How quick has this last 10 years gone ?
It been a great decade for my imaging making.
I have worked with some great creatives over the last 10 years.
These includes – Make Up Artistis, Hair Stylists, Stylists and of course the Models.
We have shot many different genre of images from Fashion, through to Artistic Nudes.
Both on location and in the studio.
It was 30 years ago since the fall of the Berlin Wall on Saturday the 9th November. The news coverage reminded me that during a visit to Berlin we had gone to visit the remaining bits of the Berlin Wall. The Wall which for many years was a symbol of division has now become the world’s largest open-air gallery, featuring 105 murals by artists from across the globe. So here are a few images from my visit to see the iconic structure and the art murals that still adorn it
The Wall art murals were mainly painted in the 1990, although a number of them have been repainted as a result of either the work being damaged by vandalism or deterioration due to weather.
‘The Kiss’ is such a mural and was repainted in March 2009.
At this section of the wall, you can step into what would have been known as no mans land between two sections of the wall. The River Spree flows behind the left hand section showed here. Then the major wall with the murals is at the right hand side of the image.
I have featured just a few of the 150 plus iconic murals that can be viewed at the open air gallery. I would certainly recommend anyone visiting the city to take your camera and capture your own images of what is left of the Berlin Wall, and its art work.
Here are 4 natural light shots with Nicky Philips from a recent studio session in Cleckheaton. I was using Silkwood studios for the first time as it has some large windows which I thought were worth exploring as a light source for some fashion and portait image.
Model: Nicky Phillips
Photographer: Richard Spurdens
Lighting: Natural window light
Camera: Canon 5D MkIV with a EF70-200 f/2.8 II
Outfits: Models own
Having worked with Nicky before I was confident that we would produce some good shots
For this image I used the simple yet beautiful natural light coming from the window to the lhs which was giving some nice soft side light.
Putting Nicky closer in to the window light source gives some nice soft lighting across the body.
Each of the windows had some net curtain material drapped across them so that helped to soften the natural light. By putting Nicky into the window and then angling the camera it produced some nice tension to the image.
For this shot I put Nicky into the corner which allowed light to come from two sources; the window behind and the window to the rhs. I kept this one as a colour version and added a slight colour grading to it
I was pleased with the results we achieved using the natural light, for this section of the shoot.
Having just spent the last two days preparing and printing images for an couple of upcoming exhibitions, I thought I would do a short blog post on why I enjoy seeing the final image in print form. It’s alright seeing the image on the computer screen but you can’t beat seeing the final printed image…
…knowing that it is going to go into a frame and be hung on the gallery wall. to be viewed.
It’s worth all the work in preparing and printing and then mounting the printed images. I always print from Photoshop and once I have sized the image on the canvas I apply some sharpening as the final output stage. The amount can vary but I always check to see the effect the amount of sharpening to the image is having at 100%. Its not easy to know the exact amount but with practice you can usually judge what is the right amount.
Before I do any printing, I always set my monitor to a print calibration profile which I have stored. Having done a lot of research and testing I find that these settings give me the results of what I see on the screen matching what the print output produces. These settings are White point: D55 and intensity: 90 cd/m2
My current printer is an Epson P800 and I am very pleased with the output I get from it. When printing monochrome images, I use the Epson black and white print driver which gives great results for monochrome. (Don’t forget to turn off the “Photoshop manages the colours” setting in the print dialogue).
My current paper choice is Epson Traditional Photopaper Soft Gloss. This has a Fiber Photo Paper Base of 300 gsm. The results from this paper are really good and it produces great results both in colour and also black and white.
As the final few days of this year are upon us I thought it was worth taking a bit of time to put together a 2018 review of my year in photography.
A few highlights for the 2018 review of the year were a trip to Rome to join the Fashion Artwise team at a location shoot; a trip toSouthern Ireland to visit the Dingle peninsula; a visit to the Island of Crete to work with Zoi Morgan and her Sirens of Crete event and meeting Rankin.
Also finally getting the chance to work with Ivory Flame, Elle Rose and Nicole Rayner together at a location shoot.
Studio wise, my studio lease came to an end in October. Trying to find a new studio is a job for next year. But for this 2018 review of the year I have had a productive time in the studio. I have also done quite a number of location shoots too, which offers a different challenge to working in the controlled enviroment of a studio. I have enjoyed the challenges of working on location and learnt a few things too.
There have been chances to work with a number of new creatives again this year and I have enjoyed working with them and together we have created some great images, and also had good fun playing with different light approaches.
New Dancers this year have included: Ayla Rose and Geraldine Bell.
I have also worked with a number of others from previous years including: Elle Beth and Gem as a duo pair, Ivory Flame, Ella Rose and Nicole Rayner and Em Theresa, Pippa Doll and Nicky Philips.
I have continued to enter a few of the uk photo exhibitions focusing on supporting exhibitions running print sections and have gained a number of acceptances into these exhibitions. I’ve also picked up a few awards as well. I was also invited to be a judge at this years PAGB Inter Club Projected Digital Image Championship, which was enjoyable.
I have also supported Walters Wardrobe (Jen Brook) and her couture themed shoots at some great locations. This year I only managed to do two of these great events. The first was a shoot at Belvoir Castle in Leicestershire, (Still I Rise), which featured the designer: Joanne Fleming , with styling by Jen Brook, and MUA: Shara Gray and Livvy Morewood. The models were: Bethany Bennett, Liv Free, Stefanie Nieuwenhuyse, and Ceci Zhang,
The second event was (In Bloom) This was with Designer: Rosie Red Corsetry and Couture, with styling by Jen Brook, and Headpiece: CC Millinery Creations Set Desing by Donna Graham, MUA: Sophie Battersby, Olivia Morewood, Rebecca Cordell, Sophie’s MUA/hair assistant: Rachael Doig. The Models for this event included: Lauren Rose McGee, Jaye Hicks, Olivia Harriet, and Leela Tikadar.
A new book found its way on to my bookshelves late last month. When I had the chance to go to one of the launch events for the new V&A photographic gallery.
This particular event was a talk by the photographer known as Rankin.
If you are interested in photography around the fashion and arts then you will have come across the works of the Rankin. He was always a portrait photographer (and still is) but when he helped co-found the magazine Dazed & Confused back in 1991 with Jefferson. His work then help defined the aesthetics and attitudes of the 1990s and 2000s, Rankin’s work has featured in leading publications worldwide.
From this vast portfolio of work Rankin has issued numerous books, of which I have a couple “More” and “Painting pretty pictures”. More was a retrospective of his portraiture work, which has always inspired me.
This new one is a retrospective of his full career in fashion photography and charts 30 years of Rankin’s work in this area of the industry. It is edited by the Rankin himself, and it shows the hard commercial side and also the not so glossy side of the fashion industry.
The images are presented in reverse chronology, Unfashionable moves from Rankin’s recent work with images from Hunger and then on back to his earliest Polaroids as he was starting out.
Rankin’s presentation was based on his new book. So it gave a good insight into the contents of the book and the some of the stories behind the images. I found presentation informative and interesting and so after the talk I decided to make a purchase of the book and add it to my library. I also got it signed by Rankin himself, and even had a short chat with the man as he signed it for me.
I have tried in the past to make images that were inspired by Rankin work. Itis always direct, unapologetic and confronting. I like his honesty in his images and have tried to create similar types of work when collaborating with certain models who understand this challenge.
So below are a couple of images that I feel were inspired by Rankin approach and look
I think the book is worth a look if you like the work of Rankin.
Every year FIAP (International Federation of Photographic Art) hold international competitions called FIAP Biennials. These are hosted by different Federations around the world, under conditions laid out by FIAP. This year the competition was hosted by Norway and was a colour Biennial.
This is the first year that FIAP have merged the colour Print and Projected Image Biennials together.
In 2018 there will be the Black and White and Nature Biennials.
Within each medium, each country chooses its own theme for its entry, and puts together a panel of images or prints on that theme aiming to get the entries as coherent as possible.
During the competition the panel of entries is given both individual scores for each work, and also a mark for how coherent the panel is.
Obviously then the country with the highest combined score is the winner.
This year the Great Britain theme was “Dance and Movement” and the PAGB selectors selected 10 images to make that theme, including an image from myself.
Other authors representing GB were Dinah Jayes, Roger Parry, Derwood Pamphilon, Steve Marriot, Pauline Pentony, Joan Blease, Tim Pile, Greg Duncan, and Valerie Duncan.
In the competition the entry received a coherence score of 45 and an individual print score of 119, total score of 164.
There were 19 countries entered into the Colour Biennial (Print) and this score placed us 5th overall and we also received an honourable mention. We were one point off the FIAP Biennial bronze which went to Norway. Other notable awards were to Dinah Jayes who was awarded the FIAP Biennial individual gold medal for her image.
The overall winners of the World Cup were Italy.
Gold went to Luxembourg and Spain picking up the Silver, Norway the bronze medals
In the Projected Image Biennial, GB came second which was also a great result.
It was great to receive the printed catalogue showing all the print entries and I was especially impressed with the coherence of Luxembourg images, which was on a theme of ‘Black and Red’ .
And so on to Zurich – after a smooth and fast journey to Zurich during which you certainly got a relaxed view of the French country side as you sped through it. When we arrived in Zurich main station there was a lot of people around and Saturday night entertainments as in most big cities seem to be in full swing. After a bit of walking around we found our hotel. (We chose this Boutique hotel, just by the station). An evening stroll around the streets of Zurich then gave us a bit of idea where to go on the following day.
Setting out the next day with my Fuji XT-1, we walked around the town crossing the river via the many bridges and walking to various locations of interest. Here are a few of the more general tourist type images of the iconic buildings and a few different views of the place. I had to include the locks on the bridge as the colours made them stand out in places.
Were also at their best and the golden colours made a good feature to include in some images. In others, they gave a strong focal point.
As with all street photography it is often good to explore up side streets and see what interesting things you can find. Sometimes nothing – other times some more interesting street images. Here are a few of the more interesting finds.
You can also walk along the side of Lake Zurich and when you hear the sound of Alpine horns, you have to go and see what is happening. It turned out to be a group of Alpine horn players giving a free concert.
Strolling a little further along the shore line we came across this scene with the kids really enjoying the giant bubbles being created and then chasing them around.
Stopping for a drink and a bit to eat provided an opportunity for a few interesting images.
Just loved the sign.
Heading back into town I spotted this chap who seemed to be directing trams at a junction that was having a bit of major work being undertaken. Not sure why you need to direct trams on tracks but they seemed to manage ok when went for a break.
An interesting place for some different types of images for me, expensive but worth the trip to visit and explore.
I received notification that my application for the EFIAP/Platinum Distinction level award (EFIAP/p) has been successful. This was great news as it has been a project which I started in 2012. The aim was to see if my images would gain acceptances in international photographic salons around the world.
All these photographic salons are run under the auspices of FIAP (Federation Internationale de L’Art Photographique).
Following on from my successful AFIAP (Artist FIAP) application I gained my EFIAP distinction in 2013 (Excellence FIAP) and each subsequent year since then I have achieved the required acceptance to progress up the levels each year.
I have also managed to pick up a number of awards along the way too, which is always a good feeling.
So a year on from achieving my EFIAP Gold (EFIAP/g), I managed to achieve and pass the requirement required for the EFIAP/p level.
I think it is worth just sharing the requirement for EFIAP/p distinction level. You need to exceed 700 acceptances with at least 250 different works, which have gained acceptances in at least 20 different counties, as well as 7 photographs gaining awards in 7 different counties and different salons.
Hence to achieve this level you need to have a pretty substantial body of work and to have been actively submitting that work to photographic salons around the world. It really is no mean feat to achieve it.
In my post about achieving my EFIAP Silver, I noted with some regret that FIAP in their wisdom had made major changes to these awards requirements for the following year, which made me question the rationale of continuing to enter international salons.
However later in the year at the FIAP conference, the changes introduced to all the requirements of the awards were revised further, making the requirements sensible again.
First and foremost you need a good database to keep track of the salons you have entered and your image titles.
Within that database you will also need to keep the record of the FIAP Salon number of the salon you have entered and whether you have entered a Print or a PDI (Projected digital image), together with the year, and the country in which the salon is taking place. If the salon is a circuit you need to record each salon of the circuit and the images entered in each salon making up the circuit.
Upon receiving your results, it is important to check that the titles on the results sheet match your titles, as errors do occur and you need to make sure that the titles that are published in the results are the same as the ones in your database. You also need to record which images have received awards. The check of the awards is done on the image titles against the salon returns to FIAP so they need to match.
You can record lots of other things if you want but those listed above are the main things you will need at the end of the year when you are filling out your application submission.
Image titles are also very important. Make sure you don’t duplicate titles, over a year you can sometimes struggle to think of a title and end up using one that you have already used. I made that mistake a few times and you can only use the title for one image, so effectively you lose the acceptances you gained from the duplicated title. Also make sure you don’t use the next image in a sequence of images you may have shot as they will be too similar. It is tempting to use another image from a shoot if one has done well. Look carefully at the images you use.
It is important to pick your salons, as you do need a good spread of countries each year. You may be very successful in one country, and it is very tempting to keep entering images in the same area if they do well. You will learn quickly which salons are well run and which to avoid!
If you want to read some of my other blogs about the FIAP distinction trail then the links are below:
EFIAP2013 and EFIAP/b 2014), EFIAP/s 2015, EFIAP Gold
Here are a few of the images that were part of my EFIAP Platinum application :
So having achieved my aim of gaining the EFIAP/Platinum level what is next ?
I plan to keep entering a few of the international salons but I will be very selective in the ones I spend my money on.
I will mainly be focusing in on the ones that have prints sections. I enjoy creating prints and certainly feel that it is important to keep supporting salons that exhibit prints.
Final thoughts:
As I have pursued the FIAP Salons trail I have seen lots of inspiring work; I have met a number of good photographers; and made some new friends. I’ve been lucky to have travelled internationally as both an award winner and also as a judge.
A bit of an unusual title for one of my posts, but – when you find that you have been awarded a Medal in the prestigious London Salon of photography), and it is your third, then I think it is worth posting with an offbeat title.
Over the years I have always tried to support the London Salon, which is dedicated to exhibiting only that class of photographic work in which there is distinct evidence of artistic feeling and execution.
The London Salon does not run under FIAP Patronage yet it receives entries from around the world, so to get an image accepted is a real achievement, and then to be awarded a medal is really a great result.
Blue Haired Beauty was from a beauty shoot with the Model Amber Tutton and features the make up artistry of Monica Montalvo.
This was the image that received the award of the Salon medal.
I had another image accepted into the Salon too, which was from a location fashion shoot, Styled by Jen Brook, Design by Mishi May, MUA: Sopie Battersby, Millinary: Donna Graham, part of the Walters wardrobe team.
Couture Fashion Stairway Elegance (Designer Mishi May)
