait,
which has won popular acclaim in contrast to so many art award choices. Behind the fine
art there’s a solid foundation of commercial work and a background in ceramics.
F
reelance photographer about your work in this field, I worked from a huge
Josh Redman, 32, has and at what point you felt converted dairy farm where I
scooped the John Kobal you wanted to change from paid just £80 a month for the
New Work Award for his por- working with physical 3D ele- space, until I was told I had
trait titled ‘Frances’ (left). ments to photography? to leave. Downsizing would
Already winner of the have compromised my work,
Taylor Wessing photographic JR: Before I took up photogra- and without the income to
portrait award in 2016, his phy, my life revolved around afford anything of a similar
£5,000 value Kobal award clay glazes and kilns. I did a size, it became apparent that
includes a commission from three year apprenticeship in a change in artistic medium
the National Portrait Gallery traditional thrown pottery, so was logical. I was debating
to produce a photograph for I ended up with some niche between papier maché and
their permanent collection. but pretty high end skills. I photography for a while, and
The portrait gained first place was obsessed, and over time opted for photography at the
in the People’s Pick, where my ceramic work evolved in suggestion of my girlfriend.
the public vote for their own such a way that it didn’t fit in So it was never a creative
favourite at the exhibition, by Josh Redman, above, and his anywhere. Art galleries didn’t choice. I took to it immedi-
quite some margin. striking portrait of age, ‘Frances’, want to touch it, and when ately though, and never really
Josh is now regularly com- on the facing page. Josh is a they did it never really sold. missed the ceramics once I
missioned by commercial potter, and his photographs display I survived on a few private got into photography.
clients on the basis of what a ‘sculptural and tactile rendering’ collectors and the fact that
started as personal photogra- – as in his earlier study ‘Noah my cost of living rarely went JH: I know you worked previ-
phy. His clients have included Genazzano’, below. above £300 a month. ously as a photography as-
Adidas, the British Museum, sistant. As an artist how did
GQ Magazine, Nationwide, Sky you find the technical side of
Television and Wired maga- photography – would would
zine. you say you have a prefer-
Josh Redman was a sculp- ence, for example working
tor and potter until 2012 with controlled studio light-
when he decided to sell his ing or natural light?
kiln and buy a camera. The
judges said that they were in- JR: The technical side of pho-
trigued by the former potter’s tography is interesting in that
“sculptural and tactile render- anybody can get started in it
ing of the human body”. and achieve something good
East Midlands MPA mem- straight away – the whole
ber Jules Hunter LMPA inter- aperture/shutter/ISO thing is
viewed Josh as part of a series a lot simpler than anything
of profiles she is producing in ceramics, and lighting/
for on-line distribution to the composition are already there
membership, and in prepara- for the taking, if you look
tion for her MA degree in for it. Other art-forms are
Fine Art Photography at Not- much more like playing an
tingham Trent University. instrument, where getting
the basics down takes a fairly
JH: Welcome, Josh, to our commendable effort in its
regional MPA page – congrat- own right. So the camera
ulations on your awards, and itself didn’t pose much of a
thank you for taking time challenge, but working out
to allow us to gain a little what to photograph was a
insight into you and your nerve-wracking and exciting
work… already an amaz- step.
ing career path for a young The first time I went out
man. I understand you were with my camera I was really
a potter and sculptor long nervous of what people would
before you even picked up think of a stranger walk-
a camera. Would you tell us ing about taking photos by

ing off a tinted polyboard, is
still light. Even when you’re
shooting an event in natural
light, or doing candid street
photography, you still have
the choice of particular angles
in relation to the light source.
Just stopping and looking,
and thinking ‘’what is the
nature of this light that I’m
seeing, and why is it the way
it is?’’, is a form of control-
ling how it ends up looking
in a final image. I guess I’m
currently more interested
in studio lighting, and as of
March 2017 my candid work
is taking a backseat in favour
of studio portraiture, but that
may change by June. Having
said that, I took a couple of
hundred pictures out in the
street yesterday.
JH: How would you

say sculpting has assisted in
the way you view and photo-
graph your sitters?
JR: I’d say that my immer-

sion in art in general has
informed much of how my
photography looks, and how
I think about it. The fact
that I’d already been making
things for nine years meant
that I was used to getting my
hands dirty, figuratively and
literally. Many artists who
have only produced work via
art school get overly sensitive
about their need for a hard-
won but easily communicated
idea that can be boiled down
to a label on a wall, or a five
minute tutorial with a teacher
before diving into the act of
making, and that prevents
them from producing work in
the first place. I hear it from
graduates quite a lot.
Above: Durassie. For me, ideas come
through doing things, and
himself. I’ll never forget this the two were side by side was cial work stretches your skills doing one thing leads to
moment that I missed on that quite a sight. I had instinc- and makes you more efficient. doing another thing. It’s
outing – a tall very athletic tively ducked slightly to get a I focus on the principles of much like talking – the worst
runner was coming toward better angle for the shot, but lighting rather than the rules, thing to do is plan too long
me, and so was a short, pain- never raised my camera as I and think about the actual about what you’re going to
fully slow blind guy, who felt guilty for wanting to take kit secondary to the nature of say, because you’ll never say
was overweight with his belly such a fantastically sad image. the relationship between light it. If you change your mind
hanging out of his stretched Regarding lighting, that source and subject matter. half way through your own
T-shirt. He was cocking his was something I didn’t feel The most important thing sentence that’s totally fine. Of
head, eyes rolling around and confident with until I had is to be aware of light and course you can go down the
mouth open. In retrospect he a fair amount of practice what it does. The actual light poetry route, but you need
was probably following the through assisting and testing. source, whether it’s a sun to exercise with more casual
runner’s location with his Assisting taught me a lot diffused by a cloud bounc- work in between.
ears to avoid getting knocked about the craft of lighting, ing off a red brick wall, or an Technically speaking, I
over, but the moment where and photographing commer- Arri through a scrim bounc- think my traditional training

Above: Untitled. Below: Jordan and Connor.

as a potter on the wheel has my photo gave the gallery nett Newman and Mondrian JR: Well economically I’m of
informed my sense of line goers a certain level of visitor really helped me to ‘’see’’ in course motivated to build my
and proportion, but I might satisfaction. What that means an organic, human but struc- ‘’career’’, whatever that really
just think that because oth- in terms of creative achieve- tured way. I love how a Mon- means. I’m comfortable liv-
erwise my previous life was a ment is not clear at all. In drian has the initial appear- ing on very little, which has
waste of time! Certainly com- all honesty, when I got the ance of constrained logic, but opened up my life to more
ing into photography at the phone call to say I’d won, I it’s full of human activity and freedom in my work.
age of 28, after all that self- then called my girlfriend at excited intellectual curiosity. Emotionally I have the typi-
education as well as formal work as I needed to tell some- Cezanne never fails to amaze cal artist’s temperament of
training in art in general, has body, and then I carried on me. More recently Hilma af thinking that nothing is ever
really affected what I do. I’d with some retouching for a Klint has blown me away. quite right, so I need to carry
probably have been produc- client. The next day I inten- Musically, I’m currently on on to find that elusive great
ing much more technically tionally did nothing, I just sat The Shadows, Sister Nancy, picture. About 50% of my
anarchic images if I’d have on the sofa and gave myself Flaming Lips, Dizzee Rascal income is advertising photog-
started as a teenager. a day of not thinking about and Nick Cave. I’m making a raphy in London and the UK,
photography, as I’d been flat conscious decision to look at and the rest is a combination
JH: You found your sitter out working on commissions cinematographers more. In- of various corporate, fashion,
Frances, aged 83 when she and I felt like resting on my dividual photographers that I still life and other kinds of
had recently joined a model- laurels for twelve hours. love include Harry Callahan, photography jobs. When I’m
ling agency. How did you Angus McBean, the scientific not shooting for money I’m
break the ice and what did JH: Winning such prestigious images of Berenice Abbott, either working on personal
you talk about during the awards obviously brings some Lorenzo Vitturi and anything projects or visiting art gal-
shoot? notoriety, how do you feel by Toiletpaper. leries. I am going through a
with this publicity? long phase of photographing
JR: The shoot with Frances JH: We all start somewhere, so people in studios, because
was extremely low key. We JR: The publicity for my what was your career path? I feel that every time I take
met at my previous studio in particular image was over- How did you get from being a picture I’m just scratch-
Hackney Wick. It was a pretty whelmingly positive, and I an aspiring photographer to ing the surface. It’s like the
messy little studio. I think got the people’s choice award. actually doing it full time, for problem Giacometti claimed
we started with a cup of tea The other winners got quite a living? to have – you can look and
and a chat, and I probably a lot of the classic negative look and look, and you never
set the light up while she was response about being boring JR: I spent a few months back feel satisfied with having seen
there. We talked a lot about or too fashionably deadpan at home with my mum in anything at all.
Frances’s family and her 80 or colonial, but I managed to Whitstable after ten years of
odd years before she started avoid 99% of that. In all hon- independent living. I emailed JH: Would you say Living in
modelling. She was a typist esty I don’t take positive or hundreds of people trying to London assists your photog-
her whole life, but always negative criticism of my work get photography and assist- raphy career and if you could
had background dreams of personally. Of course if it’s a ing jobs, and went out to take live anywhere in the world
being an actress or something client I feel the responsibil- personal art images, mostly where would it be?
like that. She’s a very kind ity and take great pleasure in at night during the winter. I
and giving lady, and devoted their own approval, but when got a few very basic jobs from JR: I love London. I love the
herself to her husband and it’s art I have a more personal family, friends and so on… melting pot of people, galler-
children. Now it’s her time to agenda. My sculptures were and after a while I just moved ies, objects… I love how there
do something fun like model- nearly universally disliked, to London with my girlfriend are so many people that you
ling, and she’s great at it. so I learned to take criticism despite having no economic basically have anonymity.
of my personal work without plan. I got a job in a book- I particularly love my little
JH: Our MPA members are worrying about it. For me, ies, got sacked from that after area of North London which
encouraged to enter com- if someone loves or hates a about six months and by hasn’t yet been gentrified.
petitions. I can remember piece of my personal work, that time I was making just There are more opportunities
the feeling of my first major it’s interesting to be informed enough to pay rent from a for a varied career here. Even
award, how did you react and but it doesn’t hit me on a combination of photography when I’ve had jobs in the rest
celebrate when you heard the spiritual level. and assisting. It slowly got of the country, it’s because
news? better from there. I got an I lived in London. If I could
JH: Coming from a fine art advertising agent very early live anywhere in the world
JR: I’m actually pretty cynical background I am influenced in my career, and I now do it would be either London
about what it truly means by many artists, painters, a combination of advertising or New York. It’s not just a
to win an award, no mat- sculptors, photographers and art photography, with career thing – I’m a fan of
ter how big. At the end of both historical and mod- some other odd photography great galleries and museums,
the day it’s the opinion of ern. Which artists or photog- jobs to keep me going. During and London has got the lion’s
a few judges that then gets raphers have influenced you? this time I have been produc- share.
blown out of proportion. Of ing as much personal work as Á
course I was excited to know JR: I go to exhibitions pretty I can muster.
that I’d get some publicity, much every week. My taste For more information about
but the so-called validation in pretty much any art-form, JH: This leads me on to ask Josh Redman and his photog-
doesn’t mean much to me. I be it music or painting or you what motivates you to raphy please go to
also got the People’s Pick a cutlery, is broad but select. It continue taking pictures eco- www.joshredman.co.uk/about
few months later, which was might not show in my work nomically, politically, intellec-
nice because it shows that in any explicit way, but Bar- tually or emotionally? Right: Untitled.

Learn more about the Sue Bryce Collection –
register your interest now on-line.
Go to http://bit.ly/2qAAkf6
or scan the QR code
or enter the full address
shown below
https://www.graphistudio.com/TradeNew/landing/form/sue_bryce_castle_17.php

EYES
FRONT
Gill Shaw AMPA encountered the powerful
camerawork exhibited by service
personnel recovering at Headley Court,
Epsom. Their camera group plays a vital
role helping to overcome life-changing
trauma. A dedicated supporter of Help
for Heroes, Gill interviewed the group
organiser, vocational therapist
Joanna Olney, and two photographers –
Corporals Dan Stubbins and Lisa Johnston.
Portraits by Corporal Dan Stubbins – recovering his ‘eye’ has been a vital part of rehabilitation from injury in RAF service abroad.

Photographs by Dan Stubbins – the Spirit of Headley
J
oanne Olney is a Vo- duce the activity to other
cational Occupational similar patients. Your intro-
Therapist at the Defence duction to Mark Reynolds of
Medical Rehabilitation Cen- Fujifilm, who donated five
tre, Headley Court, Epsom. cameras on our first meeting,
Her use of photography to was the start of what has now
help service personnel face become an established and
the world with confidence well respected part of the Oc-
came to our attention, and cupational Therapy service.
MPA was privileged to be “The group now meets
invited to the opening of weekly with external trips
an exhibition of the centre’s offered alternately Thursdays.
photographic group work. Many of the patients have
We asked her first how the subsequently elected to pur-
group started (writes Gill Shaw chase their own cameras and
AMPA). “Perhaps you could say are now practising their skills
that I initially identified an whilst on leave and at the
interest in photography from weekend with their families.
a couple of patients who were “Corporal Dan Stubbins is
struggling to progress with a great example of someone
their rehab”, said Joanne. whose interest in photogra-
“Photography appeared phy has been re-kindled by
to help these individuals the group at Headley Court.
to move forward because it The unit now recognises the
encouraged moments to look potential of this activity both
outwards and to be mind- therapeutically and socially,
ful in their pursuit of a good and Dan was asked to take
shot. After you very kindly photos as part of Command-
came and had a chat to some ing Officer Group Captain-
of the patients and you really Teresa Griffiths’ ‘Celebration’
put a spark in us all, I real- events program.
ized that starting some type “The portrait exhibition
of camera club could intro- was inspired by the idea

of capturing the ‘spirit of ley Court, which is set in
Headley’ through portraits of stunning surroundings. As
the characters both perma- part of that course I learnt
nent and transitory. Dan has about mindfulness and how
demonstrated enormous skill to appreciate what’s around
and enthusiasm for this pro- you and be in the ‘here
ject which was exhibited in and now’ to improve one’s
the Officers’ Mess. There are mental health. This gave me
plans for another exhibition the bug back and I would go
of the camera club’s work and out shooting the gardens,
a hope to launch an annual really taking notice of what
cometition.” was around me – looking for
‘that’ shot, thinking about
Above: Joanne Olney by Dan Stubbins. Below: Dan Stubbins by Gill Shaw. Dan Stubbins what depth of field I want,
what composition, waiting for
Gill also asked two of the the right light and moment…
featured photographers about very much slowing my shoot-
their work. The first to give ing process down and going
his story is Dan, whose pic- back to basics.
tures appear on the first two “After giving those images
spreads. to the staff at Headley Court
“Here is a little about what I have been lucky enough to
photography means to me – become involved in many
Corporal Stubbins, Weapons projects creating pictures
Engineer. documenting celebrations and
“I’ve had an interest in events. The most recent was
photography from a young the project to take portraits of
age and always had a camera staff and patients for a small
for holidays and days out. It exhibition capturing the
was when I first got a DSLR spirit of Headley Court.
that I really started to learn “I have been very privi-
more about photography and leged to get involved with the
would spend hours on You- very successful photography
Tube learning the relationship club run by Joanne Olney.
between ISO, aperture and I’ve helped with teaching and
shutter speed as well as the meeting patients, it’s amazing
rules of composition. to really see how photography
“I then used my dogs and is genuinely helping people’s
my friends as subjects and well-being. It really means a
this led to me experiment- lot to me to be able to give
ing with off-camera flash and something back after receiv-
investing in a very basic low ing such fantastic care.
and high key studio set up. “Looking ahead to the
“I was very lucky to be on future I think I’ll always have
a shift pattern that allowed cameras around me – I love
me to have free time to shooting with 35mm film and
volunteer at a local wildlife experimenting with different
park. I ended up as their cameras and lenses. As cheesy
volunteer photographer. I was as it sounds, photography has
also asked to shoot images for opened my eyes to the world
a Royal Air Force Rugby game and no matter where I am or
and from this I became their what I’m doing there's always
official photographer. As a a part of me looking for a
result I’ve been lucky enough picture.
to travel to Paris and all over “To finish with a quote
the UK with the RAF team. from Duffy that for me very
“In 2015 I was injured much sums up how I feel
whist abroad serving with about photography – ‘There's
the RAF and I now suffer no art in photography, I just
with chronic neck pain, lower want to be good at it’.”
back pain, sciatic nerve pain Á
and almost constant head- Dan Stubbins is on instagram
aches. Due to the pain and as:
Photograph and comment by Ray Lowe Hon.FMPA on visiting the exhibition: the medication I was taking, @danieljames_photographer and
“Gill Shaw, on the left, is holding what I consider is the best shot in the photography was put to one his web site is in development.
exhibition. Dan is an untrained RAF boy who was a patient at Headley side and I lost the ‘bug’ for
Court, and much of his portraiture would put many photographers in it. As part of my recovery I
studios around the country to shame…” attended a course at Head-

Lisa Johnston when taken in a filter mode.
“When I came home
Corporal Lisa Johnston came from Headley I thought that
to Headley Court after being would be it until next time at
a Medic RAMC (a nurse in Headley. But it wasn’t to be.
the medical core). I found I kept tinkering with
“By the time I was diag- my camera and started taking
nosed with Complex Regional pictures of my three boys. I
Pain Syndrome (CRPS) in Oc- couldn’t join in and play with
tober 2014, I was completely them so the next best thing
immobile”, she says. “To get was to capture them playing,
around I had to use crutches growing up and changing.
or in most cases, a wheel- “With all the medication
chair. combined with my injury, I
“The only experience I had awful memory loss. By
had at that point was a point taking pictures of them, I
and shoot, using my phone had a lifetime of memories
as a camera. Joanne Olney captured and recorded.
had started up a photography “I look at things differ-
group at Headley Court and ently now. It’s like looking at
had encouraged me to attend. the world through a camera
I thought to myself ‘Na, lens and capturing everything
not my thing’ and ‘Taking beautiful and perfect, just one
pictures is kinda boring’. Oh, more time before it passes us
how wrong I was… by. Everything I see can be
“A Fuji X10 camera was such a great photo whether
put into my hand and I was it be in landscape, zoomed
shown what buttons and dials in, parts in/out of focus or
did what. I didn’t have a clue filtered.
what all the jargon was about “If I’m out and about
but it did seem quite easy, without my camera and
and, to my surprise, I really see something, I still think Photographs by
enjoyed it. Just by playing ‘Hmmm, that’ll make a good Lisa Johnston, and
around and fiddling with photo’. When I don’t have my (right) Lisa herself
the buttons I seemed to lose camera with me I feel that photographed by
myself in concentration. With part of me is missing, but Gill Shaw AMPA
having something to focus when I have it in my hand, I
on, my pain was temporary feel complete.”
turned down. Á
“I tried taking pictures Interview by Gill Shaw AMPA
in different ways but found Photographs courtesy of the pho-
that I most liked up close and tographers and Headley Court.
zoomed in pics. I even learnt www.headleysurrey.org.uk
that there was a special set- With thanks to
ting called ‘Macro’ or ‘Super
Macro’ which has amazing
focus levels.
“I started taking photos
of flowers in Headley Court’s
own garden. Don’t get me
wrong, I’m no expert and I
took loads of one particular
thing to get the perfect shot.
I found the more pictures I
took, the more interesting the
photos became.
“I ended up purchasing my
own camera, a Fujifilm X30.
It was similar to the camera I
learnt on (X10) but this one
had an added filter option. To
be honest, this was the only
reason I chose it. With a flick
of a button, the whole picture
would be black and white and
only a certain colour would
show. It’s amazing! A picture
would completely change

THE SPIRIT OF
PROFESSIONALISM
Entering the industry as a staff photographer for a big whisky brand before he
was old enough to drink the product, Mike Ward’s later self-employed career and
diverse interests have made him a popular cornerstone of MPA Mentoring.
M Out with the old

any photographers
who have success-
fully qualified to The equipment he had to
Licentiateship have benefited start with was that which
from the help and experi- had been used by his pre-
ence of one individual – a decessor who had retired,
now-retired former Scottish and it belonged to the past.
distillery staff photographer It consisted mainly of a
and aviator, who was hon- half-plate De Vere monorail
oured by Faye Yerbury FMPA camera together with a 35mm
with the MPA President’s Kodak Retina! One of the first
Award in 2015 for his work things he asked the company
in the mentoring programme to provide was a new 6x6cm
since his return to residence twin lens Rolleiflex camera,
in Scotland in 2010. which proved to be his main
Though a veteran photog- workhorse until he acquired
rapher in the best sense, Mike his first Hasselblad a few years
has always kept up with tech- later. He also had the obsolete
nology and trends, and has half-plate De Vere monorail
never been out of touch with changed for a lighter Sinar 5
the younger photographers x 4".
he has guided on their way. Soon after he started, the
Very few, perhaps, will have job evolved further with
asked about his career. It has different department heads
spanned eras of professional requesting his services in
photography, some hard to various other areas of pho-
recognise now in a world tography. The training officer
where there are few staff pho- required 16mm films to be
tographers and the prolifera- made of different production
tion of formats and techniques processes, so the company
Mike with his current Nikon workhorse – he still has the black Nikon F he
has all too often been replaced invested in a 16mm Bolex
bought, personally, to be able to hire lenses for ambitious shots for the
by an iPhone. camera with lenses and acces-
distillery, at first from Pelling & Cross but later from Calumet.
Mike had a rather unu- sories. Luckily, they already
sual but challenging start to was usually in the advertis- necessitating improvisation had three 16mm projectors
his working career when he ing and publicity side of the for a useable studio. which were used to show
landed what could only be business but could also cover It was a very challenging their publicity films to visi-
described as his ‘dream job’. production, training, public role with a lot of responsibil- tors.
On leaving Kirkcaldy High relations, technical projects, ity for a school-leaver of his The marketing manager
School at the age of seven- and so on. age, especially since he was involved his photographic
teen, he joined a big name in Initially, the job entailed also his own boss. He had his services in all the company's
the Scotch whisky distilling taking pack shots for public- own office, dark room, small promotions and sponsored
industry, one of the Fife new ity purposes, photographing studio and store room to- events, which often led to
town’s key businesses – John visiting parties and dignitar- gether with a sizeable budget lots of travel and nights
Haig & Co. Ltd. of Markinch. ies at the bottling premises to work with and all neces- away. Another area was in
He became their in-plant and other distilleries within sary expenses. The company the engineering department
industrial photographer. This the group and microfilming employed over 950 people when he was approached by
was in an era when many records… especially those of and one of the biggest hurdles the chief engineer to hire
large companies had their the company's secret blends he had to cross was setting a high-speed camera which
own salaried in-plant photog- in case they were destroyed work priority for different could be used in fault find-
rapher to deal with all pho- by fire. Some other gen- department heads and the ing on a particular machine
tographic aspects relating to eral photography was also importance of their particular that had been giving trouble.
their particular business. This involved, often on location, photographic needs. He was also asked to help

other companies within the
Distillers Group with their
photographic requirements,
some of it involving research.
Mike was given the task of
drawing up safety guidelines
concerning the use of flash by
visitors within different areas
of distilleries and bottling
plants. This was mainly due
to the potential for explosions
in places where whisky was
maturing or being ‘roused’
during blending.
Qualifications all round

A few months after being in
the job Mike realised that he
wanted to become a properly
qualified professional pho-
tographer even though the
company employed him with
only amateur status and were
quite happy with that. His
interest in photography had
started when he was given
his first camera for his eighth
birthday. He realised that not
only would being qualified
help him progress but would
also improve his future posi-
tion. Mike approached the
company and they agreed to
let him have one day a week
at day release provided he was
able to keep his workflow up
to date.
He enrolled at Napier
College in Edinburgh on the Mike’s early black and white photography for the distillery was often tackled using a 6x6cm Rolleiflex, using the
City and Guilds Photographic approaches taught by industrial photographers like Professor Walter Nurnberg. He was soon involved in applied
Technician’s Course – a photography, including the use of the Hadland high-speed recording camera seen being set up below.
thorough five-year ground-
ing. He completed it in three
years and gained his City and
Guilds Photographic Techni-
cian’s Advanced Certificate.
He later submitted commer-
cial images to the Institute of
Incorporated Photographers
and gained his Associateship.
General photography was
used in many other areas
especially involving the pub-
licity of whisky agents from
other countries visiting Scot-
land. Not only would they
visit the bottling premises
in Markinch but also some
of the company's distilleries
throughout Scotland. These
visits took place about eight
times a year and usually
began with photographing
the party coming down the
aircraft steps on the runway
at Edinburgh Airport. There-
after, during the next four

days, photographs were taken
at each venue visited so that
a portfolio could be given to
each person on departure.
Although these commis-
sions were highly pressurised
there was time to relax and
enjoy the good Haig hospital-
ity with the visitors. Apart
from the photography aspect,
Mike had to have a good
knowledge of the complete
Scotch whisky process due
to the fact that he was asked
many questions from visitors
and had to have the answers.
He was trained as a quali-
fied guide at Glenkinchie
Distillery near Pencaitland,
East Lothian, where he was
also responsible for turning
their bowling green reception
centre into a cinema to show
visitors the Haig publicity
film.
Whisky no more
In 1983 the production of
Haig's Whisky at Markinch
ceased due to the age of the
premises and the logistics of
modernising the plant and
the cost involved. Mike start-
ed his own business as a GP
photographer from his home
in Ladybank, Fife, concentrat-
ing mainly on building up
a good clientèle, both in the
social and commercial sector.
He extended his house to pro-
vide a proper studio and good
professional working environ-
ment. He has embraced many
changes in the profession
over the years starting from
his black and white days with
Haig's Whisky to the intro-
duction of usable colour for
professional work – and now
to the digital era.
From 1983 until he retired
in 2005, Mike's business flour-
ished. He was fully booked
every year with weddings
and portraits and had many
regular commercial clients
who still attempt to call on
his services even though he is
now retired. Mike's decision
to retire was not taken lightly
but he realised it would be
very difficult to wind the
Mike progressed to Hasselblad

cameras and acquired a 40mm
lens – almost as good as the SWC’s
38mm…

– Fast recycling times (1.7s in FAST mode, 3s in DEFAULT mode).
– Head with 92 CRI dimmable daylight LED equivalent to 250w Halogen.
– Heavy duty compact head 22.5 x 14 x 23 cm weighing 2.2 kg with silent video mode.
– The most compact pack 18 x 13 x 28 cm including battery.
– Weight 4.3 kg including battery.
– Li-Ion Battery Air; 215 full power flashes, weight 1.1 kg (included).
– Li-Ion Battery HD; 400 full power flashes, weight 1.5 kg (optional).
– Both batteries include a 5v USB power output max. 1A.
– Weather resistant design.
– The Creative Suite, strobo, sequence and delayed flash.
– Next generation Skyport™ offering more range, channels and control.
– USB for firmware updates .
www.elinchrom.com/battery/elb1200.html MASTER PHOTOGRAPHY MAY/JUNE 2017 • 49

Today Mike photographs the colourful Kingdom of Fife, from the paintwork of the Forth rail bridge to the harbours of Anstruther and Lower Largo. His
commercial staff work introduced him to colour early with some of the first promotional shots of products, below, and to his enthusiasm later in life –
flying. Aerial view of Markinch while the distillery was still operational, bottom right.

business down as he found it
hard to refuse a commission
whether social or commercial.
He thought about doing
something completely differ-
ent and the end result was to
sell the house and studio and
buy a house in rural France
and take on a completely
different challenge. He and
his wife Marilyn spent their
first year renovating the
house, having a swimming
pool built, learning a new
language and integrating with
French neighbours and their
way of life. It was a mas-
sive learning curve as Mike
wanted to continue his hobby
of flying gliders and power
planes and to do that in
France he had to learn avia-
tion French. Luckily he was
welcomed by one of the local
clubs and successfully became
their tug pilot who towed the
gliders up and enjoyed this
immensely. They even let him
fly the club gliders for free
when he wasn't towing. As
well as flying, Mike contin-
ued to take photographs for
himself and kept a camera in
the car at all times. He also
kept in touch with all his UK
photographic friends and flew
over regularly to visit Focus on
Photography at the NEC.
Shortly after his return
Above, a maltman measures the temperature of the barley in the maltings. Below, the maturation casks. Mike had
to Scotland in 2010 Mike
to assess the dangers of flash photography in both these hazardous environments, for his own work and visitors.
was approached to become
an MPA Mentor to help new
members become qualified
with their licentiateship. He
was very honoured to be
asked to do this as he has
always enjoyed helping others
and wanted to put something
back into this wonderful
profession. In 2015, this was
recognised with an MPA
President’s Award. This was
the ideal chance to combine
the years of experience he
had in many different fields
of photography by helping
others and at the same time
keep his hand in with what
is going on in the profession
today. In the future, Mike
hopes that he can be involved
in helping the MPA encourage
photographers from disci-
plines other than the social
sector to become qualified
members.
Á
mikeward@btinternet.com

ELINCHROM ELB 1200
Portable high powered li-ion flash
T
he light can change of a regular 250W halogen – a
so fast when you are We had a chance for the first field trial of long way removed from the
aiming to use a fading the kit which came over from Switzerland 50W equivalent of most LED
dusk sky and the lights of modelling, and bright enough
buildings. Add the need to set
to be shown at The Photography Show. when focuses by the deep
up flash for your subject and Stephanie Thornton and MPA President reflector to allow continuous
it becomes a race which may Steve Howdle took the system out beside light stills as well as flash.
depend on how familiar you By controlling the flash
are with the gear. the NEC’s Pendigo Lake. power, aperture and expo-
We took the new sure Steve was able to get the
Elinchrom ELB 1200 location were all familiar with, though pair of 4m cables didn’t allow depth of sky tone he wanted
kit out of The Photography a few details of how long to as much separation for one within the shutter speed
Show at the end of one day, press which button for and set-up as we wanted. The best choices offered by the Pentax
with Steve Howdle and Steph- what to turn for adjustment shots of Sian, here, ended up 645Z.
anie Thornton bringing their needed to be taught by The taken with a single head fit- The entire shoot including
long-suffering models An- Flash Centre team before we ted with the 70cm Deep Octa a different set with Annabel
nabelle and Sian for fashion were allowed to abuse the LightMotif. (not seen here, but published
poses. Fortunately, the basic prototype. The cool, silent-running in f2 Cameracraft this month)
operation of the big ELB is The only problem we ELB 1200 head uses an LED took a matter of thirty min-
not so far different from the encountered was that with modelling or video light utes including lugging the
smaller ELB 400 kit which we one pack and two heads the which puts out the equivalent flash kit to the ‘beach’ and

packing it away afterwards.
This kit was in a shoulder
bag, but Elinchrom also make
a roller case and it would
have been a wiser choice.
The li-on battery pack which
clips to the base of the power
unit is surprisingly light but
the total kit with substantial
stands and the EL-size heads
(not Quadra type) is not
something you would want to
balance against your camera
gear for a long day of two-
shoulder shifting.
The shoot proved the value
of digital image reviewing
as well as flash metering,
and also showed that this
pack is far more powerful
than a dusk single figure
shot required – we could, of
course, have done this with
the ELB 400. But the 1200 is
incredibly well made, weather
sealed and very safe. The con-
nector which has to carry up
to 1200Ws and the chunky
cables indicate that safety is
The ELB 1200 Pro to Roll

kit can be recommended
to save shoulders. It
costs £3,499 with one
Pro head and
one Air battery.
Above: our
team in action.

ELB 1200: the pack with Air battery; the super-tough connector and
weathersealed covers; EL Skyport HS Plus; EL-fit aluminium head; carefully
designed battery connector; 250W LED modelling – and silent mode.
umbrella shaft fitting. Action,

Pro and Hi-Sync heads have
durations to suit these uses
and are made of aluminium
with very strong, large tilting
stand mounts. The large grab
handle on the rear of the
head makes adjustment easy
when heavier lightshapers are
a prime consideration for the pack you are allowed to carry attached (one benefit of this
Swiss makers. When this arti- on flights, and the 90Wh system over its smaller Ranger
cle was being completed, we Air battery is designed for Quadra cousins). Elinchrom
had news of distributor recalls these. One ELB 1200 unit tends to compare this kit
of a well-known Chinese flash with a battery Air attached is with the Ranger 1100Ws, not
brand in Europe after it was allowed as carry-on baggage the smaller Quadra. The Ac-
discovered many of the heads for travelling by air, plus one tion head for example yields a you would need to learn (it
were able to deliver a mains- spare battery. fastest duration of 1/8850s at was not an option to test
power current to the bare Included with the basic 33% (Power Setting 4.7) – the these). It is compatible with
trigger wire wrapped round kit, the Air battery weights pack can recognise different the EL Skyport Plus HS trigger
the flashtube. Chris Whittle 1.1kg and will provide 215 head types, and will display which gives access to much of
of The Flash Centre observed full power flashes or 80 flash durations as well as this control from the camera
that their engineers often minutes of continuous (dim- power over a massive 8.5 stop position.
take ‘bootleg’ or cheap copy mable) LED light. The heavier range. That’s a minimum Elinchrom claims high
flash units apart and exam- 144Wh Battery HD weighs power of 6Ws and – we didn’t colour and exposure accuracy
ine them, finding that an 1.5kg, gives 400 flashes or try it – a likely 40,000 flash with optimised flash dura-
insulation gap which should 120 minutes of continuous pops! tions, across the whole power
be specified at 6mm can be as LED light. Both battery packs The ELB 1200 pack itself, range, and there is a USB
little as 2mm. have useful 5V DC USB out- without battery, is 18 x 13 input for firmware updates.
With its massive rubber puts to charge mobile devices. x 28cm and weighs 3.2Kg. As video lights with one
sealing caps and deep water These powerful battery packs Recycling time is 1.7s in fast pack and two heads running
trap designs, even a shower have extra safety precautions mode, 3s in default mode, at in silent mode, you get the
while working with a live to ensure the terminals are the full 1200Ws (asymmet- equivalent of up to 500w of
ELB 1200 would be little risk never live when exposed. The ric two-head 1:2 split, or 1:1 tungsten, near daylight qual-
(though like all flash units, latch system is positive and symmetrical). All adjustments ity with a CRI of 92. The cost
they are not intended for use very easy to use. There is a are shown on a large OLED of a comparable video light
in the rain or in dangerous shipping mode that turns the control display, which was system of this quality would
environments with explosive battery off via a user switch. easy to see at dusk and then be into four figures, which
gases or suspensions – spe- The clip-on cover physically to illuminate when it got mitigates the cost of the ELB
cial customisation is needed protects the contacts and has too dark. It shows activated 1200. A single head Pro to
for that). What they can do a charge state indicator. or deactivated staus for each Roll kit will set you back
is to travel with you, taking There are three different head separately, the flash du- £3,499, light a warehouse,
advantage of the smaller li- type of flash head, all accept- ration display, and also some and last a lifetime…
ion battery pack ‘Air’. There ing EL-bayonet accessories programmable Strobo, delay Á
are rules on how powerful a and with through-reflector and sequence settings which www.theflashcentre.com

DOG STAR
JAMIE MORGAN
Moving north from Kent to Staffordshire, Jamie Morgan qualified as a Licentiate
at The Photography Show and has already pitched in as a key member of the
MPA’s revived West Midlands Region. He’s a canine photography specialist.
A
nyone in the MPA West
Midlands region will
have spotted Jamie
Morgan’s name in recent
Facebook group conversations.
He’s become a real ambas-
sador for MPA and one of
the new intake of members
driving the recovery of the
regions, which had suffered
from the apathy of old com-
mittees and resulting poor
attendances. After taking over
as chair in December Ray
Lowe had several conversa-
tions with members which
convinced him that regional
revival was the way ahead.
Along with his board col-
leagues, Ray was delighted
to see the quality of Jamie’s
LMPA panel in canine portrai-
ture – we wish him all best in
his new Midlands business. The Staffordshire moors will be as much home for Jamie Morgan as his old haunts further south – with no
Á shortage of canine clients, and their families, for great outdoor sessions.

THE ART OF RECOVERY
DANIEL ADAMS
New Licentiate Daniel Adams takes strong, simple portraits with power and a
directed gaze. He’s come to this successful line of business in the wake of a
life-changing sports injury.
D
aniel Adams is one of
the eleven new Licen-
tiates qualified at The
Photography Show in March,
where MPA signed up dozens
more provisional members to
follow in his footsteps.
His story made the local
paper in St Albans, where
he has a thriving wedding
photography practice. His
licentiateship, in portraiture,
shows another side of his
business and in the strength
and simplicity of the com-
positions reflects some of his
own determination.
In 2013, Daniel was a
special needs teacher for both
primary school children and
adults, and an athletic foot-
baller too. That was ended
when a serious accident on
the pitch left him with a
dislocated knee, four snapped
ligaments and a broken shin
bone – the kind of injuries
which can result in a lifetime
of pain from the surgery
needed to avoid something as and well-respected newborn
drastic as amputation. and baby photographer. Over
Forced to rest in order to the last 12-18 months I have
recover for one and a half invested in my professional
years, he resumed a hobby development. I have an amaz-
interest in photography but ing group of photographers I
realised he make this into train with through ‘Progress
a future career. With the To Success’ with Gary Hill
help of the MPA mentor- every six weeks, learning new
ing scheme, he was able to techniques and honing my
qualify as a professional and skills. My fantastic mentor
it is now his business and through the MPA Licentiate-
work in Wheathampstead. ship process has been Mr Ray
“I wanted to become more Lowe.”
than just a hobby photogra- His website attests to a
pher”, he said. “The journey high standard of local work
has been rough between op- from 2014 onwards, and he
erations. With the support of says “I offer wedding photog-
my wife and kids.I have really raphy that’s less formal and
pushed myself to gain the formulaic and more free-flow-
knowledge needed to get to the technical side of photog- “I am striving to be one ing and captures the love and
where I am today. Although raphy. The lighting, setups, of the best St. Albans pho- fun of your wedding day”.
you wouldn’t tell to meet or lighting patterns, ratios and tographers alongside my wife Á
talk to me, I absolutely love the maths behind it. Carli, who is a phenomenal www.danieladamsphotography.com

Daniel’s portraiture clientèle includes actors and models, businesses, couples and families and he is well know for his head shots.

Daniel Adams LMPA

NEW LIVES, NEW LMPA
MIKAELA JADE
Trading as Mikaela Jade Photography, MPA’s latest Licentiate in Newborn
photography plans to move from a home based business to a studio, offering
weddings and family portrait photography.
M
ikaela Jade Photog- BA(Hons) in Fine Art. After
raphy was born in graduating I completed a
December 2012, postgraduate certificate in
and ever since then it’s been secondary education.
growing alongside the babies “Both of my art courses
Mikaela loves to photograph. incorporated photography,
She has become one of the during the final year of my
first Licentiates presenting degree I started Mikaela Jade
a panel of newborn portrai- Photography. I was a mobile
ture, and she is already an photographer for three and
experienced and well trained a half years, and now I have
specialist. It’s hard to see how my own studio which I love!
a body of newborn work can “I still teach as well, A
be created safely without a level photography. I am able
steep learning curve. to use the darkroom (film
“I have always had a love photography) and experiment
for photography, since the age with lots of vintage tech-
of 10”, says Mikaela. “I never niques as well as keep up to
thought I could actually do date with current artists and
it as a job. My ambition was photographers”.
to teach art, so I completed From her home studio in
an Art and Design course and Woodbridge, Mikaela offers
in 2013 I graduated with a Newborn Sessions, Portraits

(including pets), Families two employees to help with
as well as Weddings and weddings, editing and admin.
Location Sessions during the Preferably, I would like to spe-
Spring, Summer and Autumn cialise within Newborns and
months. Portraits and move away from
“I am passionate about weddings… or hire someone
keeping my images simple, to assist with weddings so I
elegant and timeless”, she could focus purely on New-
says. “I like to create images borns and Portraiture.
that are as natural as possible “I would love to achieve
whether that is on location or my MPA Associate qualifica-
in studio. Especially in regard tion by 2020 and plan to en-
to my Newborn photography, ter for awards too. I want to
I like the focus to be purely continue to learn and develop
on the Newborn and all of my skills and push to be the
their tiny features. I try to very best version of myself
keep their poses as natural as and create a lively business.
possible and with minimal “This year I will be attend-
use of props. ing another workshop with
“My main inspiration for Kristina Mack and hope to
my Newborn photography one day attend a workshop
has been Kelly Brown from held by Kelly. I would like to
Little Pieces Photography continue to develop my own
– I have followed her and style, maybe adding some-
watched her business grow. thing extra to make my brand
I also take inspiration from and company unique and
Kristina Mack from Tiny memorable.
Posers who keeps her images “One day I would like to
clean and crisp. pass on my skills, and I would
“I regularly set myself also like to try to create my
achievable goals but also long own Newborn Props as I do
term goals, which will push exhibitions a month, attend “In the future I would like have an artistic background.
and challenge me. Whether talks, and so on. They are to move from my home stu- Then I would be able to pass
that may be to learn a new always goals that will not dio into a studio elsewhere – these on to other photogra-
editing technique, try out only benefit my clients and or maybe create one in a barn phers.”
a new software, give myself business but also help develop or an outbuilding near my Á
shorter deadlines, go to two myself. home. I would like to have www.mikaelajadephotography.com

Mikaela Jade LMPA

Four Fellows lead the
way to regional revival REGIONS
Central Region opportunity for chat and sharing,
this really was an opportunity
THE CENTRAL Region has a long to pick up new ideas and tips as
and very successful history when well as laugh a lot with a very
it comes to its regional meetings friendly bunch of people!
with vibrant and well-attended So much so that the region
get-togethers and interesting, is going to continue moving the
engaging speakers. However, meetings around the region!
at least for the past few years, Which, has to be a good thing!
nearly all of the meetings have If you’d like to host one of the
been held in Abbots Langley meetings and have a studio or
(to be precise, at the Pin Wei space big enough, then please
Chinese restaurant – a convivial contact Paul, Esme or Ian on the
establishment with particularly Central Region Committee.
good food!) but this has meant
a bias toward that southern
quadrant of a very large region
that stretches from Peterborough
to Swindon: something that has
needed changing for a while
so that more people have an
opportunity of a meeting with
less than a two-hour drive! So,
the committee (Paul Wilkinson,
Esme Robinson and Ian Boichat)
decided to see if something
that the East Midlands Region
has adopted might work and
to hold its meetings in different
photographers’ studios giving
an opportunity for members
who can’t always make the long
journey to get to somewhere Photographs by Paul Wilkinson from the Central Region meeting where
more local (and to give a chance four Fellows demonstrated portraiture in different studio settings. East Anglia – the first meeting in
for members to see someone April was a success.
else’s studio setup – something
we all love to do!) East Anglia
The first of these was held
at Paul Wilkinson’s studio and it Contact for info –
was decided to capitalize on the zoe@zoegibbsphotography.co.uk
talent within their own region,
asking three Central Region London & Essex
Fellows to show what they might
do with the same model and May 17th 2017 – 7.30pm
lighting but each with their own London & Essex region has
unique approach. the 2014 MPA International
So did it work? Certainly in Photographer of the year in
terms of energy and numbers, Deborah Selwood AMPA , giving
it’s one of the most successful her first regional talk for years.
meetings ever held in the Central Deborah has put together an
Region. So much so that the excellent new talk with amazing
number of Fellows had to be digital slideshows! At Ye Olde
increased from three to four Plough House, Brentwood Road,
and split into two parts of Paul’s Bulphan, Essex RM14 3SR.
studio: David Calvert and Hoss
Mahdavi shooting in the full June 21st 2017 – London and
studio upstairs and Paul and Essex Annual Print Competition.
David MacDonald shooting in Judge Hossain Mahdavi FMPA .
a slightly more confined space At Ye Olde Plough House,
downstairs, each with a dozen Brentwood Road, Bulphan, Essex
or so members watching and RM14 3SR.
chatting through the various
approaches. South East
With Graham from Loxley
Colour and Martin from May 23rd 2017 – London Social
Graphistudio both on hand to Night. 19:00-23:00 hrs. At: The
show off their respective new Antelope, 22-24 Eaton Terrace,
products as well as plenty of SW1W 8EZ.

DEBORAH GOES SOUTH: Deborah Selwood AMPA (below) will be visiting
the London & Essex Region on May 17th. She is renowned for her skills in
styling portraits and retouching for superb skin tones (above and left).
November 27th 2017 –

Christmas Social evening. This
will be a social evening centred
around a meal at a restaurant or
hotel, yet to be chosen. We will
need to know well in advance
who is going to attend so that
the best venue can selected to
make it as centrally located as
possible. More details will be
published nearer to the date.
West Midlands
July 3rd 2017 – West Midlands

Region Annual Print Competition.
The West Midlands Region
September 19th 2017 – Kevin has been re-formed with the
Mullins Street Photography new committee of Karen Massey
Workshop. £39.00, 8 delegates as Chairperson, Mike Baker as
per sessions, 2 sessions available. Secretary and Jamie Morgan as
9:30-12:30 (coffee break in the Treasurer. Jamie also achieved his
middle); 1:30 – 4:30 (coffee Licentiate at The Photography
break in the middle). Location – Show.
London Charring Cross station. For further details contact
Karen on 07791 853810 or email:
Scottish Region karen@karenmasseyphotography.co.uk
Á
The Scottish Region awards
were held in at the end of The editor thanks our advertising
February, too late for inclusion representative, Diane Henderson,
in the March/April issue of this for volunteering to telephone all
magazine. You can find a full regions before the production of
set of pictures and also a video each magazine in the last few
A group of the winners from the Scottish Region Awards, at the Royal
slideshow of the winners on the months. Regions should from now
region’s Facebook page. Dunkeld Hotel in February. See the regional Facebook page for information on inform the Chair, Ray Lowe,
and future events. and Chair or Regions Collin Davies
Welsh Region To view a Facebook video of all the Scottish Region Awards images visit: to ensure their events are publicised
http://bit.ly/2quVwDW in the new magazine.
July 3rd 2017 – Annual
Competition, Grove Golf Club.
(12 noon to 10pm approx). MPA MPA Regions 2017
CEO Clare-Louise DipPP FMPA will
Central Paul Wilkinson FMPA 01844 290054 paul@paulwilkinsonphotography.co.uk www.facebook.com/MPA.Central.Region
be our judge.
East Anglia Zoe Gibbs LMPA 07712 159179 zoe@zoegibbsphotography.co.uk www.facebook.com/MPA.East.Anglia
September 25th 2017 –
East Midlands Steve Walton FMPA 0116 2994901 steve@stevewaltonphotography.info
Presidential Tour by Steve
Northern John Woods LMPA 01484 514744 johnwoods@me.com
Howdle FMPA , Grove Golf Club
Ldn & Essex Ray Lowe Hon.FMPA 07703273087 ray@raylowe.co.uk www.facebook.com/The-MPA-London-Essex-Region
(2pm to 10pm approx).MPA
Scotland Martin Leckie LMPA 01467 672000 martin@martinleckie.com www.facebook.com/The-MPA-Scottish-Region
President Steve Howdle, plus
South East Michael Shilling LMPA 07714 327862 michaeleshilling@hotmail.com www.facebook.com/mpasoutheast/
Stephanie Thornton, will spend
South West Bob Willingham LMPA 07836333193 bob@studiosouthwest.co.uk www.facebook.com/The-MPA-South-West-Region
the afternoon and evening with
Wales Collin Davies LMPA 01792 883274 sales@highsocietyphotography.co.uk www.facebook.com/The-MPA-Welsh-Region
us, giving a combination of
South Central James Musselwhite FMPA 02392 984870 info@closerphotography.com
practical demonstrations of their
West Mids Karen Massey LMPA 07791 853810 karen@karenmasseyphotography.co.uk www.facebook.com/The-MPA-West-Midlands-Region
techniques and a broad overview
North East Steven Hattam LMPA 0191 4889399 info@life-studios.com www.facebook.com/MPANorthernRegion
of their work.

I
t is with much sadness wrote that “I foresee digital
we have in this edition of will become the first choice
Master Photography to com- in most studios within the
memorate the life of former next two years, though there
MPA Chief Executive Colin will be many of us who will
Buck Hon.FMPA, who passed still rely on film for many
away peacefully at home in years to come”. He was right
Hurworth-on-Tees on March on the first point but kept
29th at the age 70, after a faith with film for his busi-
long illness. ness longer than many, often
Colin knew his time was travelling with his Hasselblad
limited and took care to call neatly dismantled to fit into
many friends and colleagues a slim business attaché case
including those like your alongside paperwork.
editor who had only been in Colin always enjoyed
occasional contact since his working with people, and
departure from the MPA in most days in the Darlington
2013. office were taken up with a
There was little time to diary of visitors, if he was not
reminisce, though Colin had out on the road visiting the
a lifetime of stories to share. regions and running events.
His forces career, in the RAF He recognised the poten-
Regiment, took him to Aden tial of Graphistudio’s book
and Cyprus while back at printing system early on and
base in Wales he made his worked with Jeremy Price in
mark in the force as a boxing years before such things as
champion. brand ambassadors existed.
Entering professional With great diplomacy and an
photography, he was an active ability to retain friends, this
member of the MPA in the enthusiasm never affected
Colin Ronald Buck

1980s and established Studio MPA relationships with com-
81 in Darlington. The 1990s Hon.FMPA petitors like Loxley Colour,
saw him accept an offer to set Colorworld, One Vision,
his sales and marketing skills September 5th 1946 – March 29th 2017 Dunns, Mario Acerboni, Art
to use in Florida, while his Chief Executive of the Master Photographers Leather, Spicer Hallfield, and
wife Linda and studio staff GF Smith.
maintained a successful busi- Association, 1993-2013 In his last few years at
ness at home. MPA, Colin was joined by
Returning from his work which time the MPA owned venture between the two his son Chris manning sales
for Monte Zucker’s studio in not one building but two and practicing bodies. The MPA desks and exhibition stands,
the USA, Colin Buck took had a full-time staff of five. Diploma in Photographic driving the length of the
over as chief executive of the Colin and his board had Practice was also introduced. country with display material
MPA in October 1993. The commissioned a feasibility Under Colin’s manage- and merchandise. Linda and
Board had recently agreed study to build a new office on ment, MPA became the first Colin together worked with
that membership would be the adjoining car park This Association to establish media the main sponsors of the
restricted to photographers went ahead and today the links with the Daily Express, annual awards (the insur-
who were full-time profes- MPA owns both buildings, News of the World, Daily ance company which is now
sionals, with many leaving as leasing out the second offices Telegraph, Radio Times and Risk Alliance) to add a real
they were no longer eligible. to a charity to bring in useful Daily Mail, You and Your Wed- showbiz feel through celebrity
There were just 850 paid-up income. Each MPA member ding, and Cosmopolitan Bride. guests and an eclectic range
members – but ten years later is a shareholder of the As- The Cherubs programme of entertainers. That tradition
the figure was almost 2,000. sociation so the investment was developed further. The of glittering awards events
Colin closed the rented benefited everyone. NatWest streamline credit continues.
offices in Epsom, moved the In 1997, Colin’s wife Linda card terminal scheme, saving We attended Colin’s
HQ to similarly rented space had been asked by the man- members money, also showed funeral on April 11th, along
near his studio in Darlington, agement to join the Associa- from its statistics that over with many of his old friends
and handled everything alone tion as office manager and be- £40 million of credit card and colleagues from the MPA
with one personal assistant, came to Company Secretary turnover was generated by and the photographic world.
Hazel Jordan. Together they in 2001. By the mid-2000s MPA members fifteen years Ryan Wong’s fiancée Queenie
established what became the there was a full staff team, al- ago at a time when overall Koh flew in from Shanghai to
Cherubs programme. The most a half a million pounds sales were thought to be over represent the MPA Far East.
Association began to grow at turnover and annual growth. £75 million. Richard Dutkowski gave the
a rapid pace and employed Working with the BIPP, MPA Colin’s visits to the Far eulogy to a full congregation,
Maureen Hartley as Cherubs established the UK Profes- East, especially, resulted in in the service at St Peter’s
coordinator. At this time sional Photography Qualify- overseas membership rising. church in Croft-on-Tees.
the Association decided to ing Board and in 2004 held At home, Colin recognised – David Kilpatrick Hon.FMPA
purchase its own premises. the first British Professional the importance of digital Editor and Publisher
Maureen retired in 2003, by Photographic Awards, a joint photography and in 2004 Ì
THE LAST ISSUE
Icon Publications Ltd hands over the MPA’s journal
to another publisher after 22 years – and more
F
rom the next issue, MPA viewed it. Of course, it was
members will be receiv- never a ‘given’ status quo and
ing a different official MPA has sought competitive
magazine. At a meeting at the tenders in the past.
beginning of the year, the The termination of our
MPA CEO was given unani- 22-year relationship has been
mous agreement by the board sudden, with so many readers
to seek tenders for a new and advertisers committed
publisher. to two titles (Master Photogra-
Invitations to tender were phy and f2 Cameracraft) and
sent on March 22nd with a our team used to a monthly
deadline for proposals to be schedule. Because of this, we
placed before the next board must continue to publish two
meeting, by April 5th. No titles – or one title monthly –
precise specifications were perhaps working with other
given – the tender was open John Hannavy was the first editor of the improved Master Photography associations or groups.
to any suggestions from those magazine published by Dr Roger Saunders’ TMT Co. Ltd from 1981 Our focus has always been
invited. (January 1982 cover by David Kilpatrick – yes, that is Shirley). By 1986, the on presenting the work of
Icon Publications Ltd was title and ownership had changed (from TMT to the MPA) and David was professional photographers
not successful in tendering editor. Cover: Roger Phillips. In August 1995, the magazine was licenced to in the best possible light,
to continue to provide Master Icon Publications Ltd, with Andy Aitken as editor. Cover: Trevor Yerbury. In recently through use of
Photography to the members 2009 the name was reverted to Master Photography with Icon Publications excellent reproduction and a
of the association, and was Ltd. Cover – Paul Walker from the Fellowship he gained – in a year which classic design. I hope we have
given notice of the board’s saw a record number of new Fellows, the first judges’ training day, and succeeded.
April 7th decision that a new Loxley Colour’s £1000 bursary for Wedding Fellowship success. Bottom
publisher would be taking
over from July.
left: the design as a monthly in 2013 (cover Christopher Bradbury) and the
current look as a bi-monthly in May/June 2014 (cover Jingna Zhang).
30 Years of Icon
Icon Publications Ltd, as a
Moving on company, marked its 30th
anniversary the week after we
Because Icon Publications learned we must part com-
Ltd owns this title, and has pany with our hundreds of
a commitment to subscribers friends in the Master Photog-
along with orders for adver- raphers Association.
tising for the year ahead, we My own work editing
can’t simply shut the maga- professional photographic
zine down. Nor do we want organisation magazines goes
to – it’s not just a job or a back well beyond that. I was
contract, it is a vocation. first appointed editor of The
While we will miss our Photographer, the magazine of
involvement with MPA, it has the Institute of Incorporated
changed a great deal since Photographers, at the age of
1995 when our company 23 in 1976. This work proved
agreed to take on publication to be the best crash course in
master Master Photography
ISSN 2042-0234
of The Master Photographer

under license for a five year photography MAY/JUNE 2014 • £7.95
professional photography you
could wish for, and by 1979 I
contract. With MPA’s rapid was a qualified Licentiate and
growth, the magazine was partner in a very successful
successful and the contract industrial, commercial and
was renewed twice, becoming advertising studio.
more involved with the MPA In 1984, with my own
as an organisation. By the studios operating just off the
time the magazine title was Licentiate
Profiles
Issue
A1 trunk road and in central
passed to Icon, it felt like a Louise Sumner:
from the 2012 Nottingham, I became editor
Awards
permanent working relation- Leo Edwards:

Hello Dubai!
of The Master Photographer
ship, and that is also how Sam Whitton:
creative model
portfolios
for the rapidly-growing MPA.
many of our friends in the Carl Reeve:
home and away I remained in this position,
PHOTOGRAPH BY JINGNA ZHANG FMPA
trade and in the association DEC/JAN 2012/13 • £5.00 COVER: CHRISTOPHER BRADBURY
MASTER FMPA
PHOTOGRAPHY 1
winning a major national

award for the magazine in
1987, until we moved to Scot-
land in 1988 and established
a new digital technology
bureau and studio.
We instigated the forma-
tion of Professional Photog-
raphers of Great Britain in
1989, publishing PHOTOpro.
In 1991 this group agreed to
be transferred into BIPP mem-
bership. The intake of over
500 new members involved again. We have been helping
BIPP changing their admis- ever since.
sion terms and accepting our There was a time when
freelance and multi-skilled reaching 65, as I do this
CEO
members. I then spent three year, would mean retirement
Clare Louise FMPA beckoned. But there are too
years producing The Photog-
Tel: 01325 356555 e-mail: clare@thempa.com
rapher once again. In due many good reasons for this
President course Tony Freeman, the first 2am workaholic not to retire
Steve Howdle FMPA President of PPofGB, went on – most of them are you, my
Tel: 07932 372216 e-mail: thorntonandhowdle@outlook.com to become President of BIPP. photographer friends and col-
In 1995, Adrian Berkeley leagues. Be seeing you!
Directors
took over as editor for BIPP – David Kilpatrick Hon.FMPA
Ray Lowe Hon.FMPA (Interim Chairman) and I moved on to help Colin Editor and Publisher
Tel: 01992 636152 e-mail: ray@raylowe.co.uk Buck build up the MPA once Á
ƒ2
Paul Wilkinson FMPA (Commercial Director)
C
Tel: 01844 291000 e-mail: paul@paulwilkinsonphotography.co.uk
mercrƒt
MAY/JUNE 2017 • £5.95
Paul Cooper Hon.FMPA (Qualifications)
Tel: 01904 416 684 e-mail: info@baileycooper.co.uk
Paul Inskip LMPA (Cherubs)

Tel: 07736255666 e-mail: paul@thebusinessofcherubs.co.uk REWARDING CREATIVE PHOTOGRAPHY
Steve Walton FMPA (Accreditation)

Tel: 0116 2994901 e-mail: steve@stevewaltonphotography.info
Collin Davies LMPA (Chair of Regional Chairmen)

Tel: 01792 883274 e-mail: sales@highsocietyphotography.co.uk
Head Office Contacts

MPA, Jubilee House, 1 Chancery Lane, Darlington DL1 5QP
Tel: 01325 356555
Fax: 01325 357813
Website: www.masterphotographersassociation.co.uk
Membership: Amanda Buckle – membership@thempa.com
Cherubs: cherubs@mpauk.com A FAIRER
Cherubs Direct line: 01325 952259 VISION
MORAG MACDONALD
SARAH HICKSON
SU KAYE
INKJET
SUZANNE PORTER MONO
MASTER PHOTOGRAPHY MAY/JUNE 2017 HOLD THAT
NEW PERMAJET
FB MONO GLOSS
ISSN 2042-0234 Vol 14 #1 published for the membership of
CAMERA!
BARYTA 320
– PLUS OUR GUIDE TO PAPERS DEDICATED
The Master Photographers Association FLIGHT REGULATIONS TO THE DARKROOM LOOK
six times each year MAY FORCE YOU TO
Icon Publications Limited

TRAVEL WITH ONLY
A SMARTPHONE…
GEAR IN USE
FUJIFILM GFX 50S ON ASSIGNMENT
Maxwell Place, Maxwell Lane, Kelso, Scottish Borders TD5 7BB WE CHECK OUT THE
SIZE LIMITS SIGMA 12-24mm ƒ4 DG ART
www.iconpublications.com ELINCHROM ELB 1200
REARVIEW
PROFOTO B1
OLYMPUS OM-D E-M5 II REVISITED
Publisher/Editor in Chief: David Kilpatrick Hon. FMPA OUR OPEN GALLERY RETURNS YUNEEC TYPHOON H REALSENSE
Tel: 01573 226032 Mobile: 07971 250786
email: editor@iconpublications.com BARRY SHAFFER
BHUTAN: A KINGDOM OF PEACE IN THE EAST
QUIET HEROES: FINDING PEACE IN THE WEST
Ad Sales: Diane Henderson ƒ2 Cameracraft May/June 2017 1
Tel: 01573 223508 email: diane@iconpublications.com f2MayJune2017.indd 1 04/04/2017 13:26
News and Press Functions: Richard Kilpatrick

Mobile: 07979 691965 email: richard@rtkmedia.co.uk
Keep in touch through Cameracraft
For a year or so we have been sending MPA UK Associates and Fellows
Icon Publications Ltd can accept no responsibility for loss of or damage to photographs and manuscripts submit-
ted, however caused. Responsibility for insurance and return carriage of equipment submitted for review or test completely free copies of Cameracraft. We have also provided a digital
rests with the owner. Views expressed in this magazine are those of the individual contributors and do not
necessarily represent the views and policies of The Master Photographers Association, Icon Publications download link to MPA for use in the member newsletter, giving access to a
Ltd or its advertisers. All technical data and pricing information contained in news and feature articles is
printed in good faith. While all advertising copy is accepted in good faith, neither Icon Publications Ltd free PDF version to all members worldwide. Both have been entirely free to
or Master Photographers Association Ltd can accept any legal responsibility for unjustified claims or the
quality of goods or services arising from advertising in this publication. All contents including advertising MPA and the membership. We can not continue to do so but you can find
artwork created by Icon Publications Ltd are copyright and cannot be reproduced by any means without
prior permission. ©2017 Icon Publications Ltd. E&OE. a half-price subscription (£17.85 a year) for MPA members at:
http://www.iconpublications.com/mpa-uk-offer/

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Master Photography

May/June 2017 • £7.95

THE JEWELLED MESSENGER – BY JULES HUNTER LMPA

2 • MASTER PHOTOGRAPHY MAY/JUNE 2017

Our thanks to Jules for her help

16 Master Photography Awards 2017/2018

46 Mentor Profile: Mike Ward AMPA

Scots career photographer, now a valued MPA mentor. IRfififififififififififiyfifififififififififififiwfiyfifififififififififififififififififififififibfififiwfififififififi

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First seen at The Photography

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NIKON’S position in the careers and camerabags of professionals around

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PUSHING the boundaries of Instax photography further, Lomography’s

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MIRRORLESS continues to gain ground, with Sony achieving strong sales

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“Show us your pure unadulterated photographic skill” – Paul Cooper FMPA

COMPETITION GUIDELINES 2017 UK & Overseas – qualified MPA members only

18 • MASTER PHOTOGRAPHY MAY/JUNE 2017

What is meant by ‘Creative’?

MASTER PHOTOGRAPHY MAY/JUNE 2017 • 19

Landscape, Travel, Nature & Wildlife

Press, PR & Events

Licentiate Photographer of the Year

Left: Architecture Award of Excellence, 2016/17, by Giles Christopher.

20 • MASTER PHOTOGRAPHY MAY/JUNE 2017

With effect from 2016 our policies will

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JH: How would you

JR: I’d say that my immer-