Art Photography

Master Photography
MARCH/APRIL 2016 7.95
PHOTOGRAPH BY KELLY BROWN
2 MASTER PHOTOGRAPHY MARCH/APRIL 2016
MasterPhotography
Vol 12 No 6 March/April 2016
CEO, President & Editorial
Cover: by Kelly Brown. Kelly is

the guest speaker at the Cherubs
Roadshow, April 5th 2016, to be
held at Sketchley Grange, Burbage,
Leicestershire.
See page 48 for our major
feature on Kellys newborn
photography.
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MARCH/APRIL 2016 7.95
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6 News
10

Trends: Boxing Clever, and Touchy Feely

Products which help you to sell them to your clients by
looking different and feeling good.
15
The Photography Show Whats On
19
Advertising Feature: Metro Imaging and Fujifilm

Crystal Archive
22
Bullet Time and more than ninety-nine red, yellow

and blue balloons
Richard Bradbury previews the live demonstration of
high speed capture, and the multi-camera bullet time
technique, hes going to explain at The Photography Show.
PHOTOGRAPH BY KELLY BROWN
MP MarApr 2016.indd 1
26/02/2016 11:36
BROUGHT TO YOU WITH THE SUPPORT OF

OUR ADVERTISERS
31
Meet the A-List we pick out some Merit and Award

of Excellence images from the 2015/16 awards created by
Licentiates but with all the hallmarks of a higher ambition.
38
From 3D to PhD Marek Czarnecki AMPA

Our man in Poland has been doing some unusual things
a 3D book on his region, and a Doctorate of Film Arts.
Professional InkJet
Media & Inks
42
A box of Victorian dimensional delights

Musician, badger-protector and astronomer Brian May
is also a leading collector and publisher of 3D stereo
photography. Meet the London Stereoscopic Company!
For samples or to find your

nearest stockist please contact us
Tel: 01249 714 555
Email: sales@fotospeed.com
44
Styled Portraits with Thornton & Howdle

Two simple but effective examples to learn from.
48

Kelly Brown the Queen of Newborn photography

Visiting for an MPA Cherubs day in April, Kelly is one of the
creators of todays neonatal and baby stylesheets.
56
A Peace of the Action

Paul Wilkinson reports from a newborn workshop with
Melanie East AMPA .
58

Ian Lawsons Harris Tweed

A documentary exhibition on the real thing from the isles.
62
Memorial: Stanley Burgin AMPA

by Peter Stanhope. A pioneer of front-projection portraits.
64
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MASTER PHOTOGRAPHY MARCH/APRIL 2016 3
Lets show em!
W
CEO
Clare Louise FMPA
Tel: 01325 356555 e-mail: clare@thempa.com
President
Steve Walton FMPA
Tel: 0116 2994901 e-mail: stevewaltonphotography.info
Management Team
Paul Wilkinson FMPA (MPA Chairman 2015/16)
Tel: 01844 290054 e-mail: paul@paulwilkinsonphotography.co.uk
Steve Ramsden LMPA
Tel: 01904 479063 e-mail: info@steveramsdenstudio.co.uk
Ray Lowe Hon.FMPA
Tel: 01992 636152 e-mail: ray@raylowe.co.uk
Directors
John Parris FMPA
Tel: 01450 370523 e-mail: info@parrisphotography.co.uk
Paul Cooper FMPA (Qualifications)
Tel: 01904 416 684 e-mail: info@baileycooper.co.uk
Dave Thexton LMPA
Tel: 01229 835035 e-mail: smile@tjphoto.co.uk
Collin Davies LMPA
Tel: 01792 883274 e-mail: sales@highsocietyphotography.co.uk
Paul Inskip LMPA
Tel: 01243 861634 e-mail: studio@paulinskipstudios.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
Cherubs Direct line: 01325 952259
MASTER PHOTOGRAPHY MAR/APR 2016
ISSN 2042-0234 Vol 12 #6 published for the membership of

The Master Photographers Association
six times each year
Icon Publications Limited
Maxwell Place, Maxwell Lane, Kelso, Scottish Borders TD5 7BB
www.iconpublications.com
Publisher/Editor in Chief: David Kilpatrick Hon. FMPA
Tel: 01573 226032 Mobile: 07971 250786
email: editor@iconpublications.com
Ad Sales: Diane Henderson
Tel: 01573 223508 email: diane@iconpublications.com
On the Road: Richard Kilpatrick
Mobile: 07979 691965 email: richard@rtkmedia.co.uk
Icon Publications Ltd can accept no responsibility for loss of or damage to photographs and manuscripts submitted, however caused. Responsibility for insurance and return carriage of equipment submitted for review or test
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
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
or the Master Photographers Association 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
artwork created by Icon Publications Ltd are copyright and cannot be reproduced by any means without
prior permission. 2016 Icon Publications Ltd. E&OE.
ith The Photography Show almost here, and 2016

now over two months old, there are a lot of business
goals to achieve, as well as personal goals to fill us
with passion and fuel us to keep pushing ourselves through
those times that are more challenging.
Personally, this year I am focusing on exploring all aspects
of my creativity, setting myself some creative goals so I can
unlock more potential that lives within me.
With the loss last month of David Bowie, I had to consider that though not one of my personal musical icons he
was certainly a creative influence. I was inspired by an article
about how he lived, free to explore his creativity, unafraid to
be labelled as different and not the norm, pushing his self to
his extremes, letting him self go for all to see and cast judgment on without a care in the world. In doing so he explored
his world with all of the possibilities that he saw within it,
and whilst theres no doubt he experienced some tough times,
unlocking his creativity gave him a life so many of us can only
dream of.
Perhaps thats something that we should do more often, do
that one thing that we are afraid of what people might say if
we do it, come to think of it, what would we do If we thought
everyone would love it whatever it maybe?
Creativity is a desire, a desire that comes from within us.
Desire is an invitation to explore, and if it comes from within
us it is our own invitation to explore all of who we are.
So perhaps we should take a leaf out of David Bowies book,
put down our fears, pick up our desires and focus on our creativity? Well all be showing the world what Master Photographers are at heart.
Come along to the MPA stand at The Photography Show
where we are, also, showing all professional photographers why
its so rewarding to become a member.
Clare Louise
Shot at dawn
MPA PRESIDENT Steve Walton FMPA will be leading a dawn
workshop at Pendigo Lake within the NEC complex during
The Photography Show on behalf of Capture Birmingham on
Sunday 20th March. The workshop will begin at 5.30am and
end at 7.30am. This is now fully booked with 40 confirmed
attendees who will spend a couple of hours photographing the
changing early morning light over Pendigo Lake under Steve's
guidance. He will be demonstrating long exposure techniques
with neutral density filters and showing attendees how he uses
graduated neutral density filters in his landscape photography.
Following his Sunday workshop, Steve will be on the MPA
stand throughout the Show until 1pm on Tuesday 22nd March
and would be delighted to meet existing and prospective new
members. He is also available to offer portfolio reviews for
those who are considering applying for qualifications.
Meet your magazine

THE EDITOR of Master Photography, David Kilpatrick, will be
at The Photography Show for the duration but this year Icon
Publications Ltd does not have a stand. The Press office and the
MPA stand will be the place to meet David if you want to discuss any ideas for the magazine or show your portfolio for consideration in MP or in Icons sister title, 2 Cameracraft. Current
issues of both magazines will be available from the MPA stand
along with a special show offer for aspiring MPA members to
receive 2 mailed as a bonus for their first year.
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MASTER
PHOTOGRAPHYor
MARCH/APRIL
2016
5
NEWS
EVENTS DIARY
March 15th 2016
Master Photography Awards 2016
open for entries
March 19th-22nd 2016
The Photography Show
Hall 5, NEC, Birmingham, UK
March 21st 2016
Qualifications Day NEC Birmingham
March 25th 2016
Online Qualifications Judging
Associateship
April 5th 2016
Cherubs Roadshow with Kelly Brown
At Sketchley Grange, Burbage,
Leics and NOT at Hinckley Island
Hotel as previously listed
April 19th 2016
Photovision Roadshow Edinburgh
MPA will be present at this event
with their own stand
May 17th-18th 2016
Newborn Photography Show
Coventry
May 27th 2016
Licentiateship
June 22nd 2016
Licentiate Qualifications Day
MPA Darlington
July 29th 2016
Licentiateship
July 31st 2016
Awards Online Entry deadline
August 8th-12th 2016
Master Photography Awards
International Online Judging
August 26th 2016
Awards Print Entry deadline to HQ
September 6th 2016
Photovision Roadshow Dublin
MPA involvement TBA
September 8th 2016
Open Print Judging Darlington
September 9th 2016
A&F Judging Darlington
September 30th 2016
Licentiateship
October 16th 2016
Meet the Masters Open Day
Hinckley Island Hotel
Awards Dinner & Presentations
November 19th 2016
Photovision Roadshow Epsom
MPA will be present at this event
with their own stand
November 25th 2016
Licentiateship
send your news items to editor@iconpublications.com
BOWENS QUASH
SHOW RUMOURS
BOWENS announced in February
that it is pulling out of The
Photography Show. The company
made its decision when it became
clear it faced time challenges on
brand new products planned for
global launch at the show.
Alan Walmsley, Bowens sales
and marketing director explained:
The decision to book 2016 show
space was taken many months ago
after fulfilling our commitment at
TPS 2015 to create the biggest ever
presence by Bowens at any show
or convention in almost seventy
years.
But this 2016 show judgement
has been predicated on our full
expectation to use the NEC event
as the platform for introducing our
new flash system products.
Despite our all-out attempts to
fulfil this ambition on schedule it
is clear that the first models of our
new Generation X programme
will not meet the required delivery
deadline. This is a major disappointment and we apologise
unreservedly to everyone who was
looking forward to seeing us and

our new products in Birmingham.
John Gobbi, Bowens MD said:
We have noted social media
noise, rumour and speculation but
we must do what is right for the
company. We want to launch our
new-look products in fully working
order and have them immediately
available for our customers to
buy and sadly that is not now
going to happen by the end of
March. I can guarantee that our
game-changing Generation X programme will be very much worth
the wait.
John Gass, technical director
said: Generation X is the result of
a major acceleration of our R&D
programme, combined with a
deep analysis of what our customers have been telling us they need
to compete in todays commercial
environment.
The company exhibited at
BVE (British Video Exhibition) at
Londons ExCEL with new Mosaic
ll LED panel lights and a range of
other products.
Cool LED Lighting

IDEAL for newborn photography,
the Hedler Profilux LED 1000 X
should help keep things cool in
the warmest of neonatal studios.
A fully integrated unit with floodlight reflector, built-in ballast and
quiet active cooling, the 185 Watt
LED delivers illumination comparable to an 800 Watt incandescent halogen with lower power
consumption and vastly reduced
heat. The flicker free 5600K light
is ideal for video work, and essential for food or delicate materials.
Small humans will appreciate the
reduced temperature! The Profilux
1000 X is available from Flaghead
Photographic now, for 699+VAT.
* www.flaghead.co.uk
* The Photography Show
Stand J31
Sigma launches sdQuattro, E-adaptors and superlens

THE SD QUATTRO is a Foveon
sensor mirrorless interchangeable Sigma SA mount system with
two sensor sizes. LCD and EVF are
1.6Mp and 2.36Mp respectively.
Using the latest design of
Foveon CMOS sensor, the APS-C
sdQuattro offers 20Mp. The APS-H
version offers 25Mp on a 1.3x crop,
and a total capture of 45Mp. Image
processing is via dual True-III
processors.
Phase detection and contrast
detection AF have been paired
in this body. The SD card slot
supports UHS-1 cards and the
camera body supports USB 3.0 for
tethering. A new Super Fine Detail
mode works with the required
processing software to combine
seven exposures for noise-free,
high dynamic range images.
To complete the system Sigma
have announced a GN63 flash unit,
which will also be produced in TTL
versions to suit major DSLR brands.
The Sigma to Sony E-mount
MC-11 adaptor around 229
uses Sigmas experience of
Sonys E-mount architecture and
communications firmware. One
version will accept Sigmas own SA
mount, opening up a huge range
of affordable used fast-focusing

and stabilised lenses that previously only had a market among
Sigma SA/SD users, the other
uses Canons EOS mount (like
Metabones, Commlite and most
others). Full electronic aperture
control and AF functions are
retained, as both systems operate
without mechanical links to the
body.
A new APS-C zoom breaks
aperture records the Sigma 50100 1.8 DC HSM Art at 779 is a

75-150mm equivalent. The focus
and zoom feel of the 18-35mm has
been retained. Effectively offering
85mm, 105mm and 135mm 1.8s
in a single package, Sigma, Canon
and Nikon mounts will be offered.
* www.sigma-imaging-uk.com
* 01707 329999
* The Photography Show
Stand F51
COLOUR
match
BRANDING ON
BOXES AND USBS
OR
VAT & DELIVERY

ALL INCLUDED
STUDIO
BUNDLE
PREMIUM COLOURS
STUDIO BUNDLE
COLOUR
mix
90 80
WHEN YOU USE THE
1 x USB product
1 x Print 6 x 4 & USB product
1 x Mount & USB product
CODE MPA10
THE
TO ORDER, VISIT
3XM
3xmsolution.com/bundles
SOLUTION
NEWS
Pentax
K-1
HAVING
turned the
medium
format world
upsidedown with
the 645Z,
Pentaxs announcement
of a full-frame
35mm camera
last year prompted
1599 Ricoh Pentax
intense speculation.
The K-1 is now here, and it
is perhaps a more rational product than anticipated. Capturing the light is
a 36 x 24mm 36 megapixel sensor with no AA filter, placing it on similar
ground to the NIkon D810, and the body is fully weathersealed magnesium
alloy. A novel articulated screen allows degrees of rotation, tilt and extension from the body, but can not be flipped to face inward for protection.
Some detailed thought has gone into the body, which features hardware
controls for even little-used functions like WiFi, customisable buttons and
illuminated ports and minor controls. Frame rate, shooting to two UHS-1
SD cards, is 4.4 fps in full frame and 6.5 fps in APS-C crop, with 17 or 50 raw
files respectively. As well as WiFi included, GPS is built in too, with support
for Pentaxs Astrotracer.
And that gives the biggest clue as to Pentaxs unique selling point. The
K-1 features a fully stabilised, five-axis sensor, with all the tricks built in to
the APS-C models such as slight rotation and shift functions, and a truecolour capture mode using pixel-shift and multi-shot which is ideal for the
studio, but works quickly enough to be used handheld apparently. Shutter
maxes out at 1/8000th, and the flash sync is 1/200th.
K-mount gives a wide range of lenses good and bad - but Pentaxs
roadmap includes development of optimised lenses. First to debut are a
weathersealed 3.5-5.6 28-105 kit lens at 499, and an interesting 2.8 1530mm wide angle zoom.for 1,449 which we look forward to testing. All
should be available at the end of April, and will be on display and demonstrated at The Photography Show.
* www.ricoh-imaging.co.uk
* The Photography Show Stand D91
Olympus PEN-F
THE NEW Olympus PEN-F combines retro-style design and manual feel
ergonomics with the full suite of technology from Olympus. This includes
5-axis Image Stabilisation, a newly designed MicroFourThirds 20.3mp sensor with no low pass filter, a 50mp sensor shift high-resolution mode, and
a 2.36 million dot electronic viewfinder. It costs 999.99 with kits including
lenses starting at 1199.99.
Focus peaking and image magnification make manual use easy, with an
effect preview of settings, including
the BW and colour presets on a new
Creative Dial.
A Supersonic Wave Filter which automatically cleans the sensor; High-speed sequence shooting at 10 fps, 1/8,000s shutter and ISO 80 all help with using fast lenses in
bright conditions for shallow depth of field. The camera has WiFi, a touch
screen, and a very fast focus and fire response using this.
The M.ZUIKO DIGITAL ED 300mm 1:4.0 IS PRO is the first lens to use
the Sync IS mechanism that coordinates with the 5-axis system fitted to
the PEN-F, OM-D E-M1 and E-M5 Mark II models. The result is claimed to be
enhanced compensation by 6 EV steps. This stabilises handheld still EVF
composition and video alike. The 2,199 lens is equivalent to a 600mm on
full frame, but focuses down to an unprecedented 1.4m. An optional 1.4X
tele converter retains the fast silent linear motor autofocus, which can also
be manually controlled with optional preset focus distances allowing video
takes to be programmed. The optional tripod collar fits directly to Arca Swiss
tripod heads.
* www.olympus.co.uk
* The Photography Show Stand E31
Fujis 2016 is X-tra ambitious X-Pro2 and on

HAVING developed a successful product range around a steady evolution of 16Mp sensors,
Fujis plans for 2016 start with the X-Pro2 follow up to the groundbreaking X-Pro1. From a
new 24Mp X-Trans sensor, to a refined and more robust body and enhancements across the
board, feedback from users has shaped the new flagship. AF performance promises significant
improvements with 77 phase detection points and 273 points overall. HD video is offered, and
dual card slots plus 8fps continuous mode place the X-Pro once again at the top of the pack.
Shutter performance is improved too, with 1/250th flash synch and 1/8000th maximum speed,
plus silent electronic shutter.
Operation with manual lenses has been a defining goal for the hybrid viewfinder model,
and to this end digital rangefinder and brightline guides have been added. The X-E2s has also
been introduced - as the name suggests, an evolution of the X-E2 with a restyled body. Keeping
Fujis outstanding commitment to existing customers, many features of the X-E2s have been brought to the X-E2 via Februarys firmware update; this also
adds support for their longest lens yet, the XF 100-400mm 4.5-5.6. Finally the X100s wider sibling, the X70, is now available with an 18.5mm (28mm
equivalent) 2.8 for a high-quality wide-angle pocket compact with tilting touchscreen and hybrid AF.
* 0344 553 2321
* www.fujifilm.co.uk * Stand E21 at The Photography Show 2016
MORE THAN JUST A

PHOTOGRAPHIC SHOP
EOS-1D X Mark II
EOS 5DS R
EOS 5DS
D5
NEW
D810
D500
NEW
Canon EOS-1D X Mark II Body
5,199.00
Canon EOS 5DS R Body
Canon EOS 5DS Body
3,199.00
2,699.00
NEW
Nikon D5 Body
Nikon D810 Body
5,199.00
Nikon D500 Body
2,349.00
1,729.00
NEW
EOS 5D
EOS 7D
MARK III BODY 2,178.00 MARK III BODY 1,179.00
1,396.00 D610 BODY

1,716.00 D610
+ 24-85MM
D750 BODY
D750 BODY
+ 24-85MM
999.00
1,499.00
X-PRO 2 BODY 1,349.00 X-T1 GRAPHITE 919.00

X-T1 BLACK
805.00
ALPHA
A7R II BODY
X-100T
X-T10 BLACK/
BLACK/SILVER 796.00 SILVER BODY
ALPHA A7 II BODY 1,179.00 CYBER-SHOT

ALPHA A7 II BODY 1,728.00 RX100 IV
+ 24-240MM
2,599.00 ALPHA
A7S II BODY
2,499.00
NEW
EOS 6D BODY 1,119.00 EOS 80D BODY 999.00

EOS 6D BODY + 1,499.00 EOS 80D BODY 1089.00
24-105MM
+ 18-55MM
D7200 BODY
D7200
+ 18-105MM
Canon Lenses
389.00
459.00
Nikon Lenses
229.00
97.00
305.00
1,499.00
619.00
899.00
1,060.00
498.00
675.00
1,400.00
727.00
375.00
1,499.00
795.00
356.00
894.00
1,799.00
EF 50mm F1.4 USM

EF 50mm F1.8 STM
EF-S 60mm F2.8 USM Macro
EF 85mm F1.2L II USM
EF 100mm F2.8L IS USM Macro
EF 8-15mm F4.0L USM Fisheye
EF 16-35mm F2.8L USM II
EF 17-40mm F4.0L USM
EF 24-70mm F4L IS
EF 24-70mm F2.8L II USM
EF 24-105mm F4.0L IS USM
EF 24-105mm F3.5-5.6 IS STM
EF 70-200mm F2.8L IS USM II
EF 70-200mm F4.0L IS USM
EF 70-300mm F4.0-5.6 IS USM
EF 70-300mm F4.0-5.6L IS USM
EF 100-400mm F4.5-5.6L IS USM II
749.00 D5300 BODY

BODY +
919.00 D5300
18-55MM
Fujifilm Lenses
Befree
Aluminum
Travel Tripod
119.00
NATIONWIDE
STORES
Befree
Carbon Fibre
Travel Tripod
248.00
Visit us in store at any of our

locations for expert and advice
from our specialist team.
CONTACT US
759.00
Sony Lenses
Fujifilm XF
16-55mm F2.8WR
Nikon 300mm
F4E PF ED VR
699.00
1,499.00
14-24mm F2.8G AF-S ED

16-35mm F4G AF-S ED VR
18-35mm F3.5-4.5G AF-S ED
18-200mm F3.5-5.6G AF-S VR II
18-300mm F3.5-5.6G AF-S ED VR
24-70mm F2.8G AF-S ED
28-300mm F3.5-5.6G AF-S VR
70-200mm F2.8G AF-S VR II
70-200mm F4G AF-S ED VR
80-400mm F4.5-5.6G ED VR
1,459.00
829.00
549.00
534.00
699.00
1,199.00
699.00
1,799.00
1,079.00
1,799.00
14mm F2.8 XF
18mm F2R XF
23mm F1.4 XF
27mm F2.8 Black or Silver XF
35mm F1.4R XF
56mm F1.2 XF
56mm F1.2R XF APD
60mm F2.4R Macro XF
10-24mm F4 R XF
18-135mm F3.5-5.6 WR
50-140mm F2.8 WR OIS
50-230mm F4.5-6.7 OIS Black or Silver XC
55-200mm F3.5-4.8 R LM OIS XF
Manfrotto Tripods & Heads

*Befree Aluminum
Travel Tripod
449.00
607.00
349.00
607.00
281.00
367.00
687.00
899.00
405.00
687.00
557.00
1,037.00
289.00
467.00
Sony FE
24-240mm
F3.5-6.3 OSS
749.00
24-70mm F4 ZA OSS Vario-Tessar T* FE

35mm F2.8 ZA Sonnar T* FE
55mm F1.8 ZA Sonnar T* FE
70-200mm F4 G OSS FE
90mm F2.8 Macro G OSS FE
16-35mm F4 ZA OSS Vario-Tessar T* FE
799.00
521.00
618.00
999.00
899.00
1,079.00
Studio Lighting
MT190XPRO3 Tripod
MT055XPRO3 Tripod
190GO Tripod
XPRO Ball Head
XPRO3W 3 Way Geared Head
MT190XPRO4 Tripod
MT190CXPRO3 Carbon Fibre Tripod
XPRO 3 Way Head
129.00
139.00
149.00
114.00
149.00
159.00
229.00
235.00
269.00
99.00
PRICE PROMISE
Profoto D1 Studio
Kit 250/250 Air
Bowens Gemini
500/500R Twin Head Kit
Profoto B2 250
AirTTL To-Go Kit
Bowens Gemini
400/400Rx Umbrella Kit
1,999.00
1,495.00
If you find an identical product available at a lower price

at a UK based retailer simply tell us who the competitor
is and their price and well match it*. Even if you find it
cheaper up to 7 days after purchasing!
Call: 0333 003 5000
895.00
599.00
TRADE IN.. TRADE UP...
Looking to upgrade your equipment? Why not part

exchange your old kit towards the latest model?
Visit www.calphoto.co.uk or for further information
on our trade in process.
Click: www.calphoto.co.uk
Follow us on:
All prices include VAT at 20%. Prices correct at time of going to press. E&OE.MASTER
*T&Cs apply.
0876-0615
PHOTOGRAPHY
MARCH/APRIL 2016 9
TRENDS: BOXING CLEVER
ake a look at what is

being done by the
leading labs and album
companies whether its the
latest professional discount
offer from 3XM Photovalue or
news from Loxley and you
can not get away from the
rise of the photo box.
Back in 2004 or so, your
editor had a rare event in life,
a wedding to shoot referred
by an MPA member who
didnt want to touch it. It was
for a couple who were IBM
executives and wanted digital
files along with a simple box
of 7 x 5 inch prints, and a reportage coverage, which they
got from the last serious use
I made of my Minolta CLE/
CL kit with its Leitz-Minolta
rangefinder 28mm, 40mm
and 90mm lenses. Now of
course these are premium
purchases to use on mirrorless
bodies and everyone wants
digital files (now on USB
memory) and prints in boxes.
I made my own box
covering it by hand, but had
a discussion about it with
Chris Kay from Loxley. The
result was that at the next
Focus show, he showed me
the first print boxes. Apart
from archival boxes like those
from Conservation Resources
(basically what I had used,
customised to be less functional) there were no boxes
and no deals for sets of prints
in boxes then. Now every
serious lab or album printer
also offers print boxes.
Loxley, as the first into
this market, constantly update their offerings. Samples
we have been sent to look
at include a very small box
(top) which contains a box
which looks like a book, and
inside that theres a neat stack
of prints which are business
card sized with a simple white
border. They look almost like
the mini prints from vintage
cameras, contact printed, or
some kind of small Polaroid.
And these are, of course,
digital printed. For conventional photographic
prints, the box makes use
of the revolution in wooden
construction. I hesitate to
say carpentry, joinery or
even cabinetmaking because
the precision with which
something can be produced
today is not dependent on
hand and eye! These are not
mere fancy versions of cigar
boxes though. The lids slide
smoothly and a photograph
can form the top instead of
the grain of the wood.
Wood is a great protector
for photographs, absorbing
humidity like paper and
board, it can be archivally
safe.
From One Vision Imaging
came an invitation to try out
their Ten Squared print box.
Although weve run advertisement for the Ten Squared
product, it is not all that clear
how small and neat these
10 x 10cm digitally printed
collections are. They have
companion frames, and even
a magnetic variation which
allows the client to change
pictures as desired.
The heart of the Ten
Squared offering is more a
wallet or card envelope than
a box. It folds neatly round
a stack of 27 prints to create
a 1cm thick home for them.
This means that it can be
posted, even with added protection, with large letter not
small packet tariff and will
pop through any letterbox or
into any pocket easily.
The creator software offers
a wide range of backgrounds,
borders and frame or image
edge treatments plus easy
addition of wording to any
print. I sent in a wedding set
and the results looked great,
with stiff heavy gauge paper
for the prints. At 15 or less
for each pack, Ten Squared
makes a great mini portfolio
or an alternative to a parents
or thank-you album. Its too
easy to shuffle the contents,
so do not think too hard
about the order of the images as I did (this is NOT an
album).
Theres room in the world
for both books and boxes!
DK
Loxley boxes the mini digital

print box, which looks like a book,
and comes inside another box
above. Theres a massive ROEScustomisable range of coverings,
decorative touches and options.
Below wooden, larger print box
from Loxley, can hold a book,
prints and a wooden USB stick too.
See: www.loxleycolour.com
Below, a Ten Squared 27-print pack from One Vision Imaging with some of
the prints laid out to show the range of backgrounds, borders and effects.
I have accidentally omitted to show a bleed image. The style is rather like
mini album pages. See: www.onevisionimaging.com
TRENDS: TOUCHY FEELY STUFF
ts not easy to miss. Turn

up at a Graphistudio roadshow and everyone wants
to handle the product. We
have all seen plenty of excellent product photographs,
not just from the company
but from so many photographers on Facebook. Its not
the same though this is also
about touch and feel.
In fact, Martin Baynes
explained that they call the
velvety, silk matt paper used
to produce some of the covers
and boxes touch paper. And,
inside, whether the printed
page is photographic or
produced by the remarkable
new Canon HD process with
its extended gamut, finishes
are designed to give the same
feel.
Many of the printed
substrates can be ennobled.
Thats some word for an album page or a print. Ennoblement is the word for the
lacquer and raised effects we
have seen since the introduction of Digital Matted Albums. Its the non-ink layers,
which would be called a high
build heat-set spot varnish in
the magazine world, which
raise the product to the status
of knighthood.
In the world of inkjet
papers, youll now find most
labs offering richly textured
very heavy rag handmade
papers from Hahnemhle and
others. Fotospeed with their
Signature series rolled out
surfaces to rival any of the
best craft paper mills (probably because thats where
they come from) and soon
afterwards Permajet revised
half a dozen of their Fine
Art papers. The new surfaces
and textures are simply very
tactile. These prints, and
similar ones around the
300gsm mark from Epson and
Fujifilm, almost demand to
stand alone unmounted and
unframed. They are that good
to pick up as a loose print.
This comes back to the
boxes (left!) because really
good art papers can be marketed as loose sets in a box
and appreciated by the client.
Introduced last year, Fotospeeds

Signature Platinum Etching
paper was one of several which
demanded to be handled to be
appreciated. Right, top, Martin
Baynes and Chris Woods show
Graphistudio customers the feel
of new products at the Edinburgh
roadshow. Right, Martin explains
the raised pattern on an ennobled
print.
But there are issues with any

prints or covers which look
so good the customer has to
run a finger over them, like
checking the quality of a
handbag or shoes. They can
finger-mark, and unless the
paper is either lacquered or
laminated the samples you
show off at wedding fairs or
in your reception may need
replacing frequently.
Fujifilm is addressing this
two new Crystal Archive
papers Professional Velvet
and Textured which are
photographic and therefore
not likely to smear as some
inkjet prints can, but have a
finish which looks more like a

smooth matt inkjet in its intense black density. I spoke to
David Bryce, whose Wee Album Company was started a
year ago. He has been testing
the Fujifilm Professional Velvet and reports that it looks
unlike a photographic paper
but resists handling so well
he doesnt need to replace
samples yet. In fact resistance
to finger-marks appears to
be one of the key marketing
points for this material.
Thats also why we matt
laminate our magazine covers
now. We found that gloss was

just not suiting the subtle
colours of todays photography, but no lamination at all
meant damaged magazine just
from transport. We have to
use a special profile because
of the lamination and so, we
gather, do labs using the new
Fujifilm Velvet.
Below, Permajet Fine Art
with a close-up of their Artists Watercolour 310gsm. This
you just have to leave bare
and risk touching.
DK
AoPs SUN27 first showing for

Fujifilms new Professional Velvet
Lab views
Genesiss Ken Sethi (right) says:
Professional Velvet adds to the
already successful range of silver
halide papers that we have been
using for C-type printing for
many years. We constantly strive
to innovate and this paper offers
unparalleled diffusion of light and
low reflections even under harsh
or direct illumination which is
one of the reasons we decided to
introduce it to our Lambda C-type
printing service.
He adds: There has always
been a desire to reduce reflections
photographers. Steve states:

I am delighted to see Fujifilm
get behind the introduction of
a new archival C-type paper.
There is still both a demand for,
and an appreciation of, archival
photographic print media, and to
have this stock added to the range
is very encouraging.
Orchestrated by our client
base, we have been searching for a
paper that displays a dead matte,
no-reflective surface. A paper that
absorbs light rather than reflecting
it creating a rich, textural finish.
This paper does all these things
and more and we think that for
some photographers this could
be the paper that has been the
missing link in their workflow.
Fujifilms Ton Reynders,
technical market support manager
(with the Project Team in the
Netherlands, above) says:
Our new paper for fine art
prints features clearer, more
distinctive print images and
sharper text quality; a unique
deep-matte surface; highest levels
of image stability; expanded
colour reproduction range ideally
suited to commercial, wedding and
portrait shooters and of course
the very important advantage of
fingerprint protection.
This is an added value product
and part of a new creative line-up
we have in the pipeline.
Fujifilm will be showing the new
Professional Velvet paper and also
new Crystal Archive Textured at The
Photography Show.
https://www.fujifilm.eu/uk
BY GLYN DAVIES
on exhibited work and this new

product has a remarkable matte
finish without the requirement to
laminate prints. Its already a big
success with our clients.
Photographers favouring
the C-type process now have the
ability to produce true matte prints
that have a resemblance to some
of the matte gicle papers on offer.
The new paper shares the
same characteristics as alternative
papers in the Fujicolor Crystal
Archive range including true
continuous tone; long-term
image stability; accurate colour
reproduction and, through our
Lambda machine, we can produce
ultra-sharp photographic digital
C-type images with crisp edge to
edge printing and absolutely no
distortion. Prints are available in
colour or black and white up to
1219mm (48") in width and up to
the length of an entire roll 1968".
Velvet offers a new option and
thats always a good thing.
And Metro Imagings creative
director, Professor Steve Macleod
believes Fujicolor Professional
Velvet could provide the
missing link for some fine art
BY IAIN JACK
Fujifilms team celebrates the launch

of Professional Velvet
BY DOUG CURRIE
JOHN WELDON, director at

CC Imaging Ltd comments:
We printed the SUN Awards
exhibitions images (winners below)
using Professional Velvet and were
suitably impressed. Its easy to
work with; shows no fingerprints;
its easy to clean and its virtually
reflection free. Additionally, it has
a good depth of colour and an
excellent black rendition. It was
universally well received by the
participating photographers and
visitors to the awards event in
Leeds in November. For fine art
prints its an excellent alternative
to our usual watercolour fine
art paper and I think our artistic
clients are going to really love it.
BY TRACEY GIBBS all from SUN27, printed by CC Imaging Ltd
umbria-based interiors
photographer John Baxter
won Best Image at the
SUN27 (Shot Up North) Awards
recently with his compelling room
with a view picture and he did it
with an innovative touch of velvet.
John (right, with his winning
entry) who has made his living
from photography for the past
quarter of a century says: I believe
that print quality today is more
important than ever before. The
presentation of work in any form
of business is critical to success. My
SUN27 winning image was output
on the brand new Fujicolor Crystal
Archive Professional Velvet paper
and I have to confess that the
quality was just superb. The picture
incorporates a fairly limited colour
palette with subtle tones, which
reproduced really well on this very
convincing new product.
He adds: Fujicolor Professional
Velvet has a really creamy texture
which is perfect for both black
and white and colour prints - and
the non-reflective quality is ideal
for both portfolio and exhibition
work. The thing is, I can never be
quite sure what sort of lighting
conditions my work will be viewed
under and with the Velvet paper
finish also helping to diffuse the
light its a great combination of
qualities.
Its a paper you can really
put your finger on Fujifilm has
created a paper surface with
strong resistance to fingerprints
before and after processing.
Notes John: Every
photographer knows that
fingerprints can be really tricky
to remove from prints without
scratching, so the added
protection layer on the new Velvet
paper is a real bonus for us.
Alongside photographers,
Fujicolor Professional Velvet has
been catching the eye of some
of the imaging industrys most
experienced lab professionals too.
Fujifilm Crystal Archive Professional
Fujifilm Crystal Archive Professional
VELVET
VELVET
supporting creative excellence
timeless beauty
Photograph John Baxter printed on Fujifilm Crystal Archive Velvet
Fujifilm Crystal Archive Professional Velvet is an archival C-Type paper with a smooth
The quality was just
matt velour finish, giving the look of a fine art reproduction with the longevity and
robust handling of a real silver photographic material.
superb. The subtle
for use with
mini labs
andpermanence,
medium to large-scale
printer
systems, Crystal
Fujicolor Crystal
Archive Digital Pearl, a paper soDeveloped
sharp
Withall
superb
archival
images printed
on Crystal
tones
reproduced
Archive
Digital Velvet
is a silver
halide
with
a naturally
warmas
base
and a surface which
and vibrant it has been praised by photographers
for
Archive
Digital
Pearl paper
will look
as fresh
in the future
the day
resistsshadow
fingermarks. they
Although
resembling
Velvet has a rich
d-Max
whiter than
white on
highlights,
vibrant colour and superb
were taken.
Portraitmatt
and laminate,
wedding photographers
will fiphotographic
nd
really
well
this
and matches
the dynamic
range
of conventional
finishes
when used
detail. Developed for use with all mini labs and medium
to
the paper
ideally
suited for albums
and display
printswith
and the
will recommended
Its base
weight
qualities
make itachieved.
ideal forThis
layflat
large-scale
printer systems, Crystal
Pearlprofiles.
is
marvel
at theand
highcreasing
level of detail
and colour
is book production
very
convincing
newArchive Digitalprinter
and and
album covers asa well
for boxed,
mounted
framed
work.
It is will
a silver halide paper containing pearl mica pigments
paperaswhich
defies the
ageingand
process.
Your
customers
for exhibition prints
in all
conditions.
metal oxides which combine to give purer whitesideal
and sharper,
love you
for lighting
it.
product.
better-defined highlights. Optimised for digital systems, the
superb archival permanence, images printed

on Crystal Archive Digital Velvet will look
paper has
a thickerwinner,
base and higher stiffness forWith
a high-quality
lm Professional Paper Range:
John
Baxter,
as fresh in the future as the day they were taken. Portrait and wedding photographers will nd
look and feel.
Fujifilm
Crystaland
Archive
Typeprints
II
the paper ideally suited
for albums
display
and will love its controlled dynamic range
AoP Shot Up North 27
achieved.
Fujifilm Crystal
SUPREME
and the subtle palette
ThisArchive
is a paper
which merges the feel of the best velvet matt
Fujifilm
papers of the past, the
uniqueCrystal
colourArchive
gamutDPII
of C-Type, and the depth of fine art gicle in a
exhibition
modern material capable of high volume rapid output.
Fujifilm Crystal Archive FUJITRANS
Fujifilm Crystal Archive FUJIFLEX
Other papers in the Fujifilm Professional Paper Range
Fujifilm Crystal Archive ALBUM PAPER

This new Fujifilm
Fujifilm Crystal Archive DPII
Fujifilm Crystal Archive PEARL
paper
be
thea sample print please
For morecould
information or
to request
01234Archive
572107 TEXTURED
Fujifilmcall
Crystal
email photoimaging@fuji.co.uk
or visit www.fujifilm.co.uk/photoimaging
Fujifilm
Crystal
Archive
ALBUM
missing link for some
Fujifilm Crystal Archive WRITEABLE
Fujifilm Crystal Archive DP TRANS
photographers.
Photograph by Tamara Peel - www.tamarapeel.co.uk
Professor Steve Macleod,

creative director,
Metro Imaging Limited
Fujifilm Crystal Archive CLEAR
For more information on the full range or to request a

sample print please call Peter Wigington on
01234 572138, or email: photoimaging@fuji.co.uk
or visit www.fujifilm.eu/uk/products/photofinishing/photographic-paper/
SIGNATURE INKJET MEDIA
An inkjet paper
that captures and
holds all of the shadow
and highlight detail
we demand
Stand G21
As traditional darkroom printers, it has taken us many years to
discover the right inkjet paper for our images that captures and
holds all of the shadow and highlight detail we demand.
Natural Soft Textured Bright White 315 by Fotospeed,
is our paper of choice.
- Trevor and Faye Yerbury
PIGMENT
INKS
CUT
SHEETS
ROLLS
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For more information, call us on 01249 714 555
or drop us an email sales@fotospeed.com
www.fotospeed.com
FREE ICC
PROFILES
he Photography Show
returns to the NEC
Birmingham from 19 22
March 2016 and whether you
are just starting out or youre a
seasoned pro, offers something
for everybody interested in the
world of image-making. Learn
the latest techniques, spark your
imagination, hear from the experts,
find fantastic deals and get handson with the latest kit from over 200
exhibitors. The Photography Show
is the ultimate event to inspire
creativity through imagery.
Visitors will be able to try and
buy the latest kit and accessories
from the likes of Canon, Adobe,
Nikon, Panasonic, Sony, Olympus,
Fujifilm, Leica, Manfrotto,
Blackmagic and Ricoh Imaging
but this is a tiny selection from the
hundreds of exhibitors you can
find by checking out the shows
webpage weve printed below the
title.
www.photographyshow.com/2016-exhibitor-list
THE SUPER STAGE

Iconic photographer David
Bailey is amongst the top names
confirmed to speak on the Super
Stage at The Photography Show
2016.
Chris Packham, Dan Rubin, Nick
Danziger, Peter Dench, Lara Jade,
Scott Kelby, Alec Soth and Bruce
Gilden have also been unveiled to
take centre stage during the fourday event. The diverse 2016 lineup is set to offer intriguing insights
into each of the photographers
careers and specialist areas, for
pros and enthusiasts alike.
Expect to find plenty of
hands-on workshops and
live demonstrations at The
Photography Show on the Live
Stage, Photo Editing Theatre,
Mobile Photography and
Filmmaker Stages focusing
on everything from capturing
challenging shots in different
lighting and environments, right
through to dark room coaching,
photo-editing and learning what
your mobile device can really
capture.
NEW FOR 2016

The all-new Wedding & Portrait
Stage will be set in the thematic
surroundings of a mock-up
chapel, where visitors will take to
the pews to hear from speakers
renowned for their expertise in
the wedding and portrait genres.
Confirmed speakers taking to the
stage include Kevin Mullins, Kate
Hopewell-Smith, Brett Florens,
Drew Gardener, John Denton,
Neil Freeman, Stephen Perry,
Marcia Michel, Marian Sterea,
Robert Pugh, Adam Bronkhorst,
Lisa Devlin, Steve Howdle and
Stephanie Thornton.
Steve Howdle demonstrates tethered shooting on the 2015 show Live Stage.
The list of confirmed speakers for the Live Stage and Behind the Lens
can be viewed at www.photographyshow.com/speakersPR
Covering a range of topics,
from Achieving High End Wedding
Portraits (Marian Sterea) to
Overcoming Church Wedding
Challenges (Kate Hopewell-Smith),
wedding photographers and
enthusiasts will pick up an array of
tips and advice from professional
photographers, each with their
own unique styles. Dedicated
portrait seminars will include an
interactive demonstration from
Stephen Perry who will work with
volunteers from the audience, live
on stage, rounded up with the
chance to take away their portrait,
photographed by Perry himself.
Also new for 2016 is the
Turning Pro Conference, aimed
at photographers looking to make
the jump from enthusiast to pro.
Speakers including Wedding
Photographer, Kevin Mullins, will
take to the stage, sharing the
skills needed to make the leap
in creating a successful wedding
business, and Peter Searle, Portrait
Photographer, whose seminar will
focus on Getting Your Business off
the Ground.
ADDITIONAL FEATURES
The Pro Conference programme
will return for 2016, offering crucial
business know-how to professional
photographers, from copyright
and commissions to agents and
insurance. Also hosting a session
at the Pro Conference on 22 March
will be Charlie Waite, renowned

landscape photographer, offering
his tips to a pro audience on
Developing Your Potential. His
unique style and conveyance
of a spiritual quality of serenity
and calm throughout his images
has driven Waites international
reputation; his work is held in
private and corporate collections
across the world.
As one of the most published
photographers in history, Michael
Freeman, photojournalist and
street photographer will talk
at the Beginners Masterclass,
a programme dedicated to
photographers at the start of their
journey. Freeman will provide
insights into the Ten Guiding Rules,
including the secrets of good
composition, making a subject
stand out and creating pictures
with visual impact.
Expect to find plenty of
hands-on workshops and
live demonstrations at The
Photography Show on the Live
Stage, Adobe Theatre, Mobile
Photography and Filmmaker
Stages focusing on everything
from capturing challenging
shots in different lighting and
environments, right through to
dark room coaching, photo-editing
and learning what your mobile
device can really capture.
The Live Stage will host a
range of experts, demonstrating
the techniques behind taking
unique images in a variety of

environments, from posing newborns to capturing the illusion
of magic and fun at the circus.
Renowned Food Photographer,
William Reavell, is among the
names to appear on the Live Stage,
presenting styling tips for creating
beautiful food photography and
guiding visitors on how lighting
can be used to enhance mouthwatering images and perfecting
composition.
Other speakers include Street
Photographer, Matt Hart, on
photography as therapy, Fashion
and Beauty photographer, Steve
Howdle, on syncing flash at high
speed and Vicki Churchill, on
turning the everyday into the
spectacular. Melanie East will
also take to the stage to share
her tips on the skills behind
photographing babies.
Behind the Lens will see
a range of professionals lead
sessions covering everything from
wildlife to travel, landscape and
more, appealing to all levels of
photographer.Ram Shergill, known
for photographing public figures
such as Amy Winehouse and
Dame Judi Dench will give insight
into working with designers in
the world of fashion. Paul Colley
will reveal the art of successful
underwater photography, and
Ian Cook, will look at sports
photography in the modern era.
Tom Stoddart, a photojournalist
whose work includes poignant
images of situation of crisis is set
to tell the audience about his own
photography journey and Emma
Drabble will explore what makes
a photograph more than just an
image.
The Adobe Theatre will
return for the second year at
The Photography Show 2016,
to inform, engage and inspire
the thousands of visitors set to
descend on the NEC. Thirty-minute
sessions are planned for the hugely
popular theatre across the fourday event, exploring the various
ways in which photographers can
process and edit photos, to show
off their photography skills and
produce stunning images.
GET YOUR TICKET

Tickets to the show are on sale
now on the show website and
visitors will have the option to
add additional sessions to their
package, priced at 10 per session.
For the best seats in the house for
Super Stage shows, book early to
avoid disappointment as this is
the most popular programme of
the event
Student entry will be free of
charge on Tuesday March 22nd.
See: www.photographyshow.com
THE MPA at The Photography

Show a full programme to follow.
March 19th
ONE TO ONE Image Improvement
Consultations:meet top photographers sharing their knowledge
to help develop and refine your
photographic skills, technique and
creativity.
Adam Angelidis Wedding &
Commercial
adamangelides.com
Clare Louise FMPA Fine Art,
Portrait & Wedding: Qualifications
Examiner, Mentor & International
Judge.
clare-louise.com
Marian Sterea Wedding &
Portrait.
www.mariansterea.ro
Steve Walton FMPA
National President Landscape &
Weddings; Qualifications Examiner,
Mentor & Judge.
stevewaltonphotography.com
STAND H22
DEVELOPING Your Portrait

Business all day.
EXPAND Your Creative Resources:

Meet top make-up artist Iain
Burton-Legge and see how you
can be involved on creative projects whilst expanding your portfolio, creativity and experience.
Business: Come along to our stand,
meet one of our Cherubs Team for
a one to one consultation to see
how we can help develop your
portrait business (DAILY all day).
March 20th
Shooting Stage
Steve Howdle FMPA & Stephanie
Thornton LMPA: Take Your Portrait
From Ordinary To Extraordinary.
Creative styled portraits. Simple
techniques requiring minimal editing. Shoot less, sell more!
Richard Bradbury FMPA,
MPA Commercial & Creative
Photographer of the Year 2016:
Bullet-time and bursting balloons
live demo see pages 22 to 28
of this issue!
Consultations:Meet top photographers sharing their knowledge
creativity.
Richard Bradbury FMPA
Commercial & Portraiture
richardbradbury.com
Portrait & Wedding, Qualifications
Judge.
clare-louise.com
Portrait
www.mariansterea.ro

Judge.
clare-louise.com
Desi Fontaine Hon FMPA
Fine Art, Landscape & Portraiture,
Qualifications Examiner, Head of
Mentoring, International Judge.
desifontaine.co.uk
Ray Lowe Hon FMPA
Newborn, Cherubs, Portraits,
Wedding & Commercial,
Qualification Examiner, Cherubs
Director, Mentor & International
Judge.
raylowe.co.uk
Hossain Mahdavi FMPA
Commercial, Event, Portrait &
Wedding, Qualifications Examiner,
Mentor & International Judge.
hossphotography.com
Portrait.
www.mariansterea.ro
Lisa Visser FMPA Fine Art &
Portrait, Mentor
lisavisserfineart.co.uk
March 23rd
Wedding & PortraitStage
Steve Walton FMPA

Mentor & Judge
Steve Howdle FMPA &
Stephanie Thornton LMPA:
Commercial, Fashion & Creative
Portraiture.
stevehowdle.com
Business all day.
March 21st
Qualifications Day at The
Photography Show
Thinking about applying for your
qualifications? Limited Places
available book now to avoid
disappointment!
Reservations also being taken
for the following dates:
Licentiate
June 22nd MPA Head Office
Darlington
October 16th Hinckley Island
Leicester (Awards venue)
Associate & Fellowship Print
Judging
September 9th MPA Head
Office Darlington
Online Associate
March 25th
May 27th
July 29th
September 30th
November 25th
*All dates are subject to change,

the website will be kept updated.
Contact membership@thempa.
com to book your place or call us
on 01325 356555.
March 22nd
Wedding & PortraitStage
Marian Sterea Achieving High
End Wedding Portraiture
Demonstration of Off camera
flash and continuos lightingHow
to produce high end bridal
portraiture.
Behind the Lens Stage

Clare Louise FMPA Creating
Creativity.
Go in search of what blocks
your inspiration. How to overcome
creative block. The power of what
If and our limiting beliefs. The
value of personal projects and self
growth.
Consultations :Meet top photographers sharing their knowledge
creativity.
Paul Cooper Hon FMPA
Commercial & Portrait, Chair of
Qualifications & Judge
baileycooper.co.uk
Portrait & Wedding, Qualifications
Melanie East AMPA Capturing &

Posing Newborns.
Newborn shoot demo using
StandinBaby. Transitional posing
and lighting. Making use of props.
Consultations :Meet top photographers sharing their knowledge
creativity.
Melanie East AMPA Newborn
Photography, Mentor& Judge
babyMEphotography.co.uk
Portrait & Wedding: Qualifications
Judge.
clare-louise.com
Desi Fontaine Hon FMPA
Fine Art, Landscape & Portraiture,
Qualifications Examiner, Head of
Mentoring, International Judge.
desifontaine.co.uk
Ray Lowe Hon FMPA
Newborn, Cherubs, Portraits,
Wedding & Commercial,
Qualification Examiner, Cherubs
Director, Mentor & International
Judge.
raylowe.co.uk
Portrait.
www.mariansterea.ro
Steve Walton FMPA
Mentor & Judge.
Business all day.
New Elinchrom - HS
Tristan-Shu
A Whole New World Of Hi-Sync Photography
Trigger the light fantastic.

The New Skyport Plus HS Transmitter - Control & visualise the power settings of up to 10 Elinchrom units.
- LCD screen & enhanced range of up to 200m.
- Shoot at speeds of up to 1/8000s in Hi-Sync mode.
- Available for Canon & Nikon, only 199.
See us on
stand D111
Quadra HS Head - Optimised for Hi-Sync photography & is ideal for freezing
motion & sports photography, as well as overpowering the sun.
- Compatible with all generations of Quadra & ELB400, only 335.
Weve given you more control, now go have some fun..
The
TFC
Flash Centre
LondonLeedsBirminghamOnline
www.theflashcentre.com
us on twitter
MASTERFollow
PHOTOGRAPHY
Blog
17
Join us on MARCH/APRIL
Facebook
The2016
Flash Centre
@TheFlashCentre
www.facebook.com/FlashCentre
www.theflashcentre.com/blog
LOXLEY IMAGING is sponsoring

one of the main attractions at The
Photography Show in March. The
Wedding and Portrait Stage is new
for this year (see show preview,
page 15). Set in the thematic surroundings of a mock-up chapel,
visitors will take to the pews to
hear from speakers renowned for
their expertise in the wedding and
portrait genres, including Kevin
Mullins, Kate Hopewell-Smith,
Brett Florens, Drew Gardener, John
Denton, Neil Freeman, Stephen
Perry, Marcia Michel, Marian Sterea,
Robert Pugh, Adam Bronkhorst,
Lisa Devlin, Steve Howdle and
Stephanie Thornton. All sessions at
the Wedding & Portrait Stage are
included in the entry ticket price.
They have announced a new 16
x 12" landscape orientation version of the best-selling Bellissimo
album. This opens to a maximum
of 40 impressive 32 inches wide
panoramic spreads, gicle printed.
* www.loxleycolour.com
* Stands F132, G131 at The
Photography Show
UP TO APRIL 30TH 2016 every

purchaser of a Voigtlnder lens
can claim 10% Cash-Back from
Flaghead Photographic Ltd.
The offer applies to the following lenses which youll find on sale
at the show:
Voigtlnder M mount, Micro
Four Thirds & DSLR (Nikon/Canon)
fit.
Only products purchased from
an authorized UK retailer and imported by Flaghead Photographic
are eligible. This is a consumer promotion and the cashback amount
includes VAT (if applicable).
For more information visit
www.flaghead.co.uk
Look out for the Phase One XF100M at the show and for the massive
output from its largest-ever medium format digital files.
PERMAJET will be hosting inspiring seminars on the their stand at

The Photography Show 2016.
The PermaJet Print Bar will
play host to leading names in the
photographic world to provide
inspirational talks and insightful
advice for photographers at any
level.
One of the most popular sessions available is a one-to-one
consultation with The Freelancer
Club's Director, Matt Dowling. He
will be offering specific advice to
individuals wanting to set up as a
freelancer or that want to try and
progress freelance business.
Sessions are on every day of the
show so there will be something
for everyone. Throughout the day
after these sessions, PermaJet Print
Experts will also be delivering live
demo's on every single day to
show how to achieve the very best
prints possible and how to set-up
and run the ink saving Eco-Flo
systems on Epson printers.
www.permajet.com
* Stand F91
Nikons 1 Compacts
New products to look at at the

show include Nikons D500 and
D5, Sonys A6300, Canons 80D
and some very expensive Sony G
glasss for E-mount.
(85mm 1.4, left)
HOT ON the heels of the D5/D500 announcement, Nikons compact

range has received a refresh and a new line. Bridging the gap between
the P-series Coolpix models and the 1-series mirrorless CX mount, the DL
range. Using the same sensor dimensions as the J/V models, the 20.8Mp
DL offers 20fps continuous capture with AF, or 60fps with focus locked.
4K/30/25 video is also offered. The flagship DL24-500 offers both articulated touchscreen and 2.36Mp EVF alongside the 21x zoom lens, which offers equivalent aperture of 2.8 to 5.6. At 749.99, this is competing in the
higher end of bridge cameras, though the video abilities and sensor size
are tempting as a professional travel camera. For a more pocket-friendly
design, the DL18-50 1.8-2.8 packs Nikons fastest wide-angle yet, and
an optional EVF is available. Sans EVF, a 679 retail price indicates Nikons
placement of this model as a focused, high-end camera. The entry level
DL24-85 offers the best compromise of price, size and flexibility, with an
1.8-2.8 lens for good DoF control on the small sensor and an EVFless price
of 549. EVF bundles add 120. All DL models work with Nikons always-on
smartphone companion app, Snapbridge, for transfer, control and GPS
functions.
* www.nikon.co.uk
* Stand C11 at The Photography Show
photovalue.com
LO CALL 0800 0845 750

sales@photovalue.com
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A trio of true talent and prints to

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Woodshedding it
in the Fenlands
Alastair Bartlett
Putting something back

Metro Mentorship
The Metro Image Mentorship
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set the platform up because it felt the
bridge between graduates completing
their education and the industry had
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Professor Steve Macleod, above,
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We enlisted many industry leaders to
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Alastair bangs the drum for Fujifilm Crystal Archive

IT WAS while touring as a drummer in a band
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prize offered by Metro Imaging with Here We
Are a series of images captured around the
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Winning the Metro Mentorship Prize was
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SHES JUST 27 and a year on from graduating

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year as a rising star of British photography by
The Guardian newspaper and has been featured
in several high profile magazines and online
publications.
Shes also picked up numerous awards to
date, including being shortlisted in 2014 for
the Paris Photo Aperture Foundation First Photo
Book Award for her first publication, The Meteorite
Hunter, a fictional archive based on meteorites. The
project also won her the Danny Wilson Memorial
Professional Choice Award at the Brighton Photo
Fringe in 2014, and with it the opportunity of a
years mentorship from Metro Imaging.
The mentorship with Metro was amazing and
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My two mentors guided me during a turning
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For any fine art photographer, quality and
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and working so closely with the London lab has
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The vibrancy of the images is designed to allude
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Above, from
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Why printing on true photographic

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PHOTOGRAPHY runs big in London-based Carl Bigmores family. He can
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He shot on transparency film, he recalls, so there were always these little
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Tradition means a lot to Carl, which is why he works with silver halide film
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ago. Theres a quality to the images it produces, he says. It feels almost
painterly, slightly otherworldly in my mind.
During his Masters at the London College of Communication Carl used
the Rolleiflex to create the images for his Between Two Mysteries portfolio an
exploration of the Pacific Northwest of America through the prism of popular
culture (images, right). The series was so successful it went on to win Carl the
Metro Mentorship Prize, and it cemented a highly successful relationship
between the photographer and the lab.
Working with traditional silver film, Carl appreciates the synergy between
this product and a genuine silver halide paper such as Fujifilms Fujifilm Crystal
Archive, but hes also keen to tap into all the advantages that modern digital
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printing.
While I do enjoy the diversity of
papers you get with gicle printing theres
something very special about printing on
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some ways it feels like setting your image
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More information:
Carl Bigmore exploring the Pacific
www.carlbigmore.co.uk
Northwest with a vintage Rolleiflex
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hat were you doing 30 years ago?

Getting married?
Having your first child? Being born? I was just starting
my first job in photography.
Little did I know back then
just how my life would come
to be enriched and defined
by the interplay of light
and camera. The story is a
fun one. A certain David
Kilpatrick gave me my first
job as a general assistant.
He offered the job based on
pure enthusiasm as I had no
degree, no experience and
didnt even own a camera.
David gave me my first camera, a Minolta SRT 100X with
50mm 1.7 lens, to learn
photography in my own time.
He didnt pay much but gave
me free board and lodgings,
use of the studio out of hours
and if anything I wanted to
try shooting was worth it he
would pay for film and processing. I have been forever
grateful for this offer and in
later years passed on the same
deal to my own assistants.
Gazing at my new
camera I was struck by the
maximum shutter speed of
1/1000s. I couldnt believe
that anything could be that
fast! I had to try it out so
in the very first weekend of
ownership I decided to hang
three water filled balloons
from a washing line and fire
an air rifle pellet through
them trying to capture the
action on film. With the
help of a friend I quickly set
up the scene. At the count
of 1,2,3, he shot the rifle
and I shot the camera.
I shot 6 frames being always
economical and navely believing that to be more than
enough to get the shot.
When I returned to the
studio on Monday morning I explained to David
what I had done and whilst
he commended me on my
creativity he felt the need to
moderate my expectations.
He explained that it was
doubtful that I would get
much at all due to the intricate timing necessary for
high speed images such as
this. Well, luck was on my
side and I had two beautiful images. David graciously
BULLET
TIME
WARP
In his regular column Richard Bradbury FMPA

revisits 1986 to go back to future with the
Matrix-style Bullet Time technique
re-creating his first technical challenge
award at the fabulous

Master Photography Awards
night. Claire Louise quickly
cornered me to ask if I could
do a demonstration at The
Photography Show at the
NEC in March. Whilst I was
very flattered to be asked,
I explained to her that I
would only be happy do it if
I was allowed to do something a little bit different.
I for one do not want to be
responsible for another endless demo on how to light a
pretty model in 50 different
ways. In short I decided that
this was the perfect opportunity to bring the exploding balloons shot right up
to date and re-enact my
very first published image
with the help of 30 years
experience and the very best
equipment available.
Doing it big
Canons 5DS and 5DSR kings of the pixel pile
The two shots which Richard took with a manual Minolta SRT100X back
in 1986, timed by just pressing the shutter at the right moment. They were
published in SLR Camera. New scans from the thin negatives look great!
wrote an article for SLR

Camera magazine (the major
title of the day) all about
my exploits and the images
were published.
Most of us can remember
a moment in time when we
first decided to be a photographer and this was mine.
To this day I have never
lost the thrill of seeing my

work published in print,
poster or even hanging on
a clients wall and it is that
which drives my passion for
photography.
In October I was privileged to receive the MPA
Commercial & Creative
Photographer of the Year
Working in studio is so
much more controllable
now than it was back then
and certainly more controllable than my back garden.
I knew that modern lighting could give me a truly
exceptional result, I just
had to work out how. But
I wanted to go further so
I started to research the
technical requirements of
shooting what is commonly
known as Bullet Time for
a result that would simply
have not been possible 30
years ago. This would enable
me to bring the exploding
balloons image bang up to
date.
The Bullet Time technique
was first popularized by
the Matrix movie. The star
character, Neo, leapt into
the air and appeared to be
frozen in time whilst the
camera continued to move
around him. The effect was
of an object held statue-like
in space allowing the viewer
the chance to see every
facet of the object from all
angles. As far as I know this
has not been done using
flash as it was pioneered by
film makers used to operating with continuous light
sources. Flash would enable
us to capture the detail
of the exploding balloons
in high resolution from

three dimensional angles.
I needed to bring together
several different disciplines
to make this happen so set
about doing my research.
First of all I needed to be
able to create the shot as a
regular still image in studio.
This requires overcoming
three major issues.
The flash needed to be
quick enough to capture the
detail of a pellet exploding
three balloons in perfect
detail. Secondly I had to
synchronize the flash with
the shutter at the exact
moment when the pellet
hits the balloonsnot easy!
Finally, if I was going to be
re-enacting the shot live
on stage at the NEC then
it had to be do-able in a
situation where I could not
control the ambient light as
the hall is quite brightly lit.
Essentially I had to be able
to shoot using the cameras
normal X sync of around
1/250s at ISO 100 with a
decent aperture (11+) so
that the camera would only
register the flash and not
the room lights. This was to
be a rule that I would break
during my testing to enable
me to get the ultimate version of the image, but I still
had to devise a technique to
do the shot on stage.
My first thoughts were to
think about hypersync. This
technique, explained in one
of my earlier articles, enables you to break the bondage of X synch and synchronize your camera with
flash up to shutter speeds
of 1/8000s. I use hypersync
extensively in my commercial work but it does have
restrictions. You lose a huge
amount of power from the
lights by effectively using a
very long duration flash as a
continuous light source.
Since my report last
year using Pocket Wizards
to sync the flash with fast
shutter speeds there have
been some significant
advances in this technique.
Several lighting manufacturers have designed their own
programmable transmitter
units, my favourite being
Elinchroms Skyport Plus
First timing tests in my own studio used a single balloon, and checked out
triggering methods but 12fps on the Canon 1DX and stroboscopic flash
from my own Elinchrom system proved the best way ahead.
At Direct Photographics Waterloo studios, the Bullet Time 48-camera

Canon rig from New World Designs of Sunderland was set up and adjusted
(below), with Broncolor Scoro flash lighting for 1/10,000s duration.
HS. This neat little unit sits

on top of your camera and
allows you to simply dial
in the shutter speed you
require up to 1/8000s and
then fire. Theres no resetting with your laptop required and the whole thing
is just so easy to work with.
This works perfectly well in
mixed light environments
to get a usable exposure
mixed with daylight but we
would be actively excluding
the ambient so the effective
flash out put would be far
too weak.
The irony of hypersync
is that you need a flash unit
with a slow stable flash duration what I needed was a
fast duration flash with very
high output.
There are several ways to
measure flash duration so it
is very difficult to compare
one manufacturer accurately
with another as they all
seem to claim different reasons for their kit being the
best. Interestingly your oncamera Speedlites have some
of the fastest flash durations
available but sadly dont
have the kind of out put
power that I would require
for a studio set up like this.
The total duration (t)
of the flash is the amount
of time it takes for a unit
to deliver its output from
powering up to the peak
and then down to off. It
is generally measured in
one of two ways. t0.1 is
pretty much the entire flash
output, from the moment
the light reaches 10% of its
maximum brightness to the
point where it falls below
10%. t0.5 is the top of the
peak only where the flash
is outputting at 50% of
maximum or more giving
you the majority of the flash
power and excluding the
climb and the drop off.
There are various methods used these days to cut
into the graph and produce
astonishing flash duration
figures. My research lead me
to the amazing Broncolor
Scoro units used for many of
the most prestigious sports
advertising campaigns in
the world, stopping athletes
in mid-flight in the blink of
These are just one viewpoint

In the Bullet Time sequence which we cant animate on a
magazine page the viewpoint can move round the balloons
showing the frozen water explosion in three dimensions as a
2-second 24fps high resolution video clip or a longer duration
with interpolation giving a smooth panning effect.
See the next page for the actual studio view just before one
of the balloon shots. A single air rifle pellet was used, just as
Richard Bradbury did in the 1980s, to pass through three suspended water-filled primary colour balloons.
The shot will be re-created on stage for The Photography
Show and the Bullet Time animation shown.
Memories are special.

Look after them.
A well crafted photograph
deserves a well crafted home.
Visit us at The Photographic Show

1922 March, the NEC Birmingham
Watch the film www.gfsmithphotographic.com/video
Phone 01482 588 037
Email info@gfsmithphotographic.com
gfsmithphotographic.com @GFSphotographic
an eye. Like so many of the

modern packs now including Elinchrom and Profoto
they actually have a fast
flash duration mode which
enables you to set and
record the required flash
speed. To be honest they
are all pretty good and a lot
more effective than anything that existed 30 years
ago.
Scoros are used on most,
in-studio sports advertising
campaigns because they are
very reliable, very consistent, and very, very quick.
With a claimed fastest flash
duration of 1/10,000s at
t0.1 they are 10 times faster
than my old Minolta could
shoot at with its focal plane
shutter. There are very few
manufacturers that can
compete with Scoros, and
they are incredibly consistent making them a perfect
unit to use time and time
again.
Steve Knight at equipment hire giants Direct
Photographic in Waterloo
was very intrigued by the
project and immediately
agreed to help me out. They
The studio at Direct Photographic with Broncolor flash from their Direct
Lighting division. The floor has been waterproofed, a bath positioned to
catch the water, the 48 cameras all adjusted and aimed, and its ready for
the burst of 12fps captures needed to get the perfect moment.
have more Scoros in their

hire department than any
other company in UK and
are constantly shipping kit
out to shoots all over the
world. They were the perfect
partner for the project
providing me with lights
camera and even access to
their beautiful hire studio in
SE1.
The practice lap

The trick to good, effective
testing is to ensure that you
reduce as many variables
as possible so I sourced a
particular brand of balloons
and bought a few hundred
so that we knew they would
explode at the same rate. I
purchased a domestic bath
and an art director friend
of mine Damian Fanshawe
built a casing around it with
a cross bar set up to hang
the balloons from.
Setting up to do the shots
was relatively simple. I lit
it like I would a bottle shot

using two strong rear accent
lights and a larger soft front
to fill in. Everything in the
studio was protected with
polythene as electronics
and water are not good bed
fellows and you can never
be too careful. During the
shoot I had two assistants
who were pretty much doing nothing but mopping
up. The bath was effective
but there was still a fair
amount of water splash so
safety was at the top of our
priority list.
I proposed two methods
for synchronization and in
the event both worked wonderfully. The first method
was using yet another facility that was not available
in my youth. Most modern
units are now able to do
a burst of fast recharging
flashes with stroboscopic
speed and the Scoro is no
slouch. In fact it could
more than keep up with the
Canon 1DX at 12 fps. We

set the lights to 1/10,000s
which gave us about 120Ws
output and simply pressed
the shutter button followed
by the trigger of the gun.
The high action flashes are
very exciting to experience
and we managed an aperture setting of around 13
at 100 ISO. The results were
spot on first time with at
least two images from each
burst that showed different
stages of the explosion.
The speed of the flash
and its amazing cut-off
technology meant there
was virtually no reverse
light trail effect (causing the
droplets to look as if they
are travelling backwards in
the splash) and the detail
was extraordinary. We shot
with all the room lights and
modelling bulbs switched
on to mimic the conditions
at the NEC and none of
them registered as part of
the exposure.
We now knew for certain
that the NEC display would
be possible in normal ambient light. I next decided that
it would be good to be able
to track the rupture of the

balloons from start to finish
to see if we could find new
ways to look at the event.
stages. The still tests were

complete and it was now
time to introduce the Bullet
Time effect.
Triggered exposure
Many angles
For this we needed to

get very clever and use a
triggering device. To my
surprise the only really effective unit I could find was
the ancient Mazof Trigger
which I had tested in the
1980s some time after my
first manually timed good
luck. Yes, a companion of
mine from 30 years ago
proved that not everything
has improved over my life
span! I tried a couple of
other units but frankly
nothing was as good.
The unit was set up to
react to the sound of the
gun being fired and the
initial tests were disappointing as we kept missing the
action. It occurred to me
that the pellet was travelling
incredibly fast, faster in fact
than the camera could react.
The restricting factor was
the cameras own shutter
mechanism. It may be capable of firing the shutter and
speeds of up to 1/8000s but
the mechanism required to
do that takes a lot longer to
start reacting. It was simply
too slow for the shutter to
compete with a flying pellet.
The solution was clear.
To fire the lights alone was
far more straightforward as
it was simply an electronic
pulse with no mechanical
moving parts. We simply
connected the Mazof to
the flash sync, opened the
shutter in a dark studio and
let the guns sound fire the
flash. It worked amazingly
well and in the first shot we
could actually see the pellet
in mid flight approaching
the balloon.
Using the Mazofs finely
tuned delay system we were
able to get shots of the
pellet just as it hit the balloons and then as it passed
through the second and the
third. This degree of fine
tuning meant that we were
able to capture a whole new
set of images showing the
intricacy of the different
The Bullet Time rig is amazingly impressive to look

at. New World Designs are
based in Sunderland and
work throughout the world
on Bullet Time projects
requiring their unique skills.
After several meetings they
shipped the rig down to
London for a two day shoot
in the Direct Photographic
studio at Waterloo. We spent
the entire first day just
setting up. The 48 cameras
were placed on a semi circular rig ranged around the
balloon set. With the help
of a sighting stick (basically a green golf ball on a
stand) every single camera
with lens set to 55mm was
aligned and focused on this
one central point. All the
cameras are daisy-chained
together and feed into a
central laptop so that they
can all be operated from
on point. The software is
actually relatively simple
and essentially takes all
of the 48 images and the
stitches them together to
produce a short, stop action
video which appears to flow
around the scene horizontally (simple when you
know how!).
We had to make some
subtle changes to the lighting as we were now looking
at the scene from 48 different view points so keeping
the back lights out of frame
was quite a challenge. We
extended the black velvet
backdrop and rigged the
back lights higher in the
scene so they would not be
visible. Having done the
stills testing we were already
well set for the shoot. It was
just a matter of translating
all we had learned into a 48
camera view point. At the
end of the first day we shot
our first Bullet Time image
with one balloon and we
had immediate success.
On day two we were able
to fine tune the timing and
get images at different stages
within the time-line. It was

fascinating seeing how the
water would dissipate as we
dialled in a 2 to 9 millisecond time delay. We could
do shots from the first tear
in the balloons to the fully
opened water bubble effect quite beautiful!
One factor that was constantly an issue was ensuring that all the balloons
were exploding. We found
that if we shot through the
sweet spot in the centre of
the balloons, the drag factor
of the water was so great
that the pellet would simply
not penetrate the third balloon. The shooters job was
more difficult than we realised and they needed to be
shot accurately through the
shoulder area of all three
balloons.
I was so impressed with
how easy New World Designs made it all look. There
were no technical dramas
and we were able to simply
concentrate on the fine tuning of adjustments to give
us many different versions
of the concept. The final
retouched images are clean
and smooth and Ive been
able to adjust the speed of
the camera movement to
suit the mood of the video.
Towards the end of the day
we filled some balloons with
coloured water and created
some very interesting results
looking rather like giant
exploding ice lollies with icy
fingers stretching out in all
directions. We had a lot of
fun.
The beauty of this technique is that it allows you
to view the final image with
such intensity from every
angle. I have always been
fascinated by the moment
when the final capture is
unveiled on camera. That
moment is always particu-
larly special in an action

environment and Bullet
Time takes it to another
level. Suffice to say that I
was very happy with my
30 year experiment and if
you want to see the way its
done live then come along
to The Photography Show at
the NEC on Sunday March
20th at 2.30pm on the main
stage. It should be exciting
and Im hoping to make a
big splash!
I have to say a massive
thank you to all the people
that have given their time
and facilities for this project
to become a reality. Steve
Knight and Lloyd Barker at
Direct Photographic and Ian
Wright, Steven Reeves and
Jamie Collins at New World
Designs gave their time
and equipment with such
enthusiasm and I could not
have done it without them.
My friend Damian for building the bath rig and my
friend Simon for the loan of
his air rifle! My usual band
of trusty assistants including
Sarah, Abbie and India plus
James Worthington at
www.jamesworthington.net
who shot the video. Teamwork is everything with a
project like this, it would
not be possible to do it
alone.
To view Bullet Time
video clips go to:
https://vimeo.com/156683502
Richard Bradbury FMPA
If you would like to comment on

this issue please email Richard
info@rbradbury.com or go to
www.reciprocity.photo for
even more stuff that photographers like to talk about
Richard Bradbury FMPA is an award-winning advertising

and editorial photographer best known for his Guinness
World Records set-pieces. Richard is now offering a
helping hand to photographers around the world with
a programme of seminars, mentoring and business
coaching event. To find out more please go to:
www.reciprocity.photo
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flash durations, rapid recycle times and an intuitive
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Prices start from 825 + VAT
Are you a Siros photographer?
See for yourself at The Photography Show - Stand B10,

or request a test of the Siros in the comfort of your own studio
Visit www.ukbroncolor.com or call 020 8731 3250 for more information

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MEET THE A-LIST

Every year at the Master Photography Awards hundreds of photographs win
through to the Merit level required for exhibition, or achieve an Award of
Excellence shortlisting them for a title. Most of these images are from qualified
Licentiates its not always the acclaimed Associates and Fellows who come out
on top. Heres our A-List a selection of Licentiates who surely must be in line
to go for Associateship and change LMPA to AMPA judging by their consistent
success in the latest and previous annual awards.
This portrait by Andy Griffin LMPA earned an Award of Excellence in the

Classical Portrait category of the Master Photography Awards 2015/16.
Andy won three Merits as well is this category, and in the Lifestyle &
Location category he received two Merits and a further Award of Excellence
all surely signs of higher things to come.
Above, an awards entry typical of the style we have come to associate with Adam Hirons LMPA . Below: Jason Banbury LMPA may have a reputation for
fantasy make-up and elaborate studio sets, but in the 2015/16 awards his more conventional portraiture also shone through.
One successful Licentiate who is definitely putting in for Associateship is Derbys Jules Hunter LMPA . Above, one of her merits in the Licentiate Photographer
of the Year category. Below, a recent article in Derbyshire Life which capitalised on her awards results and her title as MPA East Midlands Region
photographer of the year. This is a great example of how participation in MPA activities can be used to boost the profile of your business. As well as
aiming for her AMPA, Jules is intent on a higher degree in photographer and may yet be a Master beyond the qualifications of the association.
Derbyshire Life publicity from

the Awards and
more
026-0-lpoty Lilly Brown LMPA (1).jpg

A further selection from leading Licentiates in the 2015/16 Master Photography Awards. Top left, by Panikos Hajistilly LMPA . Bottom left, from Lilly Brown
LMPA . Above, always at the front with her love of the sea and beach scenes, Scotlands Margaret Soraya LMPA . Below left, by Tim Henniker-Parker LMPA and
below right by Sandra Parris LMPA . The only way is up!
Two more for our A-List above, by Andy Hook LMPA and below, by John McHale LMPA . Both are regular award winners with a distinctive personal styles.
All these images just go to show the exceptional standard now achieved by Licentiates of the MPA and hopefully, future Associates.
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FROM
3D to
PhD
Achievements cap a great
year for Polands
Marek Czarnecki AMPA
ou will need to find some red-cyan

anaglyph 3D spectacle to view the
panoramas on these spreads properly
and a different type of vision to understand the second project which has driven
many of Mareks award winning images
since 2012.
In this years Master Photography awards
Marek bravely entered 3D panoramas.
Theres a bit a trend to experiment with
anaglyph 3D and last year we published
Patrick Lows 3D fashion portrait fellowship, for which Patrick kindly organised
red-cyan specs to go into every copy of the
magazine. These, if you have kept them, are
good for viewing Mareks image here as well
but do remember you absolutely must turn
the page sideways.
His project sponsored by the Marshall of
the Cuyavian-Pomeranian region, formed
an exhibition that toured to more than
ten galleries there and formed part of the
exhibits for the Skyway Festival in Torun
last summer. It then went on show for
several weeks in Milan during

EXPO 2015 and this year the
exhibition will tour Poland and
Europe (visiting regions in other
countries twinned with CuyaviaPomerania).
But before this, Marek has
been testing out his original
3D panoramas in international
salons and competitions. In 2015
he achieved two honourable
mentions in the IPA competition,
merits in the MPA awards, and
an award for the book produced
to go with the show from MIFA
in Moscow.
The process presents technical challenges, and Marek had
to achieve optimum RGB values
for exhibition prints on an Agfa
large format system, then create
different CMYK conversions
for the left and right images to
ensure the 3D effect worked correctly in the digital photo book.
We have used these CMYK files
as our litho process is close to
the digitally printed book. That
is really a photo album with a
massive run of 2,000 copies as
the printing method is similar to
most labs and album printers.
The Agfa large format exhibition prints are all 147cm wide
landscape panoramas. The height
of the prints varies because of
the nature of panoramic pictures
taken with different lenses and
different rotation angles.
All the pictures were created
using a multi-shot stitched and
bracketed HDR process. A 360
degree HDR anaglyph requires
144 individual digital shots using
plus and minus 2EV bracketing
you can imagine the processing
time to stitch and optimise the
dynamic range for every image.
With my wife Jadwiga I spent
about thirty days touring the
region by car, Marek explains.
We drove about 16,000 kilometres and exposed more than
35,000 frames. Two hundred and
fifty 3D panoramas were created
and just 52 were selected for the
photobook and exhibition.
The headline for this article
depends on our British usage.
Shortly after completing the book
and exhibition project, Marek
finished a project he had been
producing in parallel with this
and his commercial client work.
In Poland he is classed as an Artist Photographer and is a member
of the Polish Artist Photographers
Association (ZPAF). This is a

category we dont really have
in the UK, though Germany for example makes the
distinction between photographic technicians and photographic artists very clear.
Now Marek who graduated from the Moscow Power
Engineering Institute Microelectronics Department with
MSc Eng has a Doctorate
of Film Art in Photography
awarded by the Filmschool
of the city of Lodz in Poland.
This PhD (in UK terms) was
given for the dissertation
based on his Our Safe World
photographic series. This
project has been sponsored by
the Torunska Agenda Kulturalna (TAK) culture agency of
city Torun.
Our Safe World

You may already have seen
some of this work the three
examples shown on the facing page were the first airing
of some of the concepts, successful in the Master Photography Awards four years ago.
Since then hes continued the
series, with invited models in
groups wearing straight-jackets, goggles, surgical gloves
and other symbols of restraint
and protection.
Combined with his use
of HDR toning, the series
has the look of maquettes
for a film or an advertising
campaign though we might
not want to buy the product
involved. Mareks message
seems to be that we are buying it whether we like it or
not
His dissertation for Our
Safe World was subtitled as
an allegory of voluntary
self-restriction of liberties by
Western societies as a result
of threats posed by the outside world.
The aim of the dissertation is to create an allegory
of the modern world of a
Westerner who, confronted
with different cultures and
civilisations, imposes increasingly severe constraints on
the freedoms and liberties
of himself and people living
in that culture and civilisation, in order to preserve the
said freedoms and liberties,
Marek tells us. It is a sort

of paradox, based on imposing significant constraints on
what one intends to preserve.
In the face of such confrontation of attitudes do we not,
as societies, fall into a trap in
which the peak of liberty is
a severe limitation of liberty,
imposed with the use of tools
that have been invented,
applied, and accepted by
societies?
Those tools enable our
personal development and
fulfilment, at the same time
placing us under scrutiny and
supervision of invisible and
hardly identifiable forces.
Adopting a historical
perspective, I have discussed
civic, cultural, artistic, and
photographic phenomena
which have determined the
situation where, over the last
centuries, as a result of external events, a social system
placing our behaviour under
control and surveillance was
constructed, its purpose being
the protection of ourselves
and our world from external
attacks and threats.
As the constructed system
gradually transforms into one
that restrains our freedom,
we are faced with a paradox,
with the guarantors of our
social freedoms and liberties
becoming also a new factor
restraining our liberties and
aggravating our enslavement.
It has turned out that while
fighting for our existing
freedom and its preservation,
we are falling into enslavement meant to preserve our
freedom.
I have decided to present
invisible constraints and
restrictions, on which we, as
societies, have agreed, in the
form of photographic images,
as an allegorical vision of a
made-up and arranged world
in which invisible constraints
and methods of control have
taken the form of various
objects and tools used to
physically restrain our liberty,
freedom of movement and
action. To play the role of
models, I invited people representing various age groups
and social strata, introduced
them to the idea of the project in the form of an artistic
manifesto, and faced them
Photographs which were received with acclaim in the Master Photography Awards have gone on to form the basis of a Doctorate of Arts dissertation by
Marek Czarnecki, examining the nature of self-imposed constraints on society faced by threats.
with the questions: How do

we perceive our constraints at
the moment when we start being
subjected to them? and Is lack
of freedom accepted in the name
of preserving it what we pursue
and can it be the sense of our
world and the civilisation we
live in?.
The locations I chose
were public spaces (surgery,
school), cultural venues
(theatre, library), places of
entertainment (musical club),
means of mass public transport (bus, tram, train), suburban areas, industrial and farm
buildings, military objects,
and places of confinement
(prison). Persons placed in
those locations were dressed
in clothing that restrained
their liberty and freedom of
movement. They were accompanied by characters in the
roles of guards and attendants. A world of constraints,
to which all participants
have voluntarily surrendered
themselves in the real, material world, started to become
a vision and allegory for all
the restraints that we have
self-imposed on ourselves as
guarantees for the preservation of our present liberty
and freedom of action.
I direct my allegorical
statement to all that have
decided to use the self-imposed restraints to narrow the
freedoms and liberties of our
lives excessively.
The vision of the world
presented thus is meant to
force the recipients to reflect
on and discuss the directions
taken and the costs incurred
in liberty and life quality. But
it should also be asked whether even such severe restraints
and surveillance, agreed by
consensus, are adequate to
counter the existing threats.
Dr Mark Czarnecki AMPA
IAPP ABIPP QEP FEP is listed in
the top 50 of the best panoramic photographers in the
world. In 2014 he was awarded with medals for achievements in the field of art and
culture by the Marshall of
Cuyavia-Pomerania and the
President of the city Torun.
His degree was conferred in
February 2016.
www.stereopano.marekczarnecki.eu
Reviving a past dimension

Brian May doesnt just play brilliant guitar on an instrument
made by his own hands, and save badgers from culling
hes also a leading
collector of early
stereoscopes and
3D imagery.
His own company
now markets
intriguing replicas
and reprints with
an easy-to-use
OWL viewer.
n 2008 Brian May realised

his dream of recreating
The London Stereoscopic
Company a historic firm
which first issued stereogram
editions around 1854. His
aim was to bring the magic of
true stereoscopy to the modern world, and he designed
his own modern version of
the binocular stereoscope,
the OWL.designed his own
OWL stereoscope (produced
in Sunbury-upon-Thames
from the best polypropylene).
It has become a new standard
around the world in stereoscopic viewing.
In 2011 Brian met French
scholar Denis Pellerin, one of
the worlds experts on French
and English photographic
history. Their two passions
connected immediately, and
Denis became Brians curator, conservator, researcher,
and co-author. The London
Stereoscopic Company is now
restoring and republishing
Victorian classic cards, as
well as original stereoscopic
works relating to astronomy
and vintage Queen images.
Finally the LSC completed the
picture by entering into book
publishing, each new work
accompanied by an OWL
Stereoscope included in the
package.
The first three titles are A
Village Lost and Found (based
on a celebrated series by TR
Williams made around 1853),
Diableries (the entire genre
Top, the Victorian Gems box is a fairly expensive edition, with attention
to design. With the slip cover removed, its a solid black box fitted with
internal dividers to accept the three mini editions of stereo cards and the
booklet (above right). The OWL viewer is very comfortable to use once you
have adjusted your eyes to look into the distance and not try to focus close.
It can also be used with your own stereo photographs using the reprints as
a guide to propduction. You do not need a stereo camera, just move the
camera roughly 65mm horizontally between the left and right exposures.
of 1860s French Devilments

brought together for the first
time), and The Poor Mans
Picture Gallery.
The London Stereoscopic
Company is the ONLY publisher in the world dedicated
exclusively to publishing
stereoscopic works, says
May. Our latest product is
something unprecedented
in our London Stereoscopic
Company activities. For
someone who is unfamiliar
with the idea of Stereoscopy, it's the most complete
introductory package ever
offered everything your dad
or mum or best friend needs
to get hooked on the truly
immersive 3D experience. For

collectors and those who are
already hooked, everything
in this high-quality Victorian
Gems box is new.
Victorian Gems, launched
in December in time for the
gift-giving season, costs 95
and contains a pack of twelve
Scenes in Our Village cards,
numbers 1 to 12 in Thomas
Richard Williamss unique
and beautiful stereoscopic
portrait of an Oxfordshire
village and its inhabitants
in the 1850s. Its now five
years since Brians company
published A Village Lost and
Found, co-authored by photohistorian Elena Vidal, with
every card in the series, and
told the stories behind them.
The images were digitally remastered to a close-to-perfect
state.
Twelve Diableries cards
show the earliest diabolical
creations of master sculptors
Hennetier and Habert. There
are 72 scenes in all in the
book Diableries Stereoscopic
Adventures in Hell co-authored
with Pellerin. The cards havce
foil eyes imitating the original Hellish red gels added to
pierced cards.
The pack of twelve Poor
Mans Picture Gallery cards are
excerpts from the books of
the same name, which was
published in association with
Tate Britain and accompanied
a major exhibition. The cards
reveal the many previously
unseen connections between

Victorian narrative paintings
and the popular stereo cards
of the day. Each card in this
series has a link to the page
on the Tate Britain website
where the corresponding
painting can be viewed. They
feature scenes from Shakespeare, historical tableaux
and contemporary events
such as Derby Day, all posed
in photographic studio sets
to be captured as stereoscopic
views. They were very popular in Queen Victorias time.
An additional booklet
gives information on the sets
of cards, plus a short history of stereo photography,
complete with hints on how
to take your own 3D photos,
to be viewed in the patent
OWL Brewster format viewer,
which completes the kit and
is suitable for stereo cards,
daguerreotypes and lantern
slides from the 1850s on.
On April 16th, Crinoline:
Fashions Most Magnificent Disaster, by Brian May & Denis
Pellerin, will be published in
hardback (with a slipcase and
3D front cover, accompanied
by the OWL viewer, at 50.
This edition accompanies
a V&A Exhibition Undressed:
350 Years of Underwear Fashion
which should have all photographers heading to London
for a viewing!
DK
See: www.londonstereo.com
You can read 2

Freelance Photographer
incorporating Cameracraft
on your mobile device or
Mac/PC
Visit:
http://bit.ly/1QSAdVb
Master Photography is
available as a PDF edition.
Visit:
http://bit.ly/1NwnLbr
STYLED
PORTRAITS
Stephanie Thornton and Steve Howdle work together from two studio bases
creating their own style of portraiture. Both shoot different types of work, but
combining Stephanies fine art fantasy portraits and Steves commercial and
advertising techniques they are producing styled portraiture images that are
proving to be very popular.
eeping things relatively simple is the

key for our styled
portraits and very individual to each shoot. We always
have a professional hair
and makeup artist involved
which is included in the basic cost of these shoots. An
extensive wardrobe of hats,
headpieces, clothes, jewelry
and other pieces of material
etc are always on hand to
style our clients.
Of course these shoots
are not only about the
styling of our client but the
lighting is also key to the
look we want to create. We
have a range of modifiers
and each bring a different
feel to the image, its not
simply a case of having a
lighting set up and shooting various styling under
the same lighting conditions.
For this particular
portrait we wanted a crisp
slightly graphic but colourful image. The chosen
outfit, hat, necklace and
dress were our own and
a gold reflective material, similar to the material found inside
softboxes, was used for the background to compliment the
dress. We wanted the stippled surface of the background to
produce random highlights and colour differences to avoid a
plain colour and create some depth to the image. It was lit with
two Elinchrom ELC ProHD 1000 heads one with the Elinchrom
Zoom Spot fitted with a homemade gobo which was projected
onto the background slightly out of focus for a soft edge. The
key light was a 70cm Rotalux Deep Octa fitted with a Lighttools
40grid. These Lighttool grids are perfect for this type of lighting producing a directional pool of light while maintaining the
softness of the Octa. Each grid is highly engineered with each
cell individually angled from outer edge towards the centre
straight cells held together

by a rigid but collapsable outer ring which fits
snugly onto the softbox,
and the rigid construction
helps to hold the grid cells
perfectly tight without
any sagging.
The key light was
placed in front of and
above Annabelle and she
tilted her head back slightly to ensure an almost
shadowless face and let
the rim of the hat create
a dark circle to frame her
head. The grid ensured
that no light would spill
onto the background and
weaken the colour and
contrast.
It was shot on the
Pentax 645Z with a
120mm lens 1/125 @ 5.6
far a shallow depth and
maintain an out of focus
background.
The image of Melissa
came about during a commission for more portfolio
images. She is a hoop
dancer and during the
shoot Stephanie had the
idea to create a dark theatrical styled image. Again the styling
was kept simple, a tutu and a thorn crown and a simple pose.
Stephanie wanted dark muted tones and the key light was provided by the Rotalux 70cm Deep Octa with the Lighttools 40
grid to ensure minimum spill onto the background. A pair of
strip lights were positioned to either side of Melissa, one with a
blue gel the other purple to add a subtle hue.
To add a little drama and an air of importance to the image
a symmetrical pose and a low shooting angle was adopted.
Shot with a Canon 6D 24-70 f2.8L, 1/125 @ 6.3.
Steph and Steve will be creating a styled portrait live at The
Photography Show.
See our new

products at the
Stand H22
The Photography
Show 2016
K
E
L
L
Y
BROW N
GETTING LIGHT ON YOUR SIDE FOR NEWBORNS
oo many newborn
shoots seem to concentrate on a warm studio
and forget all about warm
lighting light with direction,
glow, colour and life. We see
so many photographers use
soft, formless lighting and
bland backgrounds for babies
which almost lose outlines
and merge into a magnolia
marshmallow smudge. Well,
baby skin has to look soft and
A HAPPY GLOW FROM DOWN UNDER!
perfect, doesnt it? And newborns are not immune to skin

care problems? So, light flat?
But newborns have wonderful
cheeks and chins and eyes,
little noses and perfect lips.
Rounded, dimensional, confident lighting can work!
Kelly Brown, the undoubted star of Australias neonatal

photography scene, has no
hesitation using sidelighting
and also a beautiful diffuse
light from down under.
Thats not being theatrical
and unnatural, because in
real life babies are held up,

lain down, seen from above,
seen in cots where the light
comes from a window or
buggies and prams where
it reflects into the shaded
canopy. In Australia young
skin is kept well out of direct
rays but so often lit by the
reflected sunshine of an
outdoor lifestyle. And in the
studio, Kelly Brown creates
exactly that beautiful glow
A classic overhead shot, left, not too close and wide but still needing 35mm focal length on her zoom. On this page, two sibling and newborn studies
which really caught our attention for their colour quality and the obvious appeal of this a good way to make older children feel very much part of the
new arrivals life, and just as important in the family.
which sculpts baby faces in

three dimensions. Its a joyous light, as hopeful as a clear
sunrise, optimistic and also
flattering. Its an approach to
lighting which owes much to
beauty and glamour techniques of the past and the
recognition that diffuse light
coming from below the chin,
or from the side but absolutely not in the traditional
Rembrandt overhead manner,
has a wow factor.
Since this is often a type
of light which will reveal
texture, Kelly does retouch
her babies much as a beauty
specialist would. She uses a
Wacom Intuous Pro Medium
pad, a self-calibrating EIZO
ColorEdge CG247 24-inch
monitor, and works carefully
to ensure a natural result.
Her favourite portable
light is a Jinbei EFL-200 LED
source, not often seen in the
UK though available from
one importer with a six-week
order time. This looks like a
large studio flash, but puts
out an actual 200W of LED
light which runs cool (from
the subject side) despite
matching a remarkable
2000W of 5600K daylight
quality. It goes through a
50cm white perspex globe diffuser from the same Chinese
maker.
Kelly Brown
We are sure you will see
the benefit of this highly
controllable continuous light
in the photographs we have
selected from Kellys large
and varied portfolio she can
do low key and muted equally
well, but to inspire our UK
newborn photographers and
Cherubs studios its this great
use of a well-defined directional light we want to show
you.
Kelly combines this with
a free approach to camera
angles and position, the
reverse of the setup where a
new baby is carefully posed
and the camera remains on
a tripod. She will move in as
close to the baby as a mother
would, letting mum and studio spotter assistant do the
handling and support while
watching constantly to ensure

the baby is safe and happy.
Most of her poses are natural
and do not demand the supporting hand or retouched
post production familiar from
newborn template approaches. This allows the lens close
enough to catch the scent
and warmth of the baby, and
for the parent, the perspective
and apparent eye position
become their own.
Of course the special prop
support, wraps and knits can
still be a purely photographic
confection a means to
swaddle a very little body in a
photogenic fashion, cocooned
or floated in fabric, nested or
cuddled. She uses her own
Shoot Baby! posing bag.
The settings are however
all believable, with a simple
laid-down blanket and coverlet for an overhead portrait
which looks much better
than any attempt to put baby
in a vertical pose (see above).
This natural repose flatters
baby faces, gravity removing sag or squash, but it only
works if the photographer is
able to work from overhead.
In this picture set you will
see some poses which might
look sitting, as with the
older brother and sister on
the previous page. These are
lying-down poses not sitting
up and holding baby, its the

sidelighting and the camera
angle which combine to make
them look right.
Knowing the best way to
pose babies is definitely something which has developed
over time, Kelly says, along
with understanding babies
and how they move. Im still
perfecting things with every
session, but I think the key is
to be patient and never force
a baby into any pose just for
the sake of a shot.
Study Kellys pictures
carefully. She says that many
entrants to the newborn field
seem to have their focus all
wrong. Ive noticed a lot of
newcomers focusing more on
the posing instead of the basics of photography, like lighting, composition, focus and
learning about which lens is
best for what situation.
On the facing page, two
monochrome examples with
that signature subtle wrap of
directional light.
One of the most important
pieces of advice she offers
is never risk the safety of
a baby for the sake of getting a shot. She always uses
a spotter while on a shoot
(ensuring that the baby is
safe at all times and not likely
to roll off onto the ground.
Practice on a fake baby with
Light and colour Kelly Brown choose her fabrics and props with great attention to the way that digital sensors (and her Canon in particular) render
them. Warm shades, browns and pinks with never a hint of brilliant white, avoid highlight burn-out and harmonise with the skin tones she aims for. Small
elements like moss green (lower left) are arranged so they do not cast green reflected light into these tones. On this page, a simple co-ordination of colour
and two camera positions and angles from the same sitting. She does not try to put the babys face in an adult portrait orientation.
Black and white in a beautiful light study the brilliant long-lashes angle above. If this was to be lit without skill, focused on the wrong point, taken at
just one stop down and processed differently the babys very new skin with its fine dotting of lanolin not yet absorbed could look unattractive or even
rough. This treatment ensures it looks beautiful yet the neonatal texture is still there. Below, the same goes for toes for a set of pictures, such close-ups
may be difficult but work so well together.
On the facing page, a final example of that special below-the-lens level lighting which you can create using a diffuse light source or by bouncing a
regular flash off a reflector. Its almost like the glow of a fire or a night-light, even in subtle monochrome.
different posing techniques,

she suggests, as well as how
to wrap. When it comes to
the technical aspects, Brown
stresses the importance of
learning to read light both
artificial and natural, and
knowing and understanding all the fundamentals of
composition, because its only
then that you can start to
break the rules.
The business
Kelly launched her business
Little Pieces of Photography in
2005. She has since travelled
the world speaking at events
and teaching newborn posing
classes. In 2014 she photographed 139 newborn babies,
mentored 23 photographers
and held 19 newborn posing
classesacross 12 countries.
She has won many awards,
nationally and internationally, including the AIPP Aus-
tralian Family Photographer

of the Year (2014). She is also
a Master of Photography with
the Australian Institute of
Professional Photography and
Wedding & Portrait Photographers Association (WPPI),
where she was awarded eight
first place titles.
In her state, Queensland,
shes been AIPP Family Photographer of the Year every
year since 2012 and their
overall Professional Photographer of the Year 2013 and
2014. With the healthy birth
rate and economy of Australia
(compared to most of the
UK) shes been able to build a
business centred just on newborn and baby photography,
and considers herself lucky to
avoid the problems of changing weather and venues faced
by wedding specialists.
Kelly has her own family to look after too three
children. At the end of 2013,
her husband decided to join

her in the business after 20
years in the construction
industry. Designed and conceived (no pun intended) by
the couple, The Baby Summit
has been launched as a threeday conference, on the gold
Coast in early August. Its the
first of its kind: an event for
photographers that specialise
in the maternity, birth, newborn and baby genres, with
presenters from all over the
world.
Brown also sells Photoshop
actions, provides one-on-one
mentoring and does video
tutorials, having appeared a
number of times on CreativeLive, the popular US online
platform.
And what is the secret, if
there is one, behind all all
this success? In the beginning, she says, I believed it
was all about taking amazing
photos. Now I know that a
successful photography business is close to 70% business

and only 30% taking photos
and the business aspect
requires one to wear so many
different hats.
As ever the one secret ingredient is hard work You
have to work for what you
want, Kelly says. Every year,
we set goals, make plans and
then go about making it happen. We do whatever it takes
to achieve them, and I dont
allow fear to hold me back.
And for the camera gear
of choice, she shoots on a
Canon 5D Mark III with a 2470mm 2.8 Mark II lens. The
lens is so incredibly versatile,
its practically on my camera
full-time, she says. Its not
only great for close ups, but
wide angles as well when
shooting large props from
above.
www.littlepiecesphotography.com.au
A PEACE OF THE ACTION

You want to be one of the lite making a reputation with mums-to-be for the
quality of your newborn photography experience but where are you going to
find the magic touch? Paul Wilkinson went to Melanie Easts seminar to find out.
have heard the many

legends about Melanie East
and her long-fabled ability
to send any baby to sleep, so
when the opportunity arose
to go watch her sold-out
Cherubs seminar in Hinckley,
well it was simply an opportunity too good to miss.
So lets just start by saying
that Melanie's reputation is
clearly well-founded at least
based on todays evidence:
she seemingly can send any
baby to sleep. That in itself, I
would hazard a guess, would
be sufficient talent on which
to build a pretty solid business. There must be a million
mums whod kill to have
someone gently and safely
hypnotise their new-found
sleep-depriver to sleep! However, that is clearly not the
purpose of the seminar!
So during one of the most
tranquil days I have ever
spent outside of a spa hotel,
Melanie set about the subject
of newborn photography.
Even when baby quietly emptied her bladder over Melanie
and the props, nothing could
shake the sense of peace and
calm in the room.
Right from the morning coffee, this seminar was
packed solid with both people
(the room was both busy and
very very warm!) and useful
insight. This is what seminars
should be like honest, candid, realistic, inclusive and
the list could go on.
I loved learning about Melanies approach and, guessing
by the quiet concentration of
the 25 Cherubs partners in
the room, I am not the only
one. Two newborns under
three weeks old in a crowded
room and yet still, Melanie
quietly and calmly talked
us through two complete
newborn shoots one using a
beanbag and one using props,
with each creating the most
beautiful images straight out
the same thing over and over:

it can never be a bad thing to
go a seminar as you will most
certainly learn something
(even if it is that you are
doing things well already!)
One thing that has struck
me is how many experienced
photographers there are here
many of whom are at the
top of their game and yet
still theyre here, soaking
it all up and learning from
Melanies experience.
It was also a great opportunity to see Graphistudios new
products and to Elinchroms
D-Lite in action as both very
kindly supported the event!
of camera. I can only guess

how stunning theyll look
with just a little Lightroom!
Ray Lowe and the Cherubs
team have put together
many seminars (I heard
much about the pevious
days Photoshop prequel with
Michael Schilling, from the
feedback just as inspiring)
but this is the first one I have
been lucky enough to attend
though it most certainly
wont be the last. I have said
www.theartofthenewborn.co.uk
With a magic touch with babies,
Melanie set up a couple of classic
poses including (below) one which
followed closely this shot from her
AMPA panel (above).
The day was full of useful information from top to

bottom: backdrops, props,
insights, business, sources,
safety, bookings, even a trick
using Puppy Pee Pads and an
app that created an uneasy
sense of needing the loo
If you get the chance to
go to one, you really should
make the most of it and
invest a little time in yourself! If youre looking for
something more bespoke
(but certainly just as warm)
then Melanie also holds full
day one-to-ones to cover any
aspects you choose.
Contact Sam at MPA head
office to find out more about
future events just call 01325
952259.
Tel: 01274 518366
With effect from 2016 our policies will

be underwritten by Liverpool Victoria
PhotoShield provides professional

& semi-professional photography
& videography insurance
Bespoke BUILD YOUR OWN
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4 Personal Claims Handler in the event of a claim
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4 Professional Indemnity 100,000 4 Public Liability 2,000,000

4 Payment options are available 4 Includes premium, tax and fees
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IAN LAWSONS HARRIS TWEED:

WEAVING A COLOURFUL TALE
ts some journey from

Wigan Pier to An Tairbeart, but through that
trip Ian Lawson has reached
a superb level of art and
photography, as shown in
his current exhibition Harris
Tweed: From The Land, in association with the Harris Tweed
Authority.
From 2002, Ian had visited
the Outer Hebrides, slowly
and gently getting to know
the landscape, the people and
the culture that links them.
A total loner, he took his
campervan to the remotest
places, all the while indulging
his passion for photography.
This was no amateur he was
an architectural photographer, although he started as
an idealist, buying his first
camera from the proceeds
of a Northern Soul night at
Wigan Casino. Fine Art Photography at Manchester Poly
followed, hoping to wander
around taking pictures. That
ideal never left him through
decades of photographing the
built environment.
He studiously followed
photographers that were
doing what he wanted to do
(Charlie Waite, Joe Cornish),
and increasingly sought out
Hebridean photographic
books, going back over 100
years to glass plate cameras.
One day in 2007, whilst
tracking a lobster fisherman, he lost the put-put of
the boats engine. He heard
instead a clickety-clack from a
shed, and there met a mother
and daughter, weaving Harris
tweed on their Hattersley
looms. One crucial thing
that struck him was how the
colour of the cloth matched
the colour of the sea through
the shed window. He took
some pictures. Then came
back the next day for more
pictures and, over time, was
slowly entrapped by the place,
the people and the Harris
Tweed they produced. For two
years he went back and forth,
Above Patrick Grant

launches the latest
exhibition from Ian
Lawson inspired by the
legendary Harris Tweed.
Left: the photographer
talks to visitors to the
opening at Rheged,
Cumbria.
visiting sheep gatherings and

sheds, and meeting people a
people completely different
to those he knew. A different
language, a different culture.
In 2009 his vision crystallised around the possibility of
a book a book documenting his journey as a person,
a book that would be an
artwork in itself.
The publishing world was
not interested, it didn't fit
their economic models. So
Ian set himself up as a specialist publisher, determined
to produce books of the highest quality, that would never
be discounted and would be
treasured as artworks in their
own right.
With From The Land
Comes The Cloth Ian Lawson
achieved his dream. The book
and the prints along with
his subsequent (and equally
beautiful) Herdwick: A Portrait
of Lakeland allow him the
lifestyle he wants, to take
beautiful photographs and
reproduce them to the quality
that they deserve and he demands. Of course theres no
fast track its finding your
story, finding your passion
and then looking for your

audience. After production
in Britain didnt meet his
exacting standards, he moved
it to Vicenza, Italy.
He was very reluctant to go
digital. His first digital camera
sat in a box for six months,
but his profession forced him
into it, and he is now grateful
for and obviously extremely
skilful at getting the best out
of wonderful equipment.
And he makes no apologies
for Photoshop. Weve always
had Photoshop he says, its
just we used to do it in the
dark, burning and dodging.
Around the time of his
book idea, he met Lorna
Macaulay, Chief Executive of
the Harris Tweed Authority
(HTA), and their convergent
thoughts culminated in the
HTAs endorsement of the
book, including the use of
their precious Orb trademark,
and in the authoritys active
support for the exhibition.
Open now in Rheged,
Cumbria, it moves to Stornoway, and then onward to
Edinburgh. Norman Macdonald, Chairman of the HTA,
says discussions are in hand
with the V&A, and there are

also further plans for New
York and Tokyo, both major
markets for Harris Tweed.
The exhibition itself is
beautiful, and achieves Ians
aim of the next best thing
to being there. I love to
see the surprise on people's
faces as they find themselves
immersed in the pictures
he says. He has nothing but
praise for the camera technology that allows him to produce such large-scale works
a Hasselblad H3DII-39,
recently replaced by an H5D50.
Of particular note, among
many superb pictures, his
bi-part comparative colour
studies draw me back again
and again. On the left of
each is some aspect of island
life hills, huts, fields, bays,
sheep and on the right a
tweed, a box of bobbins, a set
of swatches. The palettes of
each side are so close apparently he carried both sets
round in his head, seeking
out matches and then going
back and checking them on
the computer.
For the exhibition, the
prints are digital on a plasticbase medium. He doesnt
sell off the walls though.
His own prints for sale are
available from his website in
a range from Fujifilm Crystal Archive paper to dibond
aluminium.
Harris Tweed: From The
Land is at Rheged, Penrith
until May 15th 10am-5pm
daily; then at An Lanntair,
Stornoway, July 1st to August
16th (closed Sundays). A digital edition of From The Land
Comes The Cloth is available
to view at Ian's website along
with extracts of Herdwick.
Ians next book Shepherdess,
a study of Cumbrias Alison
ONeill, is due out soon.
Peter Michael Rowan
See:
http://www.ianlawson.com
Ian Lawsons project started when he noticed the close match between the colours of the Hebridean landscapes and the the natural colours used in the
handmade tweeds. His images have been paired up for publication and exhibition to emphasise this.
Even the red corrugated roof of the bothy provided Ian with a colour match, above. Below, the unique island environment where the sheep are herded
between sea and land Derek Campbell, a coastal crofter. His photo essay is the result of eight years visiting the islands in all seasons. Right hand page,
Kenny Maclennan working the loom, Gearrannan, Leis. Transporting sheep from island to island; and Morag Morrison, shepherdess, Lickisto, Harris.
All photographs Ian Lawson.
Stanley
Burgin,
pioneer
of studio
background
projection
am sorry to have to advise

all my friends in the MPA
of the recent passing of a
much respected and influential
member, Stanley Burgin AMPA of
Mansfield, in January 2016 at the
grand age of 87 years.
Stanley was one of our longest
and truest friends in the photo
business. I first met him in the
early 1960s when I was working
at Nottingham Photo Centre on
Pelham Street. I still remember
calling at his studio in the centre
of Mansfield on my way to
Chesterfield or Sheffield one day
and being amazed by the giant
floodlights and spotlights he still
had in those days before studio
flash came along later in the
sixties.
I then moved back to York
and, after working for two other
firms from 1966 to 1977, I started
my own business. In 1981 I
met Stanley again when I had
become the UK agent for Henry
and Marian Oles of Texas with
their Scene Machine background
front-projection system, then
in its very first model. I ran the
first ever British seminar on
projected backgrounds here in
York and photographers travelled
to it from all over the country,
including Stanley from Mansfield.
He was one of the very first
British photographers to take
up this new technology and
he firmly embraced it from day
one. He made it sing and dance
straight away!
You see Stan had a great
advantage over many other
photographers of that time
he was an artist. His care and
control of lighting, of props and
choosing an appropriate stock
slide or effect whilst keeping it
in the background, not overpowering the subject, was his
artistry. It showed in his beautiful
portraits right from the start.
Stanley Burgin was brought up
on the portrait photography
of Hollywood movie studios, in
the days when portraits were
Peter Stanhope, left, with Stanley

Burgin in retirement
carefully created and lighting was

skilfully controlled. This showed
in his beautiful work throughout
his life.
He quickly won three Kodak
Gold Awards with his frontprojected background portraits
and became a member of the
Kodak Gold Circle. He joined
the Master Photographers
Association in the 1980s and
was immediately upgraded to
Associateship on entry. This was
very unusual if not unique at
that time. His portfolio featured
in The Master Photographer
magazine and his male portrait
(above right) appeared on a cover
which was printed with gold ink
to mark the Kodak Gold award.
Over the years which followed
Stan and I (and my wife, Jean)
became very firm friends and
we spent much time together
including the time when he
photographed us and our then
teenage children in his studio in
the late 1980s. Those portraits
hang on our lounge wall to this
day, three houses later ! We
visited him at his home many
times and he came up to York
in 1990 to meet up with Henry
and Marian Oles as they were
staying for a few days en-route
to photokina in Cologne.
I retired from the industry in
2003 but kept in touch and we
visited Stan from time to time.
We last spoke to him on the
phone in October of last year,
before he fell in his garden and
became finally ill as a result.
I know how much Stan loved
his studio, and particularly using
his Scene Machine, the filmera forerunner of todays green
and blue screen background
montage methods. Even in his
later years he was very capable
of converting to digital imaging
in his late seventies and early
eighties. An amazing man indeed
who will be remembered and
missed by many.
Peter Stanhope
Photographs from the archives of Stanley Burgin
The Scene Machine, one-shot backgrounds before digital arrived

Using a highly directional screen from 3M similar to the reflective materials now used for safety clothing, road signs and car numberplates the Scene
Machine had a semi-silvered mirror to project a background slide with flash carefully matched in power to the portrait subject lighting. The US company
offered a slide library, but Stanley Burgin also produced his own unique background scenes. The colour and density had to be just right, and all the
matching was done by metering and using colour gels at the shooting stage. These great examples have aged little in 30 years.
REGIONS
CENTRAL REGION
SCOTTISH REGION
March 15th 2016 Jenny

Johnston from 3XM will be
coming to the usual location,
look out for the emails and keep
on eye on the Central Region
Facebook page. Jenny is going
to be talking about using social
media tools to promote your
business those of you who
have been to one of her seminars
will know just how useful the
information is, and were thrilled
that shes going to take the time
to come and talk to us!
April 19th 2016 Photovision

Roadshow, Royal Highland
Showground, Edinburgh. MPA
will be present at this show.
www.forwardevents.co.uk
May 11th 2016 Steve Walton,

the MPA President, will be
coming down to for a joint
meeting with London and Essex
something weve done for the
past few years very successfully
and its the turn of Brentwood
to be the location. Really looking
forward to both welcoming Steve
and seeing some of his stunning
photography!
MIDLANDS REGION
April 5th 2016 Cherubs
Roadshow and Kelly Brown
Newborn seminar, Sketchley
Grange, Burbage, Leics.
NORTHERN REGION
April 1st 2016 the Aspire Open
Day is designed to give you a
no obligation couple of hours
where you can focus solely on
your photographic ambitions,
meet the team here, see the
environment and have a taste
of the Aspire experience it
is an informal day of fun and
exploration
www.aspirephotographytraining.co.uk
Aspire Photography Training
Dalton Hall
Units 1&2 The Stable Yard
Burton-In-Kendal
Cumbria LA6 1NJ
01524 782200
May 2nd 2016 deadline for

entries to the Scottish Region
annual awards. Entries should
be supplied on disk or USB and
sent to Sandra Parris, 13 Hislop
Gardens Hawick, Roxburghshire
TD9 8PQ. A full list of categories
and rules etc have been sent to
Scottish Region Members in an
email newsletter, if you havent
received this please contact
Sandra so you can be added to
the email list.
May 16th 2016 Social Media
for Photographers, with Jenny
Johnston of Photovalue/3XM
Solutions. Registration 9am, half
day seminar. See:
www.3xmsolution.com
Do you want to understand
how to use facebook advertising
for your business?
During this half day session
youll learn how to:
Set up your business page for
success
Create content that's relevant
to your target audience
Get started with Facebook
advertising
Build custom audience lists for
advertising
Create and target lookalike
audiences
Use Facebook advertising to
generate enquiries and increase
bookings
See also how you can use
3XM galleries in your business!
June 12th 2016 Scottish
Regional Awards, The Royal
Hotel, Dunkeld, Perthshire PH8
0AR. Tel 01350 727322. This
years judge and speaker is David
P MacDonald FMPA.
FINDING YOUR REGION ON FACEBOOK

REGIONAL news, discussion and updates can be found on Facebook. To
find the main MPA page, type Master Photographers Association. For regions, type The MPA; for special groups including China, Malaysia, Cherubs,
Qualifications, type MPA in each case youll get a list of options.
Here are the full URLs of active regional UK Facebook pages:
https://www.facebook.com/MPA.Central.Region
https://www.facebook.com/The-MPA-London-Essex-Region
https://www.facebook.com/MPANorthernRegion
https://www.facebook.com/The-MPA-Welsh-Region
https://www.facebook.com/The-MPA-West-Midlands-Region
https://www.facebook.com/The-MPA-Scottish-Region
https://www.facebook.com/The-MPA-South-East-Region
https://www.facebook.com/The-MPA-South-West-Region

From the 2015/16 Master Photography awards, by Ross Grieve
WELSH REGION
March 7th 2016 Ross
Grieve, DSLR to Mirrorless & 4K
Photography
A talk by Ross Grieve about
why he moved over to mirrorless
cameras and why global brands
like Panasonic and the Waldolf
Astoria are using his images in
their latest campaigns.
Grove Golf Club, Porthcawl,
7.15pm. Those wanting food
meet at 6.00pm.
April 18th 2016 AGM and
Presentation on Competition
Judging.
Annual General Meeting at
7.00pm at The Grove Golf Club,
followed by a presentation on
Competition Judging - the
Good, the Bad and the Ugly
by Peter Ellis FMPA . Peter is
internationally recognised as a
photographic judge, and is the
Chairman of the MPA panel of
judges. He will be explaining
exactly why entries win or fail,
explaining all that goes on
behind the scenes.
May 15th 2016 (Sunday)
Puzzlewood (to be confirmed,
weather dependent) Social Day
Out.
Meet at Puzzlewood near
Monmouth: www.puzzlewood.net
take some photographs, then off
to a nearby pub for sustenance.
This is an amazing place which
has featured in a lot of TV and
feature films, most notably the
latest Star Wars film. This is a
purely a social day out, not a
LMPA
seminar or formal meeting. We

will only need to have an idea
of numbers attending in order
to book tables for a meal at the
pub, and everyone pays their
own way.
June 27th 2016 Annual Welsh
Region Competition. Following
previous year's formats, the
judge this year will be Steve
Walton FMPA , the current MPA
president, and will be held at our
regular venue, The Grove Golf
Club. Judging will take place in
the afternoon, and the evening
session will be a presentation
by Steve on his own work and
experiences.
September 12th 2016 Model
Photo Shoot at Glynhir House (to
be confirmed)
Glynhir House is at
Llandybie, near Ammanford in
Carmarthenshire and offers great
opportunities for both indoor
and outdoor photography. We
will organise the location and
the model, and we will ensure
that there is a wide range of
equipment and techniques
available to try out which
perhaps you would not normally
have access to. The rest will be
up to you! This is not a formal
seminar, but an 'experience and
development' day where we
teach to and learn from each
other. There will be a charge
for this, purely to cover the
venue and model hire costs,
and numbers attending will be
limited!

The Master Photographers Association
01325 356555
Qualifications
www.masterphotographersassociation.co.uk/qualification-dates-2016/
March 25th (Online Associate)
May 27th
July 29th
September 30th
November 25th
for MPA members

CHERUBS ROADSHOW Learn from Kelly Brown,
Australias most awarded Newborn Photographer
APRIL 5th 2016 At Sketchley Grange, Burbage, Leicestershire
http://sketchleygrangehotel.co.uk/
Join newborn specialist Kelly Brown as she delves into the delicate
art of posing babies. Kelly will share all of the key components to a
is for
thethose
UKsthat
leading
supplier
of photo-book
successful Atech
business
specialize
in newborn
photography
manufacturing
systems,
andLearn
national
salescreates
and
or simply offer
it to their existing
clients.
how Kelly
forwhile
Chromira
photo
printers.
simple yetservice
stunningagent
images
taking vital
safety
measures, and
how she builds relationships with her clients to gain their trust. This
offers
customers
a 24the
hour,
7 day
a week
session willAtech
give you
the its
confidence
to enter
hidden,
profitable
after sales
service, together with service contracts
world of newborn
photography.
today
cover
whole
range
of photographic,
This one
classits
will
provide
photographers
with the digital
right tools
equipment
and finishing
required toprinting
run a thriving
photography
business.machines. All
consumables
suchcovering
as laminates,
During spare
the dayparts
Kelly and
will work
with 1 newborn
the
inks, paper, films and slide mounts are carried in
following
stock
for same or next day delivery.
Safe work
practices
Posing Babies alone and with Parents
We keep the photo labs YOU use for your vital
Transitioning
Settlingorders up and running to meet your deadlines
withoutawake
compromising
quality.
Photographing
babies
Creating easy, effective set ups with props and a posing bag
Contact us to find your nearest lab offering
Postproduction
Chromira prints or bound photo books and
Marketing
albums, or find out more about our products and
Creating a pricing structure to suit you
services.
Product selection to suite your brand
Please note that this event is selling out fast but its still worth
Call 01707 373738 or email
enquiring NOW and having your interest recorded in case of
enquiries@atech.co.uk www.atech.co.uk
cancellations even if its fully booked. See the article in this issue on
Kelly Brown
ATECH
To register
your interestLTD
please contact membership@thempa.com
15 Little Mundells Welwyn Garden City Herts AL7 1EW
31
or call 01325 356555
DavidBryce3pp.indd 31
Focus on
Insurance
Insurance Endorsed by the MPA

Discounts available to MPA Members
Towergate Camerasure looks after the insurance needs of more professional
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
newly qualified professionals to established studios.
As a part of the Towergate Group, the largest independent insurance intermediary in
Europe, we have the market strength to deliver highly competitive premiums.
Specialist covers for photographers include:
All risks including Accidental Damage and Theft
Public Liability
Employers Liability
Professional Indemnity
Shoot / Production insurance
PI from 60, and up to a 40% discount on other covers available to MPA Members.
For a free no obligation quote, contact us on
Tel: 0870 411 5511
Email: camerasure@towergate.co.uk
Towergate Camerasure products are underwritten by one of the UK's largest insurers Norwich Union
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
15/7/08 10:45:43
MPA
REGIONS
CENTRAL
Paul Wilkinson FMPA
6 High Street
Haddenham
Bucks HP17 8ER
01844 291000
enquiries@Paulwilkinsonphotography.co.uk
EAST MIDLANDS
Steve Walton FMPA
13 Juniper Close
Leicester Forest East
Leicester LE3 3JX
0116 2994901
stevewaltonphotography.info
LONDON & ESSEX
Raymond R Lowe Hon FMPA
123 Crossbrook Street
Cheshunt
Hertfordshire EN8 8LY
01992 636152
ray@raylowe.co.uk
NORTHERN REGION
Steven Ramsden LMPA
10 Gillingwood Road
Clifton Moor
York, North Yorkshire YO30 4ST
01904 479063
info@steveramsdenstudio.co.uk
NORTH WEST
David Thexton LMPA
T&J Photographic
111 Ramsden Street
Barrow in Furness
Cumbria LA14 2BW
01229 835 035
smile@tjphoto.co.uk
109995 132x180 advert 2016 dates.qxp_Layout 1 01/12/2015 11:45 Page 1
SCOTLAND
John Parris FMPA
13 Hislop Gardens
Hawick
Scottish Borders TD9 8PQ
01450 370523
info@parrisphotography.co.uk
SOUTH EAST
Paul Inskip
63 Queensway
Bognor Regis
West Sussex PO21 1QL
01243 861634
paul@mepphoto.co.uk
SOUTH WEST
Contact MPA HQ for news of new regional
contacts for 2016
WALES
Collin Davies LMPA
High Society Photography
Caecarrig House
15 Caecarrig Road
Pontarddulais
West Glamorgan SA4 8PB
01792 883274
sales@highsocietyphotography.co.uk
WESSEX
Anthony Von Roretz LMPA
22/24 Trinity Street
Salisbury
Wiltshire SP1 2BD
Telephone: 01722 422224
info@trinity-photography.co.uk
WEST MIDLANDS
Steve Walton FMPA
13 Juniper Close
Leicester Forest East
Leicester LE3 3JX
0116 2994901
Photovision Trade Shows

Seminars & Live Demos
EDINBURGH
19th Apr 2016
Hit the ground running in 2016

and learn new skills from our top
name speakers covering the
the latest subjects
DUBLIN
6th Sept 2016
Studio Area Live
EPSOM
19th Oct 2016

Try the latest studio equipment
Star Attractions
Cameras & Equipment
Used Equipment Fair
Camera Cleaning
Workshops
Leading Trade Suppliers
Equipment Demos
Discount Vouchers
FREETrade Show Entry FREE Parking FREE Seminars Tradeshow 11am To 4pm
Book your place now www.forwardevents.co.uk
JARED PLATT
You will find us on Stand G71

Join us at this years Photography Show to experience the full range of Profoto products
You will find our complete OCF system which includes the hugely popular B1 & B2
Also on stand will be the D1, the legendary Pro-8 and the amazingly fast Pro-B4
For product information visit www.profoto.com/uk
There will be product demonstrations and informative talks on Light Shaping
A selection of photgraphers will also be on stage sharing their work and shooting live
For a full on-stand schedule please see The Photography Show website www.photographyshow.com
Profoto Ltd | Unit 21 Mcdonald Business Park, Hemel Hempstead, HP2 7EB| PHONE 01442 204919

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Master Photography

MARCH/APRIL 2016 7.95

PHOTOGRAPH BY KELLY BROWN

2 MASTER PHOTOGRAPHY MARCH/APRIL 2016

CEO, President & Editorial

Cover: by Kelly Brown. Kelly is

WIN A SIGNED LIMITED

Hurry entries close 31/08/2015

Pin sharp imaging, a wide colour

Trends: Boxing Clever, and Touchy Feely

The Photography Show Whats On

Advertising Feature: Metro Imaging and Fujifilm

Bullet Time and more than ninety-nine red, yellow

PHOTOGRAPH BY KELLY BROWN

BROUGHT TO YOU WITH THE SUPPORT OF

Meet the A-List we pick out some Merit and Award

From 3D to PhD Marek Czarnecki AMPA

A box of Victorian dimensional delights

For samples or to find your

Styled Portraits with Thornton & Howdle

Kelly Brown the Queen of Newborn photography

A Peace of the Action

Ian Lawsons Harris Tweed

Memorial: Stanley Burgin AMPA

Give them your Best Shot at Xmas!

Check site for Special Offers & Promotions

FREE UK P&P til Apr 30th Checkout Code MPA0304

MASTER PHOTOGRAPHY MARCH/APRIL 2016 3

Lets show em!

MASTER PHOTOGRAPHY MAR/APR 2016

ISSN 2042-0234 Vol 12 #6 published for the membership of

4 MASTER PHOTOGRAPHY MARCH/APRIL 2016

ith The Photography Show almost here, and 2016

Meet your magazine

A4 Coffee Table Books

New reduced pricing across the whole range

*T&Cs apply - contact cs@loxleycolour.com.

For more information

send your news items to editor@iconpublications.com

looking forward to seeing us and

Cool LED Lighting

Sigma launches sdQuattro, E-adaptors and superlens

6 MASTER PHOTOGRAPHY MARCH/APRIL 2016

of affordable used fast-focusing

aperture records the Sigma 50100 1.8 DC HSM Art at 779 is a

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Fujis 2016 is X-tra ambitious X-Pro2 and on

8 MASTER PHOTOGRAPHY MARCH/APRIL 2016

MORE THAN JUST A

Canon EOS-1D X Mark II Body

Canon EOS 5DS R Body

Canon EOS 5DS Body

Nikon D810 Body

Nikon D500 Body

1,396.00 D610 BODY

X-PRO 2 BODY 1,349.00 X-T1 GRAPHITE 919.00

ALPHA A7 II BODY 1,179.00 CYBER-SHOT

EOS 6D BODY 1,119.00 EOS 80D BODY 999.00

EF 50mm F1.4 USM

749.00 D5300 BODY

Visit us in store at any of our

14-24mm F2.8G AF-S ED

Manfrotto Tripods & Heads

24-70mm F4 ZA OSS Vario-Tessar T* FE