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Professional Photography Magazine June 2016 (Digital)

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LETTER FROM THE EDITOR

It’s surprising how many of the photographers we interview don’t actually like cameras. “You take the picture in your mind and you just need the bloody camera to capture it, but if I could work without cameras it would be ideal,” says Terry O’Neill on page 38. Bailey said the same back in issue five – the camera is merely a tool for their painter’s eye. And much like Bailey, O’Neill bursts from this month’s pages with his larger-than-life character. It’s a must-read. Bailey, Duffy, O’Neill… the Sixties produced some fashion photography gems. Rogues, yes, expletive-spluttering, certainly – but charming ones at that, and artists who truly pushed artistic boundaries in their field. In fact, photography’s past is chequered with charismatic characters: Capa, Mapplethorpe, Man Ray, Arbus... Which got me…

LETTER FROM THE EDITOR

THIS MONTH’S FEATURED PROS Just some of the photographers, industry experts and writers that feature in this issue… TERRY O’NEILL PAGE 38 In our exclusive interview, the Sixties star discusses his newly released book about his time photographing The Rolling Stones. RALPH GIBSON PAGE 16 The American art photographer discusses his early years, and the erotic, mysterious images that have captivated the photographic world. JESSICA RINALDI PAGE 34 As winner of the feature photography category of the Pulitzer Prize 2016, Jessica discusses her study of a family thrust into homelessness. STEVE SCHAPIRO PAGE 10 Ahead of his ‘Heroes’ exhibition, Schapiro tells us the story behind one of his best-known Andy Warhol and Edie Sedgwick images. KATE HOPEWELL-SMITH PAGE 86 The people photographer joins this month’s round table panel, discussing the…

You’ve got to love a 50mm prime

Trading it in would have felt like putting your least able child up for adoption. At The Photography Show, I had the pleasure of taking part in a panel debate on the ‘staging and manipulation’ of images in photojournalism. Everyone agreed the current situation was a mess, and it was probably going to get worse. As with all these conversations, a tight brief soon broke its moorings, and we had a decent old ‘bitch fest’. After that, I jumped on a Eurostar and stared lazily out across the French countryside, and this is what I concluded: you’ve got to love a 50mm prime. It’s hardly an Epicurean salute, granted, and it probably won’t change the morality I have just described. But there you go. Photography has mostly been, for me,…

You’ve got to love a 50mm prime

Story _ Behind _ Steve _ Schapiro

“Andy was so to the extent shy pretend that he once hired a look-a-like to to be him at a lecture.”Steve Schapiro This photograph was taken in 1965 when I was working on a story for Life magazine on Andy Warhol. I’d first met him in 1963 when working on a story on Henry Geldzahler, a curator at the Metropolitan Museum of Art, for The New York Times. The evening I took the photograph I accompanied Andy and his entourage – Edie Sedgewick, Henry Geldzahler and his assistant, Gerard Malanga – to a socialite art collector’s dinner. Collectors would like to show off Andy to their friends, it was a prestigious thing to do. Andy was so shy though, to the extent that he once even hired a look-a-like to…

Story _ Behind _ Steve _ Schapiro

“AT ONE POINT I THOUGHT THAT HE CAME FROM ANOTHER GALAXY”

The 1980s was an era of pop superstars and explosive albums... and a brilliant light amongst the stars was Prince. “At that time, he was above everybody,” says Jean Baptiste Mondino, the photographer behind the cover for his 10th album, Lovesexy. Mondino was at the heart of the 1980s and 1990s scene: as a music video director, he worked with everyone from Björk and Lenny Kravitz to Madonna and Bowie; as a photographer he shot a plethora of fashion editorials for Vogue, W, The Face and iD. Lovesexy saw Prince wrestle with moral and spiritual questions; the time-old battle between pleasure versus virtue. The image created for it was aimed with the accuracy of a cherub’s arrow to capture that clash. THE NINE-track album was released in 1988 with Prince’s…

“AT ONE POINT I THOUGHT THAT HE CAME FROM ANOTHER GALAXY”

GOD OF SMALL THINGS

Ralph Gibson is steeped in the history of modern photography. During a conversation, he’ll throw in, “Henri said this to me,” or, “Dorothea wanted that.” That’s Henri Cartier-Bresson and Dorothea Lange, both of whom Ralph knew very well. And he’s not name-dropping. He’s simply a veteran photographer reflecting on the lessons he’s learned and the geniuses he’s met during an extraordinary career that shows no sign of winding down. RALPH GIBSON is one of America’s most celebrated art photographers. He’s perhaps best known for his photographic books, which often contain erotic and mysterious undertones. But there’s nothing obscure or elitist about his exquisite work. Gibson focuses on fragments and details, and the processes involved in perception, rather than chasing some big story, personality or event. You could call him a…

GOD OF SMALL THINGS

PULITZER PRIZE 100 YEARS

IT WAS an image capturing an infamous encounter between union workers and Ford security in Michigan that originally inspired the creation of the Pulitzer photography category, inaugurated in 1942. And 74 years on, the awards continue to pay tribute to photography’s importance for social change. This year, Thomson Reuters and The New York Times shared the ‘Breaking News’ prize for their work focusing on the European migrant crisis. Portraying tragedy on an enormous scale, without reverting to stereotypical images, made the projects stand out for the judging board of five industry professionals. The distinctions between ‘us’ and ‘them’ were blurred by depictions of migrants in moments of calm and reflection, showing the ordinariness of people affected by extraordinary events. Instead of just inspiring pity, the projects focused on the courage,…

PULITZER PRIZE 100 YEARS

FILM STARS, ROCK STARS, ROYALTY & ROGUES TERRY O’NEILL

I was a young kid who could get people’s pictures in the newspaper and that was really important to these pop groups at the time. When I remind Terry O’Neill of a previous interview 25 years ago – when his answer to almost every question was simply “Michelle Pfeiffer” – a cheery London accent rings out down the telephone line. “Good God. Christ, that’s going back a long time… bloody hell!” It’s the distinctive voice of probably one of the world’s greatest portrait photographers, and a member of the cool gang of Brits who shook up the world of photography in the 1960s and beyond. With more than 50 years behind the lens, a marriage to movie star Faye Dunaway, and friendships with rock stars and celebrities, nothing seems to…

FILM STARS, ROCK STARS, ROYALTY & ROGUES TERRY O’NEILL

“I consider myself a conventional photographer,” declares Chloe Sells. “I use a field camera and shoot with film that is processed normally and printed in a darkroom.” That’s true, but it’s only part of the story, because the resulting intense and dreamlike images are anything but conventional. Vividly coloured, often overlaid with seemingly random shapes and textures, collaged together with other images and sometimes completely abstract, they are the work of a visual artist exploring the limits of what can be made using the traditional photographic process. Sells, 39, was born in Colorado, USA, and studied photography at the Rhode Island School of Design, then fine art at Central St Martins in London, graduating in 2011. She currently divides her time between Botswana, where she photographs, and London, where she…

LAURA EL-TANTAWY

WHEN LAURA El-Tantawy published In the Shadow of the Pyramids at the beginning of 2015, she was barely known in the world of photography. One year later her book is recognised as one of the most important photobooks of the past year; she’s been nominated for the prestigious Deutsche Börse Photography Foundation Prize; and her work is currently showing at The Photographers’ Gallery in London. In the Shadow of the Pyramids records the events in Cairo’s Tahrir Square in 2011, events in which hundreds of people were killed, events which led to the overthrow of Egypt’s president, Hosni Mubarak. The elation of the protestors in the square is offset by the grief of mothers whose children have been killed, where the energy and swirl of the nighttime crowds is balanced…

LAURA EL-TANTAWY

WHEN the world learned about the death of Cecil the lion last July – the beloved resident of Hwange National Park in Zimbabwe had been lured away by hunters, then killed for a trophy – outrage swiftly followed. Walter James Palmer, the Minnesota dentist who killed Cecil, became the target of online death threats. Investigations were launched on two continents to discover the facts behind the killing. Major airlines rushed to announce they would no longer fly such wildlife trophies on their planes. But while Cecil’s death has put a new focus on illegal poaching, other hunters continue to pursue their own lion trophies perfectly legally. That’s because another, less publicised form of trophy hunting exists – the sanctioned hunting, stalking and killing of lions that are bred, grown and…

If only Michelangelo could have used Fujifilm Wallpaper on the Sistine Chapel…

WHEN A NEW restaurant commissioned a motor-themed display for its bar area photographer Nick Turley turned to CC Imaging and Fujifilm’s Wallpaper Media for help. Michelangelo may have established the trend for ceiling art with his celebrated treatment of the Sistine Chapel, but the principle of creating rich visual entertainment above the heads of visitors is still going strong some five hundred years later - albeit in a 21st century format. While the newly-opened Waterwheel restaurant in Howden, Yorkshire might not share the same sweeping dimensions as the Vatican, this upmarket new venue nonetheless boasts a sumptuous interior that’s the setting for a remarkable overhead artwork, designed and created by photographer Nick Turley. “There’s a motoring theme running throughout the whole restaurant,” says Nick, “and we were briefed by our…

If only Michelangelo could have used Fujifilm Wallpaper on the Sistine Chapel…

GETTY SUES GOOGLE GETTY has filed a formal complaint with the EU’s antitrust commission, claiming that Google is promoting the piracy of copyright photos by scraping images from third-party sites and making them available to download. Specifically, Getty says it’s seen a big drop in visits since 2013, when Google started including high-resolution images on Google Images. The stock image provider argues that this policy has “promoted piracy, resulting in widespread copyright infringement”. “Because image consumption is immediate, once an image is displayed in high-resolution, large format, there is little impetus to view the image on the original source site,” Getty’s complaint reads. “These changes have allowed Google to reinforce its role as the internet’s dominant search engine, maintaining monopoly over site traffic, engagement data and advertising spend.” Getty’s complaint…

JUNE Paris Henri Cartier-Bresson Eighty-three images captured between 1929 and 1985, providing an extraordinary insight into the streets of the city and its people. Opening concurrently with ‘Alberto Giacometti: A Line through Time’, the exhibitions bring together two of the greatest artists of the 20th century. Sainsbury Centre, Norwich £7 [Until 29 August] Dawn of the Photograph Henry Fox Talbot Discover how Henry Fox Talbot’s invention of the negative-positive process changed the course of photographic innovations in the 19th century and immortalised him as the father of the medium. Science Museum, London £8 [Until 11 September] Mona Hatoum Mona Hatoum This is the first major survey of Hatoum’s work in the UK, covering 35 years from her early radical performances and video pieces to sculptures and large-scale installations. Born in…

EXPOS & FESTIVALS

3 JUNE-30 AUGUST PhotoEspaña Various locations, Madrid The largest cultural event in Spain, this festival of photography and visual arts has an extensive awards and exhibitions programme. 10-13 JUNE Photobook Bristol Bristol, England A mix of established and emerging photographers, collectors and publishers congregate in this three-day celebration of the photobook. 11-12 JUNE Vienna Photobook Festival Vienna, Austria The European event for photobook aficionados, collectors, publishers, photobook dealers, photographers and the curious public. 4 JULY-25 SEPTEMBER Rencontres d’Arles Various locations, Arles A renowned annual summer festival dating back to 1970, with shows of contemporary photography at historic sites. 27 AUGUST-11 SEPTEMBER Visa Pour L’Image Various locations, Perpignan, France This international festival of photojournalism includes a week of symposiums and talks, attended by all the main photo agencies, as well as…

1 Dark Rooms Nigel Shafran This photobook sees former fashion photographer Nigel Shafron capture a series of banal scenes with a poetic grace. From the artfully un-arranged contents of supermarket conveyor belts to the quietly observed vistas of domestic ordinariness, these images are loaded with a haunting human presence. Texts by David Chandler and Paul Elliman make the connections between the five seemingly unconnected sets become clearer. [Publisher] Mack [Price] £35/$50 [Web] mackbooks.co.uk 2 Kosen John Davies Documenting the five years it takes to become a geisha, John Davies made repeated visits to Kyoto to shoot Kosen from the age of 15 to 20, as she completed her Maiko. The result is a stunning collection of images, exquisitely presented in this book. Working with top designers, Davies used an ‘exposed’…

I never really knew much about Watson nor his work until I stumbled across a portrait of Alfred Hitchcock holding a dead turkey, almost a black comedy Christmas card. Being a movie buff, I looked into the origins of the image and who took it. I then found this amazing back catalogue of the Scottish photographer’s work. Cyclops was published a couple of years after my book Degrees came out, so I guess it was around 1997. I think Watson’s work has an edge of early Bailey, Avedon or Penn. Maybe that’s why I like him, as he’s a combination of all three – with a hint of Billy Connolly.…

IS RENTAL MENTAL?

Serious photographers have never had it so good in terms of equipment. SLRs such as the Canon 5DS and Nikon D810 offer incredible levels of resolution for under £3,000, while sports photographers are spoilt for choice at this year’s Olympics with the Canon 1DX Mark II, Nikon D5 and other imaging athletes. Big camera makers vie to offer cashback promotions and similar sweeteners, and Amazon and other major online retailers are locked in a supermarket-style price war. So you might not expect anyone, aside from a few specialist pros, to still be renting bodies and lenses in 2016. Yet surprisingly, the rental market is big business in the UK, with a number of players. Major retailers such as Calumet and Wilkinson Cameras have long offered rental services as a successful…

IS RENTAL MENTAL?

Renting can be cost-effective

I’m a Canon user and buy L-series lenses, so every piece of kit is expensive. So why do you rent? “I’m a Canon user and buy L-series lenses, so every piece of kit is expensive. Renting lenses helps me decide if glass is right for me or not before buying it.” Are there any other good reasons for pro photographers to rent? “Rental is also very useful when you have a piece of kit being repaired or serviced and the show must go on. Studio hire also applies here, when I’ve needed a fit for a specific client brief, whether that be a location near the client or the construction of a larger set.” Does it work out more cost effective than buying the gear? “Some people think that if…

Renting can be cost-effective

PROUD PROFESSIONAL OR PESKY PREDATOR?

I go in and there’s an immediate attitude of anger. I have to go on the charm offensive every time. Tell a new acquaintance that you’re a photographer and chances are they’ll think you’re a pushy paparazzo or an annoying wedding photographer – or perhaps the next pervert to make headlines when a model speaks out about sexual harassment, as supermodel Cara Delevingne did recently when she told The Times that “gross, male photographers” go into the industry purely for the girls. Let’s face it: it isn’t a great reputation. So we decided to bring together a panel of photographers and a photography historian to discuss how we might change the way the public views the working pro. There seems to be a one-box-fits-all perception of professional photographers in the…

PROUD PROFESSIONAL OR PESKY PREDATOR?

MOVING WITH THE TIMES

One minute should be enough for people to decide whether they want to visit my website or not. Right now, when potential customers or clients visit your homepage, are they greeted with a video? We’d guess not: few photographers are currently using this marketing technique, and that’s not hugely surprising. After all, if you specialise in still images, video doesn’t seem like the most obvious thing to put on your website. But the fact is, if done right, a welcome video has the potential to have a huge effect on the success of your photography business. That’s certainly been the case for Nancy Berger of San Antonio, Texas, whose welcome video at nancybergerphoto.com led to a surge in bookings for her family portrait services. The five-and-a-half minute video consists of…

MOVING WITH THE TIMES

Services make their pitch

REBECCA BROOKS OF VIDEO AND SLIDESHOW MAKER ANIMATO “Animoto has been around for almost nine years. Photographers were really the first ones to embrace us, because it’s so easy to use. We have over 100 different video styles designed by our motion designers, who used to work in TV and film, so your video will look very professional. Plus we offer more than 1,000 copyright-free songs, and a great Facebook group called the Animato Video Marketing Challenge, where you can get feedback on your video from other photographers. We’ve also recently announced an integration with Adobe Creative Cloud’s Lightroom CC.” animoto.com/photography OREN BOIMAN OF VIDEO APP MAGISTO “Tools like Premiere or Avid are extremely complicated, but Magisto automates the process for you. So it gets you 80 per cent of…

Services make their pitch

The personal touch

Why did you make a welcome video to promote yourself? “Selling art is very personal, and I think it’s important to have a personal connection when buying something that’s created by a ‘living artist’. “I’ve done a lot of art events and gallery shows, and what makes them fun to do is the ability to connect with people that enjoy my photographs, as well as the ideas about travel, freedom and happiness behind them. When selling online, that connection is somewhat lost, so I’ve attempted to recreate it using video. “My welcome video for Creative Windmill Fine Art Photography (at vimeo.com/118762490) establishes a personal connection, as much as is possible on a website, and invites people to start that relationship with an artist that over time will help them with…

The personal touch

“People know what I look like, how I interact, how I laugh”

Why did you create a welcome video for your website? “I wanted potential clients to see what I’m like while working, to get a feel for what it’s like for them to be in front of my camera on their wedding day. My welcome video shows me at work, shooting a bride and groom.” How did you go about making it? “At the time, I wasn’t in a place where I could invest a lot of money in a full videographer and his services. Instead, I asked a friend of mine who was artistically inclined to just take a few video clips for me and piece them together. “He attended a wedding with me as a third shooter and would photograph me working at random increments throughout the day. “Within…

“People know what I look like, how I interact, how I laugh”

I’VE LIVED here for 11 years. I don’t think we’ll ever leave. It was a derelict space, originally a metal works that became a furniture warehouse. It was hard to find that in 2000: I’d been looking for years. God knows what it’d be like looking now. It has been a labour of love. I had to change the usage to live-work. It took four or five years to sort out, but it’s very personal, a quirky, eclectic space. It just about sums me up: it’s got a Palm Springs feel and the Western things. Upstairs it’s more like a French farmhouse. And you have no idea that it’s off Royal Holloway Road, because it’s very peaceful and very quiet. I think the whole thing is unexpected. I’ve been photographing…

The brand new, 100Mp CMOS back enables the XF to deliver its true potential. Medium-format modular camera / £34,400 / $48,990 / www.phaseone.com MEDIUM-FORMAT modular cameras often feel clunky, unwieldy and rather basic. Launched by Phase One last year, the XF set out to change all that. The relatively sophisticated camera came with a choice of three new ‘IQ3’ backs, offering a choice of 50Mp, 60Mp or 80Mp. Now the bar has been raised by the introduction of a brand new, 100Mp CMOS back. Developed with Sony, this full-frame back breaks through any boundaries imposed by previous IQ3 backs and enables the XF to deliver its true potential. It bypasses the crop factor of the 50Mp back and, as well as ushering in an incredible 101,082,464-pixel image size,…

SONY FE 85MM F/1.4GM

An autofocus system is built into the lens that uses two sensors rather than the usual one. Lens / £1,500 / $1,800 / www.sony.com UNTIL NOW, there have only really been two own-brand options for portrait primes on a Sony A7 series body. One is the FE 90mm f/2.8 Macro G OSS, which is really a specialist macro lens without a particularly wide aperture. The other is the Sony 85mm f/1.4 ZA Planar T* A-mount lens, which can be mounted via an adaptor. Both solutions are far from ideal. This new GM (G Master) lens aims to take portraiture to a new level, while making the most of high-resolution bodies such as the A7R II. Like in the 24-70mm GM lens, the 85mm is beautifully made and features…

SONY FE 85MM F/1.4GM

The quality of video and stills is excellent with good vibrant colour and plenty of tonal range. Quadcopter camera / £1,229 / $1,399 / store.dji.com DJI HAS been instrumental in the recent innovation and popularisation of drones. The company’s Phantom range found huge popularity in the hobbyist sector and with the launch of the Phantom 3 Professional adding a 4K camera and realtime live view video, it found equal appeal in the photographic industry. Now the Phantom 4 refines what the Phantom 3 had to offer, in a drone that’s far better equipped to appeal to the professional market. The Phantom 4, which will sit alongside the Phantom 3 range for the present, features more camera options, a new lightweight magnesium alloy body, better integration of the camera…

Audio recorder / £459 / $600 / www.tascam.com IT’S A known issue that SLRs and CSCs just aren’t that great at recording quality audio, and if you need to lay down a track (or four) then an external audio recorder is essential. The DR-701D is a purpose-made solution that fits neatly between your camera and tripod. It features four-track audio recording, four XLR ports that record to tracks one to four, a stereo mini jack that utilises tracks one and two, camera audio in and out, and a headphone jack. Audio is captured in either BWF or WAV file format, with the latter recorded at 44.1k/48k/96k/192k Hz, 16/24-bit, and there’s a wealth of other quality settings that are easily selected through the front LCD panel and dials. All…

LEE FILTERS SUPER STOPPER

Filter / £103 / $150 / www.leefilters.com LEE FILTERS already produces the Big and Little Stopper neutral density filters that enable a 10- and five-stop increase over exposure times. These filters are now joined by the Super Stopper, which increases exposure by 15 stops. This new filter is available in the Lee 150mm, 100mm and Sev5n ranges and comes packaged in a handy protective metal case. As with the other Stopper filters, the Super slots snugly into the Lee holder, which is bought in addition to the filter. On one side of the filter is a soft foam pad that helps to prevent any light leakage between the holder and filter. Light leak can be a real problem doing long exposures, so once the filter is installed into…

LEE FILTERS SUPER STOPPER

THE LONG VIEW LEICA M 240

Leica’s stripped-back but elegantly designed M-series rangefinders are coveted for their finely-tuned design and mechanics. The exceptional M-mount lens range that accompanies them, of course, adds yet more appeal. But was the successor to the M9 worth the £5,100 price tag? THE TYP 240 was announced in 2012 and is simply called the ‘M’, with the ‘Typ 240’ written discreetly on its base. It was Leica’s fourth digital rangefinder, although film versions have been around since the mid-20th century. It was the successor to the M9, with its full-frame, 18-million-pixel, CCD sensor, compatibility with Leica lens ranges, and famous Leica aesthetic. It was a much-loved recipe, and the Leica M (Typ 240) was updating it, so how could it fail? The new technology included a new sensor and extras you’d…

THE LONG VIEW LEICA M 240

Women: be a ‘pushy bastard’

I am a photographer, and I am a woman. Does that make me a ‘female photographer’ and my colleagues ‘male photographers’? Is professional photography sexist? At the last count in 2015, the UK photography industry is 82 per cent male. It varies slightly across different specialisms, but in every area, men outnumber women. Photojournalists are 90 per cent male. This doesn’t surprise me; I’ve been in it for about 20 years now. But, aside from the global problem of female inequality, my question is: why are more photographers men than women, and does it matter? Our industry won’t change unless we make it. Women need to be louder. Are men better at taking pictures than women? No. There is Leibovitz, there was Arbus, there is Mann, there was Day. We…

Women: be a ‘pushy bastard’

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