The document is a magazine called Professional Photographer from April 2011. It includes articles about photographers Michael Thompson, August Sander, and Michael Ochs. It also discusses upcoming photography events, lighting techniques, night photography seminars, and features portraits and exhibitions. The magazine provides information and inspiration for professional photographers.

1. PROFESSIONAL PHOTOGRAPHER APRIL 2011 ● MICHAEL THOMPSON ● AUGUST SANDER ● MICHAEL OCHS ● THE HASSELBLAD DILEMMA ●
WWW.PROFESSIONALPHOTOGRAPHER.CO.UK INSPIRING • INFORMATIVE • HONEST • ESSENTIAL
PROFESSIONAL SINCE 1982 APRIL 2011 ONLY £3.99
IF YOU WANT TO KNOW HOW TO BE A SUCCESSFUL
PRO PHOTOGRAPHER
YOU NEED TO BUY THIS MAGAZINE
Reese Witherspoon
by Michael Thompson
“Some people
think that if they
change the names
of things, the things
themselves will
have changed, too.”
Anon
IN THIS ISSUE
THE TRUTH ABOUT SHOOTING PORTRAITS, BEAUTY,
FASHION & REPORTAGE
PLUS: THE HASSELBLAD DILEMMA RESOLVED

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Visit www.handsonahasselblad.com or call us on 020 8731 3250 to find out more.

3. welcome
april
This month I’m not going to be
able to say as much as usual
about the latest issue, but hey, I guess that’s not such a
bad thing, when design and photography define a page.
I never get bored of talking to photographers about
photography or listening to what photographers have to say;
it’s what feeds the content of the magazine and dictates how and
why we include what we do. Any of our regular readers will
know that this is not a magazine created to a format.
Each month we try to bring together a whole host of stuff that
responds to what we see and hear. We also try to make sure
we listen and talk to people working in all areas and at all levels
of success, from iconic photographers such as Michael
Thompson on Page 54 to people just starting out like the
Haarala Hamiltons on Page 88. We have photographers
filled with passion and determination, such as Maciej
Dakowicz on Page 64, and humour and commitment,
like Peter Dench on Page 36, as well as those
THIS IMAGE: MICHAEL THOMPSON
EDITOR’S IMAGE: MATT HALSTEAD
who understand the business and future of
photography, such as Clive Booth on Page 30.
These are just some of the photographers
who help to define our community which I hope
you also feel part of. Welcome to the club.
Grant Scott, Editor

5. NEW PHOTOGRAPHY
contents
april
8 Portfolio
The best of your work posted on to our online portfolio.
53 Exposure
Fashion photographer Ellen Von Unwerth shoots for
wedding dress designer Jenny Packham.
NEED TO KNOW
25 Being There
PP Editor Grant Scott recalls a shoot at the Moët
& Chandon chateau in France where he was caught
in the crossfire between a non-English-speaking
photographer and a fashion editor.
30 Dispatches
Clive Booth gears up for the high-octane event
that is London Fashion Week.
36 The Dench Diary
The sometime working pro travels to Norway to
teach up-and-coming photography students.
42 The World of Convergence
Don’t miss film maker John Campbell’s regular
news-packed take on the world of convergence.
45 Frontline
We talk to Roger Tooth, head of photography at
The Guardian and The Observer.
51 Guess the Lighting
Ever seen a great image and wanted to know how it
was lit? Ted Sabarese explains all.
64 The Year of Living
Dangerously
Peter Dench catches up with the owners A portrait of David Bailey by Norwegian photographer
of the Third Floor Gallery in Cardiff to discover what Pål Hansen. Read our interview with Pål on page 74. 23 Diary
it’s really like to run a gallery. Our pick of this month’s most exciting photographic
exhibitions around the UK.
80 August Sander is Important... 70 It’s Only Rock ‘N’ Roll
Robin Gillanders explains why the German portrait but I Like It 98 Working the System
photographer matters so much. Paul Middleton talks to Michael Ochs, possibly the PP Editor and longtime Hasselblad user Grant Scott
. greatest archivist of music images in the world. discovers that going back to the legendary brand is
93 Talkin’ Photography Blues all about asking yourself questions.
Following an overwhelming response to his article 74 What Lies Beneath
on loneliness last year, Grant Scott revisits the Julia Molony meets Pål Hansen, the Norwegian 103 Stop Press...
subject of depression among photographers. photographer who sees beyond the glamour and The latest essential news, gossip and kit from the
glitz of the celebrity world he shoots. pro world.
114 Legend
We look at the life of American photojournalist 88 Supermarket Sweep
James Nachtwey, who has turned his lens on war Cass Chapman talks to Max and Liz Haarala KEEP IN TOUCH
and disaster for more than 30 years. Hamilton, whose personal project on The People’s
Supermarket is now bringing them new work. 28 Podcast
Free photographic discussion for the masses.
INTERVIEWS WITH... NEWS & REVIEWS 49 Feedback
54 God is in the Details Your thoughts, your opinions, your page.
14 Click
PÅL HANSEN
PP Editor Grant Scott speaks exclusively to fashion
photographer Michael Thompson about his stellar This month’s line-up of the best news, dreams, 96 Subscribe
career and what it was like to assist Irving Penn. themes and photographic schemes. Check out our latest subscription offers.
www.professionalphotographer.co.uk 5

7. friends
april
Robin Gillanders Paul Middleton Roger Tooth Michael Thompson
Lecturer in photography Writer Photojournalist Photographer
Robin Gillanders is Reader in Paul, a part-time football and music A press photographer who cut his Michael has shot celebrities for
Photography at Edinburgh Napier writer, is a full-time fan of late folk teeth on the Hackney Gazette, Roger magazines such as Vogue and Vanity
University. He is also a practising singer Phil Ochs. It was through this is now head of photography for Fair, as well as campaigns for luxury
portrait photographer and has link that he gained access to his The Guardian, The Observer and brands including Emporio Armani
several works in the collection of the brother, the music archivist Michael guardian.co.uk. Since he joined and Chanel. At the start of his career
Scottish National Portrait Gallery. Ochs, whom he interviewed for the The Guardian as assistant picture he assisted Irving Penn, having
The author of several books on feature on page 70. Describing the editor the industry has embraced knocked on his door to find it being
photography, for PP he looks at the incredible archive as “a hobby that new forms of multimedia, changing opened by the legendary
work of the German portrait got out of control”, Ochs began the commissioning of photography. photographer himself. From there
photographer August Sander – who collecting photographs while In our Frontline feature on page 45 his career went into orbit. On page
is the subject of a major exhibition working at Columbia Records in the he discusses the changing face of 54 he talks to PP Editor Grant Scott
in Scotland – and explains why his late 1960s. Paul runs the Phil Ochs photojournalism and what it takes about his approach and how being a
work is so influential. See page 80. website No More Songs. to be a press photographer. Virgo has influenced his style.
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www.professionalphotographer.co.uk 7

8. PORTFOLIO
Each month we share the best of the latest postings from our online portfolio with our magazine
readers, so for your chance to appear in Professional Photographer, go online and start
uploading your best images to www.professionalphotographer.co.uk. If you want to see more
of any photographer’s work, go to their online profile to access their website details.
ILIAN,
UK
SAM COOPER,
UK
SIMON TURNER,
UK
8 www.professionalphotographer.co.uk

9. JOHN LYNCH,
UK

10. PORTFOLI
JOANNA ZYSNARSKA,
POLAND
JOANNA ZYSNARSKA,
POLAND
PAUL THURLOW,
UK

11. TEAGHAN
McGINNIS,
CANADA
JOANNA ZYSNARSKA,
POLAND
SIMON HADLER,
UK
KRYSTIAN ZIELINSKI,
UK
www.professionalphotographer.co.uk 11

12. PORTFOLI
MATTHEW PAYNE,
UK
KRYSTIAN ZIELINSKI,
UK
JACOB GIBBINS,
UK
PAUL D SMART,
UK
SAM COOPER,
12 www.professionalphotographer.co.uk UK

13. seminars & events Calumet Spring Open Days
Come and meet us at our Spring Open Days in-store.
There’ll be lots of product demonstrations, promotions and experts will be on hand for advice. Of course we’ll
have sensor cleaning at each location too.
Our stores will be open from 10am until 6pm. We look forward to seeing you there.
Birmingham Wednesday 6th April Belfast* Wednesday 13th April Edinburgh Wednesday 20th April
Manchester Wednesday 4th May Drummond Street Wednesday 11th May * Belfast 10am-4pm
Studio Lighting
John Clements
If you need ultimate control of where and how you
place light, and or simply a need for sheer power,
then studio lighting is the answer.
And for many photographers it becomes a tool
they cannot be without.
During this event John shares his many years of
experience too show from the absolute basics,
2 how to choose and use studio lighting for simple
and repeatable, people, product and still-life Say it with Flowers
day photography. Jenny Lilly
Landrover –
event
Manchester Thursday 14th April Jenny is a widely published and exhibited stock An Introduction to
Location Lighting
Glasgow Thursday 5th May garden photographer, who has a one-woman
exhibition of her photographs of gardens which will
Night Photography
coincide with this seminar, at Birmingham Botanical Richard Southall
Experience Gardens and Glasshouses, where the photography
Richard is a prominent nationwide architectural
will take place.
Tim Wallace and interiors photographer who has been
The seminar will start at the Gallery at Birmingham producing images to the leisure, retail, residential
Join Commercial advertising and car Botanical Gardens and Jenny will discuss aspects of and constructions industries for over 23 years.
photographer Tim Wallace at an exclusive live her work as displayed in the imagery on view, He is a qualified college lecturer and a member
shooting event . followed by a session of photography at the Gardens, of the Association of Photographers.
Tim works with clients across the globe such as Birmingham Botanical Gardens and Glasshouses An evenings walking tour of Birmingham city
Aston Martin, Land Rover, Mercedes and Morgan. Westbourne Road, Birmingham B15 3TR centre where the participants will gain a basic
Well known within the automotive industry for his
Wednesday 1st June understanding of the techniques required for
creativity and open approach he is regarded by
successful night photography in a city
many as one of today's leading car
environment. A digital SLR and tripod will be
photographers with a unique and strong style of
essential.
work that inspires not only his clients but also
their customers, something that was reflected in Birmingham Thursday 14th April
2010 when he won International Advertising
photographer of the year.
Thursday 19th May & Friday 20th May
Landrover Experience, Lode Lane, Solihulll
West Midlands B92 8NW
Maximum 14 Attendees - book early to avoid
disappointment
Studio Lighting –
The Next Level
John Clements
Studio Lighting Seminar Level 3
Morning session 10.30-13.00 Portraits using
Creating lighting solutions for various face and
body shapes Creating the all important backdrop Home Studio An Introduction to
Lighting for mood, atmosphere and drama Further
posing and composition advice, hints and tips Paul Southall Successful
Bringing a variety of lighting effects together to
work as a ‘whole’
This workshop will show how to set up and use a
two head kit to achieve professional style portrait
Architectural
Studio Lighting Seminar Level 4
images. Photography
Afternoon session 14.00-16.30 The format of the day will be a demonstration of
Mastering your cameras characteristics and the use of the Home Studio Kits and the techniques Richard Southall
used to light a model to give varying styles of A seminar session followed by a walking tour
Morgan Motors lighting for its specific performance capabilities
Refining exposures through histogram usage Flash classic poses. of Birmingham where participants will gain a
basic understanding to architectural exterior
Photography Day metering for accuracy The best lighting tool
(accessory) for the job Recreating famous styles
A practical session will then follow for students to
photograph the model. photography.
For full details visit www.calumetseminars.co.uk On location shooting - working with ambient light A critique of the students images and a final Course will include discussions on the legal
Morgan Motor Company, Pickersleigh Road, Lighting or Post Capture? Choosing the best question and answer session will close the days aspects of street photography and the law.
Malvern Link, Worcestershire WR14 2LL solution workshop. A camera and tripod will be essential.
Tuesday 10th June Drummond Street Saturday 30th April Birmingham Thursday 28th April Birmingham Saturday 21st May
Check our new website for times and prices and more great workshops!
www.calumetseminars.co.uk
We now accept paypal for seminar and event bookings.

14. click Mick Jagger,
London, 1987.
the latest
photographic news,
dreams, themes
and schemes.
edited by Eleanor O’Kane
ANDRÉ DE DIENES
The seldom seen kid
It’s often the case with a long-dead
superstar that some information bubbles up
to the surface revealing just a little bit more
about their life than we previously knew.
Photographer André de Dienes was born in
Romania and came to America in 1938 to
shoot fashion, which he then abandoned to
concentrate on shooting nudes. In 1945 he
hired 19-year-old aspiring actress/model
Norma Jeane Dougherty for her first
modelling shoot and struck up a lasting
friendship with the woman who was to take
the world by storm as Marilyn Monroe.
Taschen has decided to reissue a book of
images by de Dienes showing a much
younger, more naïve (and less blonde)
Monroe than we are used to seeing.
André de Dienes, Marilyn, published by
Taschen, £24.99, ISBN: 978-3-8365-2710-1.
www.taschen.com
QUOTE OF THE MONTH
HERB RITTS
I like to make people
Honky Tonk Man from the 2010 exhibition spanning Jagger’s
whole career and shot by a variety of look as good as they’d
The subject of a retrospective at last year’s Les photographers, including Cecil Beaton,
Rencontres d’Arles photo festival in France, Mick Anton Corbijn, Herb Ritts and Andy Warhol. like to look, and with
Mick Jagger The Photobook is published on
Jagger is one of the most photographed rock stars
in the world, perhaps due partly to the longevity 3 May by Thames & Hudson, priced £14.95,
luck, a shade better.
of his career. A book by François Hebel – the ISBN: 978-0-500-289495. Norman Parkinson
director of the Arles festival – features images www.thamesandhudson.com
14 www.professionalphotographer.co.uk

15. “She was
absolutely nobody
at the time, just
a 19-year-old
girl who had just
started out
modelling a few
weeks before
that trip. She
was completely
sincere and
natural.”
André de Dienes

17. Jonelle, Los Shoot for Vogue,
Angeles, 2009. Paris, 1977.
ESTATE OF GUY BOURDIN. USED BY PERMISSION OF ART + COMMERCE
True colours
NEWS... One of the 25 bad boys from our
August 2010 issue, Guy Bourdin was
PAUL JASMIN
famous for his sophisticated use of
Run for cover colour and form. A new book from
Red Cover, the homes and teNeues, part of its Stern
interiors picture library, has FOTOGRAFIE Portfolio series, pulls
Dream on finally closed after hitting hard together the work of this influential
American photographer Paul Jasmin shoots for top times more than two years ago. photographer, whose collaboration with
magazines such as Vogue, W and Interview. In his In summer 2008 the agency shoemaker Charles Jourdan changed the
latest book, California Dreaming, he uses models he accepted a Company Voluntary face of fashion advertising. Breaking
found through his college job and friends to explore Arrangement, which saw the boundaries of what was possible in
the notion of dreams and desires, shooting in and creditors agreeing to work with the ad world, Bourdin’s images still
around his apartment on Wilshire Boulevard in Los Red Cover in a bid to keep the provoke extreme reactions. Love them
Angeles. The perfect weather, pure light and agency afloat. Those with images or hate them, their force is undeniable.
otherworldly air of the young models make for at the agency have been Stern FOTOGRAFIE Portfolio No. 61
beautiful images that embody the spirit of California. contacted by email and advised Guy Bourdin, published by teNeues,
California Dreaming by Paul Jasmin, published by to send hard drives to the £26.95, ISBN: 978-3-652-00002-4.
Steidl, £31.50, ISBN: 978-3-86930-030-6. Red Cover office for retrieval. www.teneues.com
www.steidlville.com
www.professionalphotographer.co.uk 17

18. © RICHARD SADLER FRPS, COURTESY OF THE NATIONAL MEDIA MUSEUM/SSPL
© MICHAEL MEYERSFIELD
AOP Gold and Best in
Category Award winner 2010.
Close call
The Association of Photographers has launched three of its
competitions: The Photographers, Assistants and Open
awards. The Photographers Award is open to full and
provisional AOP Photographers, while the Assistants Award is
open to AOP Assistant members to showcase the best imagery
from the next generation of professional photographers. As its
name suggests, the Open Award is for both members and
non-members. With no categories or themes, it recognises all
Life behind the lens forms of outstanding imagery shot by professionals and
amateurs alike. The deadlines for entry are: Photographers –
The National Media Museum in Bradford houses collections from some of 3 May; Assistants – 15 April; Open – 20 May.
the world’s greatest photographers and while its images might be familiar to For more information visit www.the-awards.com
us we don’t always know much about those who took the pictures. A new, free
exhibition at the museum, The Lives of Great Photographers, explores the
lives of the men and women behind the lens with images and histories of the
photographers themselves as we’ve rarely seen or heard them. The exhibition
encompasses a variety of photographers dating back to the early days of the
medium; portraits and work of legends such as William Henry Fox Talbot and
Edward Steichen, sit alongside images and work of street photographer
Weegee (pictured above in Coventry in 1963), Dorothea Lange, Tony
Ray-Jones and Larry Burrows. Famous for shining a light on how others
live, each photographer – none of whom is still alive – is represented by
a portrait, some of their remarkable images and personal effects such as
notebooks. It’s a great insight into the minds and motivation of those who
have changed how we see the world.
The Lives of Great Photographers, Gallery One, National Media Museum,
Bradford; 15 April-4 September; www.nationalmediamuseum.org.uk
TREAT
Out of Africa
YOURSELF... The National Archives has digitised the photographic collection
of Britain’s defunct Colonial Office, showing for the first time
To the treats! magazine some of the earliest images taken in Africa. The collection
blog. If anyone asks, includes pictures of Prime Minister Harold Macmillan draped in
© NATIONAL ARCHIVES
it’s research. leopard skin on his ‘Wind of Change’ tour in 1960 as well as this
http://treats image of his wife at a market in Accra, Ghana during that trip.
magazine.com/blog View the archives at www.nationalarchives.gov.uk/africa
18 www.professionalphotographer.co.uk

20. Ready to Go Pro?
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Profoto is available from AJ’s (www.aj-s.co.uk), Calumet (www.calumetphoto.co.uk) and Pro Centre (www.procentre.co.uk).

21. Eastern promise Work by finalists in Hasselblad’s 2010
Masters competition is now online to view
It doesn’t come much better and this year the public have a casting
than a backing from vote in the eventual winners. More than 2,500
Henri Cartier-Bresson. photographers from across the world
In 1977 the legendary French submitted images in a bid for the prestigious
photojournalist saw the work title. Just 110 have made the final
of Raghu Rai at an exhibition in cut and their pictures – in 11 categories –
Paris and recommended him are in online galleries at
to become a member of www.hasselblad.com/masters-finalists
Magnum. Since then, using
India as his backdrop, Raghu,
who was born in what is now
Pakistan, has created images
that perfectly capture the
spirit of this jam-packed,
chaotic culture. His first solo
UK show, at Nottingham
gallery New Art Exchange,
finally gives the British public
a chance to see Raghu’s India
in all its glory. Lens flare, alcohol, changing the world,
Raghu Rai’s Invocation to India is shooting portraits at f/1.2 and clothes with
at the New Art Exchange, lots of pockets; it’s all shit photojournalists
Woman at work, Nottingham, until 30 April. like, apparently. To find out more see
RAGHU RAI
Delhi, 1989. www.thenewartexchange.org.uk http://shitphotojournalistslike.tumblr.com
WIN
The Vanguard Alta Pro 283CT is Stop-n-Lock (ISSL) System
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great tripods go online to our Vanguard
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www.professionalphotographer.co.uk 21

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23. We have done the hard work for you this month and chosen our essential
three photographic exhibitions on show now or coming up soon. For a full list
of exhibitions and events visit www.professionalphotographer.co.uk
KIM GOTTLIEB-WALKER
TERRY O’NEILL
The Rolling Stones outside the Donmar
Warehouse Theatre, London,1963.
Bob Marley & the Golden Age of Reggae Terry O’Neill: 50 Years at the Top
Proud Camden, The Horse Hospital, Stables Market, Chris Beetles Fine Photographs, 3-5 Swallow Street, London, W1B 4DE
Chalk Farm Road, London, NW1 8AH 020 7434 4319; www.chrisbeetlesfinephotographs.com
020 7482 3867; www.proud.co.uk 23 March-23 April 2011
7 April-15 May 2011 A collection of vintage and modern prints will be on
Proud Galleries present Bob Marley & the show this spring to celebrate the 50-year career of
Golden Age of Reggae, a series of intimate photographer Terry O’Neill. Many previously unseen
photographs to mark the 30th anniversary of images, created from his original negatives, will be
the artist’s death. The photographs, taken in included in the exhibition. The work has only recently
1975 and 1976 by photojournalist Kim come to light after extensive research into the archives
Gottlieb-Walker – the wife of Island Records’ of the legendary British photographer.
head of publicity Jeff Walker – capture exciting Over the past five decades O’Neill has created
moments from Marley’s career. a different kind of celebrity portraiture with an intimate,
As well as images of the iconic reggae behind-the-scenes approach. His subjects have included
singer, the black-and-white collection some of the world’s most famous actors, actresses
includes other stars who brought reggae to and musicians, including Brigitte Bardot, Frank Sinatra,
the international stage, such as Peter Tosh, Elizabeth Taylor and the Rolling Stones.
Bunny Wailer, Toots Hibbert, Burning Spear The exhibition gives collectors and fans an exclusive
and Lee ‘Scratch’ Perry. opportunity to buy previously unavailable prints.
Deutsche Börse Photography Prize 2011
University of Westminster’s Ambika P3 Space, 35 Marylebone Road, London,
NW1 5LS. 0845 262 1618; www.photonet.org.uk
5 April-1 May 2011
Thomas Demand from Germany, Roe Ethridge and Jim
Goldberg from the USA, and Elad Lassry from Israel have
been short-listed for the Deutsche Börse Photography
Prize 2011 and examples of their work can be seen at an
exhibition this spring.
The £30,000 first prize goes to a photographer of any
nationality who has made the most significant contribution
to photography in Europe during the previous year.
The winner will be announced at a ceremony on 26 April.
The awards, now in their 15th year, are run by the
Photographers’ Gallery, but the 2011 exhibition will be
shown at Ambika P3 at the University of Westminster while
ROE ETHRIDGE
the gallery is closed for redevelopment. The prize is one of
the most prestigious of the international arts awards. Thanksgiving, 1984.
FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE
PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk

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25. Lost in France... things had started to go wrong. As always on a problem. I had to deliver to the client the images
Torrential rain, a French editorial shoots, budgets were tight but this was to he was expecting and whatever that took was
photographer who didn’t speak be a magazine supplement created in association
with Moët & Chandon (well, they were paying for
okay with me. My stance on this matter instantly
gained me the photographer’s respect. His name
English and a fashion editor at it on the basis of the concept I had sold to them), was Michel Momy and he is one of the
war with the photographer were so the expectations of everybody involved were
slightly higher than for the standard magazine
photographers from whom I have learnt the most
throughout my career. He had started out as a
not the best ingredients for a shoot. Unfortunately, they were not impressed by photographer while a French punk. He had shot
the local Ibis. The photographer had refused to for i-D magazine in the UK since its launch and
successful weeklong shoot. check in and instead found himself and his had an approach and personality that suggested
But they were just some of the assistant what he considered to be a much more it was his way or the highway. A man’s man,
appropriate hotel at considerably higher cost. proudly French and at home with the anarchic
challenges that faced PP Editor “The magazine will have to pay,” he had declared side of his personality, he was a photographer for
Grant Scott when he arrived with a Gallic shrug. Everyone else had checked
into the Ibis but no one was happy there. On the
whom creating the best images possible was
everything. He spoke hardly any English and I
at the Moët & Chandon chateau. Monday morning the French contingent had speak very little French, but we instantly got on
woken up to both black, rain-filled skies and the like a house on fire.
realisation that the fashion editor was staying Locations decided upon and models dressed,
It is often said that at the chateau. They were now very unhappy. we started to shoot the first of the fashion stories.
photography is a The first three days were meant to be devoted to There was a definite English/French divide
universal language but shooting three fashion stories based around light but we were shooting and moving forward.
that’s not a lot of use spring frocks and bright spring days before the Then at one o’clock on the dot Michel stopped.
when you’re squeezed fashion editor returned to the UK and the models It was his lunchtime and he expected a French
into a location bus went back to Paris, leaving the photographer and lunch: hot, well cooked, with bread, wine and
with a truculent French myself to spend the last day shooting still-life coffee. This was the final straw for the English
photographer refusing setups within the chateau. Heavy rain, cold days fashion editor, who was used to working through
to take any pictures, and no communication, even without the lunch and grabbing a sandwich when possible.
a fashion editor at her wits’ end, two language barriers, meant that this was not going This was not Michel’s way and he strode off to
physically shaking French fashion models to happen. It was time for me to adopt the role of his car to go in search of the lunch he expected.
(I presumed fear and cold were the reasons international peacekeeper. Much to the fashion The French crew did not expect to go with him,
for that) in the sodden grounds of the Moët editor’s disapproval I agreed to pay for the they were happy with the food they had picked up
& Chandon chateau in the French photographer to stay in his hotel of choice. from a supermarket on the way to the location.
countryside on the edge of the champagne Instantly he was happier and agreed to leave the I quickly followed Michel and jumped into his
town of Épernay.
I had got to the shoot later than everyone else
and by the time I arrived on the Monday morning
there was already stalemate. The atmosphere
“I had to deliver to the client the images he was
was as cold and depressing as the weather and
we still had four days to go.
expecting and whatever that took was okay with me.
The fashion editor had arrived the day before My stance on this matter instantly gained me the
and had no problems checking into the chateau
where she was staying as a guest of honour. photographer’s respect.” Grant Scott
The photographer had pulled together the rest of
the team, including the models, from people he location bus with me to start scouting possible car. He gave me a look that said he approved
liked working with (all French-speaking only) and locations in the rain. We were off and running. of my decision.
they had driven up from Paris the previous day to The photographer was never going to be the In a small square in Épernay we found a
check into a hotel in the town. And that is when fashion editor’s best friend but to me that wasn’t family-run corner restaurant, which from the
www.professionalphotographer.co.uk 25

26. outside looked depressing and definitely the stylist and the photographer. The images they I have always thought of still-life art direction
wrong choice. Michel, however, was convinced create on a shoot should come from their like playing soldiers as a child. You move things
this was the right place for lunch and he strode collaborative effort and vision. The art director around with an idea of where you want to put
across the square and into what was a cold, should be there as a creative and client barometer, things but there are no rules. You are
dusty, empty place which felt as if it had been not as a dictating force. At least that’s how I have moving things and positioning them in ways that
dreamt up by a set designer hoping to create the always liked to behave on shoots. There is nothing make sense only to you. Then when you get
most perfect caricature of a provincial French worse than a pushy art director on a shoot, things right you sit back and admire your display.
The judgments you have made are based solely on
storytelling and aesthetics and that was the
“He was constantly experimenting with composition, formula, which Michel and I brought to our
dinner party still lifes. We found a table near a
never content with one approach to framing. window which gave us some beautiful and soft
natural light, and I began to create the setups from
I had never seen anybody work like it and it was the glass and ceramics we had been supplied with.
inspirational.” Grant Scott Having worked on innumerable still-life shoots in
the past I had a pretty good idea of what worked
and the importance of having odd numbers of
restaurant. An old lady, wonderfully appropriate being disrespectful to the photographer and the items and not using too many props. Less is more
for the interior, came out to greet us from the other creatives involved. definitely applies to still-life shoots. What I
kitchen. Michel ordered for both of us before we However, on this occasion it was obvious that wasn’t expecting was Michel’s photographic
had even chosen a table and sat down. We were Michel was never going to work with the approach to what I’d created. Hasselblad in hand
to have steak and red wine, a Saint-Émilion. fashion editor and vice versa, so I had no choice and with no sign of a tripod, he leapt and bounded
We sat and ate. The steak was fantastic, as was but to step in. Again we scouted locations around the setup in exactly the same way as he
the wine, and we tried to communicate through and worked through our shoot list. At one o’clock had photographed the models over the previous
broken snippets of each other’s national language. on the dot, Michel again mimed the actions of three days. It was still-life photography as
A strong coffee and it was back into the rain and eating and drinking to me and off we went to an extreme sport as he battled with the setup and
the chateau. our little restaurant in the town. Again he ordered light to get what he perceived to be the perfect
The team was waiting; the French very chilled steak and wine from the old lady out of the frame. He didn’t even shoot a Polaroid; he trusted
and relaxed, the fashion editor very cold and kitchen. Our conversation was just as stilted, we his instincts and made still-life photography fun.
wound-up. We finished shooting all of the setups drank coffee and then returned to the shoot. Of course it goes without saying that come one
we needed, despite the weather. Michel was The next day was just the same, a morning of o’clock we were off to what had become our
a whirling dervish with a Hasselblad. He would fashion images around the grounds with regular lunchtime location and meal; only this
run, jump, lean and do whatever it took to get the a one o’clock stop for the same lunch in the same time our lunch was both longer and more relaxed
image. He was constantly experimenting with restaurant. By the end of Wednesday we had shot than on the previous days. We had become firm
composition, never content with one approach to all of the fashion setups we needed and it was friends through adversity and our joint passion
framing. I had never seen anybody work like it time to say our goodbyes to the French team of for photography. We didn’t speak each other’s
and it was inspirational. He did all the work and models, hair and make-up, and to the fashion language but it didn’t actually matter.
required little from the models other than editor, who could not wait to escape back to We polished off the remaining shots that
expecting them to look great and help him create London. Just Michel and I were left to spend afternoon and then Michel drove me back to
his images by listening to minimum instruction. a day shooting still-life setups of place settings Paris. The rain had started again and I slept for
At the end of the day everybody went off to and glasses in the interior of the chateau. most of the journey, exhausted from the stress,
their designated hotels. I went to the Ibis It is never ideal to ask a photographer who tensions, work and wine of the past four days.
and immediately understood why Michel had not specialises in fashion, beauty and portrait work to My friendship with Michel continues to this
wanted to stay there. The next day the weather shoot still lifes as well and when commissioning day. We have shot together all over Europe on all
had improved and everybody was getting on well; it is something which you always do your best to sorts of shoots and campaigns. But wherever
everybody, that is, except the fashion editor, avoid. Unfortunately, in those days and even we have been and whomever we have been
who was never going to be persuaded by Michel’s more so now, budgets dictate and you are left working for, come one o’clock I always get the
anarchic charms. with no choice. look that says “time for lunch”. PP
On fashion shoots the strong relationship Michel took it all in his stride and wasn’t
should always be between the fashion editor or bothered in any way about shooting the setups. www.michelmomy.com
GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK
26 www.professionalphotographer.co.uk

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28. podcast
ON YOUR
WAVELENGTH
Every month we record a free to download podcast in which we discuss, debate and talk around
a subject featured in the magazine. We post them on our website and you can subscribe for
free and download them via iTunes. So if you haven’t listened in yet, it’s time to join us online.
THIS MONTH’S PODCAST business and photography skills go hand in November Issue
April Issue hand, discuss potential areas where seeking SEXY OR SEXIST?
GETTING YOUR WORK EXHIBITED professional advice could reap rewards and ask Grant Scott, Eleanor O’Kane and Peter Dench
In the latest podcast, the PP team of Grant Scott, if current photography students are aware of discuss an issue that often crops up in the
Eleanor O’Kane and podcast regular Peter Dench the importance of business skills when choosing industry: why some images are seen as sexy
discuss the world of exhibitions. As curator and a career as a professional photographer. while others are labelled sexist. Does it depend
exhibitor respectively, Grant and Peter share their on context or are there other factors at play?
experiences and the team discuss the right way to January Issue
make an exhibition of yourself. ICONS OF PHOTOGRAPHY October Issue
PP Editor Grant Scott and deputy editor Eleanor THE SECRETS OF BEING A PRO
AND THOSE YOU MAY HAVE MISSED… O’Kane are joined by regular columnist The team discuss the secrets of professional
March Issue and photojournalist Peter Dench to discuss the photography. Veteran pros Grant and Peter relate
THE PERSONAL PROJECT SPECIAL importance of learning from the masters, and their experiences of working alongside other
The team grapple with the importance of creating debate the point at which they believe a photographers and how these have influenced
personal projects for sustaining and developing photographer becomes an icon. The team talk their working practices. With the days of the
a photographer’s career. Should a photographer about their personal favourites and explain why communal darkroom and lab long gone, the
approach the project in the same way as a they think their choices deserve iconic status. opportunity to share news and advice in person
commission or adopt a different tack? They look has disappeared. The team look at new ways of
at photographers who have got it right and ask if December Issue networking, including the PP’s United States of
there are too many introspective projects. PHOTOGRAPHIC COMPETITIONS Photography support group.
Grant Scott is joined by Eleanor O’Kane and
February Issue photographer Peter Dench to discuss the world of You can subscribe for free and download the
THE BUSINESS SPECIAL competitions, the contentious Taylor Wessing podcasts from iTunes by typing professional
The regular podcast team talk tax, finance and Photographic Portrait Prize and whether there is photographer into the search tab or listen via
marketing. They ponder whether possessing such a thing as a formula for winning. www.professionalphotographer.co.uk. PP
28 www.professionalphotographer.co.uk

30. dispatches Clive Booth tales from the frontline of professional photography
According to the British Fashion Council’s putting on the five shows I am going to cover over
Value of Fashion Report 2010, the UK fashion the next three days: Osman, David Koma, Holly
industry contributes £37 billion to the Fulton, Mark Fast and Emilio de la Morena.
economy and directly employs 816,000 As usual it’s chaotic and space is at a premium.
people, making it the largest employer of all Billy fights to get us a table, while Michael
the creative industries. It is similar in size to organises a tiny area in Charlotte’s office for the
the food and drink service and telecommunication laptop card reader and twin G-Tech portables.
industries, and bigger than the wholesale and I start to assemble the DSLR equipment, Zacuto
retail auto industry, sports activity, chemical Crossfire, Z-Finder x2.5 and follow-focus system.
manufacturing and advertising/video sectors. I’ve fitted the zip gears (a gear ring which hugs
So here I am, ready to shoot at the industry’s the lens) to five of my favourite lenses: 24mm
This month: top event: London Fashion Week. All the
equipment is packed, batteries charged, and lenses
and sensors cleaned. It used to be that one big
f/1.4, 35mm f/1.4, 50mm f/1.2, 85mm f/1.2 and
135mm f/2. As we unpack the bags the table fills
with two Canon EOS 5D MkIIs, an EOS-1D
Clive steels himself to shoot Lowepro bag would hold everything; now it’s MkIV and a 100mm f/2.8 macro, 180mm f/3.5
three and, along with tripod bags and Pelican macro, two 14mm f/2.8, another 24mm f/1.4 and
at the UK fashion industry’s cases, it’s still growing. Sometimes I yearn for the 85mm f/1.2, plus a 17-40mm f/4, 28-70mm f/2.8,
biggest event of the year: simplicity of one camera body and a handful of
lenses... in the old days, not even 10 years ago,
70-200mm f/2.8 and finally 45mm and 90mm
tilt-shifts. As I want to shoot at wide apertures I
London Fashion Week. just two. The past few days have been spent
finalising security passes, organising equipment
bring along several ND filters. I count 16 lenses
in total and although it is entirely possible to do
loans, checking the location lighting and chatting this project with fewer, I prefer to have them all
with the team: Charlotte Lurot (director, Bacchus at my disposal.
Studio and co-collaborator), without whom none As it’s DSLR I have two trusted Manfrotto
of this would be possible; Bill Waters, first tripods (546GB legs, 501HDV head, a firm
assistant and lighting; and Michael Williams, favourite with a very easy levelling system) and
second assistant. one compact lightweight (190CXPRO4 legs,
I try to relax watching Stanley Kubrick’s 701HDV head) along with a rented Glidecam
Spartacus; I’ve been slowly ticking off the great HD-2000 camera stabiliser and Manfrotto
man’s work, first reading the books and then monopod (682B). For sound it’s the usual Rode
watching the films. I find the books are essential, on-camera along with a Rode studio mic and
“Handheld again and I’m especially when watching 2001 and more recently
The Shining, which scared me half to death.
Tascam portable recorder. Additional lighting
comes from the ever-faithful Litepanel 1x1
changing lenses quicker I marvel at the monumental levels of effort that Bi-Color LED with an array of gold, white and
Kubrick went to in order to fulfil his vision. silver reflectors for subtle fill. Media comes
than the models are I always feel nervous before shooting, and the in the form of four SanDisk Extreme Pro 90MB/s
changing outfits...” Clive Booth more uncertain the shoot the more nervous I get.
There is nothing certain about the outcome of this
UDMA6 CF cards along with the essential Lexar
CompactFlash Pro card reader.
shoot. My hope is that the finished film short will When I stand back and look at this somewhat
give the viewer a glimpse of what it feels like to confusing, bewildering and dazzling array of
be a part of the strange, mystical and magical hardware I think, “What the hell have I got myself
world that we are about to enter. As always I want into?” but quickly dispel the thought when I
the final result to be beautiful, atmospheric and to imagine the potential results. Given all this
some degree meaningful and real. hardware it’s difficult to believe that I can still
Sunday 20 February. At 8am I leave for London shoot so freely and move so easily but there is no
after a half-eaten bowl of porridge and a cup of getting away from the fact that it would not be
Lavazza. The journey is easy and I make it to possible without Billy and Michael. The DSLR
Somerset House for 11am. Security is tight and equipment is far more cumbersome than the
CLIVE BOOTH
Charlotte’s assistant has the passes (around five camera alone, but Zacuto has made a fine job of
A model runs to change outfits, per person) and we enter backstage B at London creating a modular system that can be assembled
Canon EOS-1D MkIV, 50mm lens. Fashion Week. Bacchus Studio is responsible for and broken down very quickly and easily. I decide
30 www.professionalphotographer.co.uk

31. “My hope is that the finished film short will give the viewer a glimpse of what it feels like to
be a part of the strange, mystical and magical world that we are about to enter.” Clive Booth
Backstage at London Fashion Week, Clive captured this
shot with a Canon EOS 5D MkII and 14mm lens clamped
to the base of a lighting rig with a monkey grip.
On the catwalk, Canon EOS-1D
MkIV, 14mm lens.