Well, it's the day after The Socieities Of Photographers Convention in London.  What a blast! 

Judging, laughing, making friends, presenting workshops, representing Elinchrom Lighting and Evoto Ai, learning, exploring, creating and very little sleeping! The Convention is quite something to be a part of!

In this episode, I try and explain what it feels like to be a small part of it whether judging the print competition, presenting or mixing with the trade - the various stages I pretty much always go through from fear to elation and everything in between.

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

So late last night, we returned from the societies of photographers convention in London, and you can hear him. My voice. I'm exhausted. The convention is such an incredible thing. 3 4, 5 days. Of mixing with the trade running workshops, attending workshops. And one of the most important print competitions in the industry, and that is anywhere. In the world, it's been a blast. You can hear just how tired I am.

But in this episode I thought I'd battled through the fatigue and talk to what it's like to be a judge, a presenter, and a delegate. At this incredible convention firsthand. I'm Paul, and this is a slightly weary. Mastering Portrait Photography Podcast.

Well, hello, one and all. I hope you're all. Well, it's been a busy store to January.

If I'm honest. Uh, we were hectic all the way up to the convention. And even today, the day after it's all over, I've just been photographing a family.

Uh, this year at the convention, um, I was a print judge, a presenter, and an ambassador for Elinchrom Lighting. Uh, the company that I just adore using their products.

And so to everybody who I've met, everybody, I've talked to everybody who I've laughed with, shared a drink with shared an idea with. Maybe argued over print score with thank you. Thank you for making the Convention such a pleasure. However, as I was sitting on the train coming home, it struck me. That there are definitely stages stages to how you feel. When, at least in the role I have. Uh, your attending. The convention.

Um, sort of like the five stages of grief, I suppose these are the nine stages that I go through each and every time I attend the convention.

It's the thought processes, it's the things that make me tick. Uh, it's how I feel. It's how I feel before is how I feel through it, doing it in this, how I feel afterwards. So let me step through them. Um, as usually when I come to the end of a judging process, I'll talk to all of the things I heard during the judging and give tips on producing. Uh, competition level prints, but I've done that so many times, this year, I just thought I go through the emotions, the various stages. Did I feel every time. Um, I attend the convention.

So let's start with the obvious stage one. Excitement.

This kicks in the minute that, uh, the convention confirm. That you're going to be attending. They confirm that you're going to be running some talks. They confirm that you're going to be a judge.

Um, there's a real kick, a real thrill when that comes in. And then you start to think about what you'll do you start to, you've already had to put some ideas in, so those are going to be the titles of the talks, but you start to really plan out what that might look like, and that's six months out. We will start to put in, um, our applications for the 2026 convention in the next few months.

So you have big ideas. You clear the diary. Of course, you make sure that those dates are available. And at that stage, there is nothing more than excitement. Obviously a little bit of pressure to get some social media out and tell the world you're going, but it's all about the excitement. And then you roll up closer and closer and closer to the day.

And you're sitting on the train, heading into London, stage two.

Nerves.

I don't know if everybody goes through this. But I do. I start to worry that I've got all of the kit. I need that. I've got enough of a plan of what the workshops and presentations are going to be. I start to worry about that moment you walk into a room full of people that for some reason, in my mind, I assume I'm not going to know.

Of course it's never like that, but that's how it feels. Um, also there's a really important to this year. It was a three o'clock deadline, you have to be in the judges room by three o'clock. Don't turn up. You're not judging and that's an Intuit. You have to be at the judges. Briefing. Meeting. And Terry Jones from the societies, she will talk through all of us as judges as to what she's expecting, how are we going to be. Uh, scheduled, what the runtimes are, what sort of language it's, uh, just an update and refresh on a language we're going to use how it's going to work.

And if we're not in that room, You're not judging. And of course, the bit where I get the most nervous is as I walk in now I'm an extrovert. I love being in a crowd of people, but I've always had this fear of walking into a crowded room and not knowing anyone and having to sit in a corner. Uh, sort of minding my own business, finding people to talk to not being certain of myself.

Now, luckily for me these days, I've been in the industry for so long that I know probably two thirds of the people in the room. Um, so it's not as bad as it used to be, but I used to be terrified and I'm still nervous. I'm still trepidatious. I'm still uncertain of myself. Um, but I walked in this year and of course it was just brilliant.

And that brings me on to, I think, Uh, stage number three.

A sense of belonging,

a sense of being part of the family. There were so many hellos and handshakes and hugs and laughter and faces. I recognize some, I don't. I was introduced to new people. There's just this wonderful sense of coming back home.

I love the convention for that. Of all the things that it brings, I think to all photographers. There's a sense of being part of something bigger. I think there are about 50, maybe 60 judges in the room, plus the print and handlers and all of the teams around us. And it is the most incredible feeling of belonging and for the next sort of 12 hours or so, um, after the briefing, there'll be socializing some food, um, maybe have a drink with a few people.

It's a real sense of family. But then we come on to stage four.

We're walking in to begin the process of judging the next morning. So this is the premier print competition in the world. So stage four is pressure.

And even though I've been doing this a long time, I've been a judge. I can't remember how many years it is now. Probably 15 years. Um, there's still this sense. Of responsibility. Because each and every print, we will see hundreds of prints. But every single print is unique to the author.

Every author has put everything they have into it. And trust me, you do not enter a print unless you think it stands a chance of winning? You might not say that to people you might say, oh, I don't know. I just thought he might try my arm, but you haven't entered a print. You haven't paid for it to be printed mounted and then the entry fees. For you not to think it stands a chance of winning.

And as a judge, you really do feel that sort of pressure. You feel the responsibility as you sit there, the print comes up and you have to go through all of the elements, the 10 elements that were giving us, given us judges. Um, Um, on which to base our assessment and ultimately a score.

And there are five judges on every panel. And these are some of the best. Photographers in the world. So if you put in a score and it comes on the screen, And you're wildly different to the other judges. Of course you feel that moment? Have I got that wrong? And there's a process for this as the challenge process. Um, and each of us know how to do it.

Each of us have our own particular way of doing it. Uh, I had to run a few challenges this year. Um, and you're looking at the scores and there was one in particular where it was quite a long way out of line with the other judges, my school was higher and I'd seen things in that image that at least based on my assessment of it, my experience warranted a higher score. And every judge by the way has had exactly this happened to them.

This is not just me. But I'm sitting there looking at the scores and I'm thinking. How hard have I got to work to try and get the other judges to see what I see, to feel what I feel, to evaluate the image in a similar way to me, or at least come closer to where I am. And these are photographers that some of them I've never met before.

Some of whom I have met before everyone has their own style and their own way, but you then have to talk to the image and talk to the other judges. And see if you can convince them. That possibly there are things in the image that this time round, they may have missed that you, um, have seen. It goes the other way as well, by the way.

So if somebody else puts in a score and minds lower. The same process will happen. But now it's me trying to listen, trying to understand where maybe I've missed some key factors in an image and that's particularly important when images come up, that aren't in your wheelhouse things that you don't specialize in when it comes to portraiture and weddings, or maybe photographing dogs. I of course know what I'm looking at.

I understand that process really well. That doesn't mean I will always have seen everything, but it does mean that probably I'm in the right ballpark, but sometimes you get an image that challenges you tries, you tests you, it forces you to think in a different way. And while I might understand the print process, I'll understand the creation process, I'll understand the presentation, there may be things about that moment or about that imagery or about that style of photography that I might have missed. And so I'm eagerly listening to the other judges to see if it's something where I've just mostly get my score a little bit out and I need to be. Um, come a little bit closer to the overall score that's been, uh, the first round score that's been calculated or maybe just maybe I'll hold my ground and say no. I hear you. I understand what you're saying completely, I just feel for these reasons I've got my score about, right.

So can you imagine the pressure when you raise a challenge or you're involved in a challenge with really well-known photographers from all corners of the world, um, the pressure is immense. It really is at that moment, the most important job in the world. And on top of that, we've got a live audience.

So it's not even just that you're having to do. Um, or having to think on your feet and figure out your scoring, but you also then have to articulate that in a way that is clear. It's polite. It's respectful to the print, new author and the rest of your judges, but it's also educational, interesting entertaining, maybe because to hold an audience in the room, as judges we have, not just the responsibility. Of creating the right scores or appropriate scores for the images and bear in mind. Bear in mind, if you have a different judge on a different day, the chances are you going to get a slightly different score?

So don't think that these are absolute objective. We feel all the time, the pressure of that. But during that process, we are also for the people in the room, entertainment. With air to be interesting, as well as educational we're there to help them understand, but also for them not to be asleep. In the room, the rooms are pretty dark because of course we've got the prince lit at the front. Um, We have a microphone, but our backs are to the audience.

And somehow we have to be not only knowledgeable and skilled and respectful, but also to a degree entertaining. There's a lot of pressure on it. And it's not just the pressure of judging the prints because of course. Um, for me and most of the judges. I was also running two workshops or two masterclasses, and doing presentations on the Ellen Crum lighting stage.

So during the rest of the convention, even once the judging is done. I'm still feeling a huge amount of pressure to be the very best I can be to represent Elinchrom and the brand, to the best of my ability. And again, that's part education, but mostly entertainment. If you're stood on the stage, creating pictures, it's not really about the technicals, that techniques, that care moonlighting modifies.

It's really about being interesting and entertaining and giving people things. To go home and try themselves. And the workshops are almost exactly the same, just on a much longer format. So you really do feel the pressure to make sure everything's working, and when the audience are in there, that you give the very, very best of yourself.

Even yesterday, I had what we euphamistically called the graveyard shift, which is the last set of presentations, not just of the day, but of the whole convention. The trade show by now is closed. There's nowhere else for delegates to go, except home. And nearly everybody you speak to is like, right.

It shows done. I'm going to go catch my train. So you rock up to a room and I had, for the final session, I had the biggest workshop room. There is, um, I don't know how many people it can hold. But I was expecting two or three people to stay behind, maybe. Uh, we've got the last, uh, workshop I ran. This year was on high-key and low-key, uh, studio lighting, um, and going through the process of how you think about these things, how you evaluate. Um, the person in front of you, how you react to them, how you decide what you're going to shoot and how you then go through the stages of shooting it. I'd put together. A pretty good idea. And I assumed I'd be presenting it to two or three people who are going to brave the last trains home and stick around, even though there's a gap after the trade show, closing and the workshop starting.

Well, the room was packed. It was an absolute thrill to be there. And the last few. Minutes or hour the hour and a half of the day, with a full room and incredible model. Uh, Eloise Hare was our model and playing with these beautiful Elinchrom lights and just showing different ideas and not just with a full room, but it's a room full of people who really interactive, really engaged.

And so thankfully all that pressure I'd felt throughout the five days. Uh, dissipated in the last workshop.

And of course at the end of that, you get to stage five, which is elation.

And that for me, at least a sort of celebration, um, uh, almost a euphoria. Um, I've been meeting people and I'm an extrovert, so being around people really recharges me. I've been talking sharp. I've been talking photography. I've been talking lighting. I've been catching up with people's businesses. And we've been creating images and I've just been feeling like I'm at home. These are my people. Every minute of every day, it's just a sense of recharging.

It's a sense of, um, joy and conversation. It has been absolutely brilliant. And that's that sense of elation and you close everything down. You finished your last presentation, you put everything into its bags and then you get to stage six, which for me.

Is sort of, I've called it regret. It's a sort of insecurity, a paranoia.

That's always been with me. I've never got rid of it, which is where I panic about all the things I've said that possibly I shouldn't have. The people I wished I'd had a chance to say hello to, but I only waived. Waved over a room. Um, You know, there are always people at the convention. I just would, I went there thinking I'm definitely going to see them.

And the closest I got was to wave at them across a bar maybe. And I regret not having had enough time to see everybody, but that isn't enough time to see everything or everybody. I regret that maybe. I didn't give the best to me. I've given everything I can every single moment, but there's still that slight insecurity that maybe I didn't quite get to everyone. And maybe of course my scores of the images were off.

Now, of course, when you're judging. You have a panel of five people, um, and that's there deliberately. That's there. To stop it, any outliers, really railroading and the show. And that's really, really good. It means that even if I'm one image, I scored it. S off slightly too high, a slightly too low. Maybe there are four other judges to make sure that that doesn't really matter, but you still worry about it.

You worry about whether when, um, the chair of judges is looking at you. Uh, whether the person who created the images, looking at you, or whether the people that run the competition are looking at you, they're thinking. Oh, Wilkinson's a bit off this year. Isn't it? You worry. And that's always part of this. Sort of coming down from the, all of the energy and the adrenaline. Um, and then the fatigue and the grief regret, start to really kick in.

And that leads us on to state seven.

The fatigue, the utter tiredness.

And you can hear that. in my voice. I can hear that in my voice and it kind of speaks for itself. Um, I got home, I think at about 10 o'clock last night, I was in bed by 11 I was asleep by five past. And Sarah myself. Woke up at about 11 o'clock this morning. I don't remember being quite so tired. I was so tired.

I am still so tired. And of course today I've had a family in the studio and I've had to go back to giving a hundred percent and all that meant is now I'm even more tired. The fatigue is part of it.

And yet that's not the whole story because there's also now beginning to, to kick in a sense of stage eight, which is opportunity.

I've made new friends, some incredible friends. Um, Chris and mark in particular. Uh, really made me laugh.

If they're listening, they'll know exactly who they are. Two monumental photographers from Australia, monumental creators, monumental. Um, intellects and I've loved sitting on the panel with them and listening and learning from them. It's refreshed existing friendships. It's refreshed all old friendships. Um, we've had new ideas, new thoughts. Um, new challenges, new things to think about new ideas for creativity.

And of course, being a judge, I get a double pronged chance at that. I get to not only mix with the most knowledgeable and in pressive photographers in the world, but also to see images, competition images up close and personal from some of the greatest. Um, talent's there to the people that have entered in. Not necessarily people I never get to meet by get to see their images. And that in itself gives you new ideas and new things to test you.

Today, in my family shoot, one of the four people, it turned out through chatting with them that they heavily into steam punk. I did not know this what a brilliant idea. And she's quite keen to come and do some photography she's into cosplay, um, and steam punk. And she would like me to create some pictures for her too.

But that really is it a development of some of the images I've seen over the past four days.

And that leads me on to what I think is the final stage.

And that's a sense of energy.

Now for me. I'm an extrovert. So being in this huge crowd energizes me on its own, but being in the judging, seeing these images, seeing these photographers, talking to the other, the other judges, um, just being in that space. Is energizing for me.

And there's enough energy out of the convention. Every January to last me a good six months it'll fade. Of course it'll fade. This is a tough industry, right? We all know that. 2024, I think was brutal. Um, I don't know if anybody feels the same way as me, but that's how it felt. We hit our numbers just about, um, our revenue figures, but of course, Our costs have gone up. And so we really had to battle. To, um, get the numbers in and get our clients in.

Um, 2024 is a year that I think on the whole I'm. I'm not glad it's gone. You should never, ever be glad that at the passing of time, but let's just say that 2025. Is a whole new year brand new, fresh. Um, full of opportunity, full of optimism. And the energy that I get out of the convention, having met all these incredible people will drive me for a good six months.

And that's really important. Uh, Sarah and I are about to spend. Seven weeks working for cruise company. Uh, around south America. So at the end of this month, um, we leave half the team running here. And myself and Sarah will go and, uh, travel abroad. Um, and so I need the energy. I need the optimism.

I'm going to need the drive because even though that is the opportunity of a lifetime to spend seven weeks traveling, including five days, uh, attending and working at the, um, Working on the cruise ship while it's docked at the Rio de Janeiro. Carnival is, um, just the opportunity of our lifetime. Um, but I'm going to need every bit of energy I can find because we've had to clear the diary for those seven weeks or at least reduce the amount of work in it and had to do an awful lot of work in the run up to it.

And I'll have to do an awful lot of work. Um, when we come back from it and particularly on the customer side, but also a Mastering Portrait Photography, still creating the videos and the articles. But that stage nine, is that sense? Of energy. And then before I know it, it'll be back to the sense of excitement when we're trying to, um, get our talks and our workshops booked in for next year, 2026.

So to everybody who I've met, everybody who I've talked with, everybody who I've laughed with, it has been the most incredible five days.

The first two, I was on my own. And then Sarah thankfully joined me, um, for the, the, the end of it. As no fun. Sarah being though, when we're judging, we are literally down in the basement, um, judging for from nine o'clock. I did the one day we'd judged from nine o'clock, till seven o'clock in the evening, nine in the morning to seven in the evening. Um, it was the thrill of a lifetime, not just to be judging the rounds. Um, but this year I was one of the judges I'm looking after the final, final selection, um, which is such an honor.

But it was no fun for Sarah, if she was. L on our own. Um, and so she joined me for the last, uh, few days. Um, thank you to everybody that made it such a joy, made it such a thrill. Thank you to the Societies. And of course, in particular, To Terry Jones and her team on the competition side. But everybody on the trade show, everyone at Elinchrom. Everybody who I met every delegate, every single delegate, those of you that came and were quiet.

And didn't say word those of you who came constantly ask questions. Um, all of it. Just made me laugh too. The two models I worked with. Um, to Marissa and Eloise. Thank you for just being beautiful, not just photogenic, but beautiful as souls. Um, thank you to every single one of you. And on that happy note, it's a Sunday night.

Apparently I've got some cottage pie waiting for me back at home. So I'm going to round this. round this. podcast off, and wish you all well for the coming year. And I hope. I hope. you're as energized as I am for the coming 12 months. Take it easy and whatever else be kind to yourself. Take care.

Imagine that every person had exactly the same fashion taste. Imagine if each of us had the same clothing or the same hairstyle.  Imagine that everyone was the same height and build.  Imagine that everyone had identical makeup.

Just imagine.

Of course, it's a nonsense - different styling suits different people. Short, tall, thin, round, dark-skinned, fair-skinned, red-heads, blondes, straight haired, curly haired: everyone looks for something different to bring out their best.

So why do so many photographers light their subjects using the exact same lighting pattern without adjusting for the variety of life? Why?

I can't answer that but I do have a view!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

 Well, it's the end of an incredibly busy week and an incredibly busy day. And today the temperature hasn't. Risen above freezing. It's so cold that our shower at home has frozen. The Landrover won't start. And the two clients, the two families I've had in today who desperately wanted to go out. And take pictures in the wintery Wonderland were sadly disappointed when even they couldn't last more than about 10 minutes at a go. 

So we've been based in the studio, which is where I am right now. I'm Paul. And this is the mastering portrait photography  📍 podcast. 

   So hello.  how are you all doing? I must apologize. I spent quite a lot of the year with this ambition. I'm going to record. A podcast every week or every other week. And in fact, I haven't looked, but I think. Apple. Uh, quotes, the masteringportraitphotography.com podcast is being monthly.  It shouldn't be monthly. 

It should really be weekly, but it's been such a busy year. It's been a kind of a year that I'm glad if I'm honest. That we're at the end of it, where it's a new, fresh, shiny new year.  2024 has been reasonably successful on many fronts has been incredibly successful, but it has also been brutal a grueling year, I think, by any measure with not an awful lot of good news around. Um,  You know, Uh, various things happening. But we survived it. 

We hit our numbers, but we've had to work so, so hard to do it. And I think I careened into Christmas. Like one of those videos of cars on icy Hills, much as I fought it. There was nothing I could do. To stop it. So.  We're here. It's 20, 25 it's January. And once more, I'm sitting. At the microphone, today's been a busy day. 

We've had a couple of family shoots and yes, they wanted desperately to go out. Into the frost, but when we stepped out there, they didn't last any more than 10 minutes. Uh, piece and that's not that much of a surprise. So we already had the studio nice and warm.  And we've been working in there. But one of the things that's happening at the end of this month is Sarah and myself are heading off working with crystal cruises for seven weeks. 

That's a long stint of working, but it does also mean that we've had to clear a hole in the diary and all of the work that it would normally done normally be done in those seven weeks. Has had to be done either prior or after we get back.  Which has meant that we have been running at a hundred. Miles an hour with back-to-back shoots even yesterday. Um, one of my favorite gigs of the year, as , I know, you know, because I've talked about it. 

Incessantly is the Royal institution. Uh, Christmas lectures. Now at the end of last year, I photograph the three lectures. And for those of you who are in the UK, you can watch those on the BBC I play. They will with Chris fan, Dr. Chris van  Uh, talking about big food, talking about ultra processed foods. How it works and how it affects, uh, in particular. Our kids.  A really, really interesting and exciting set of lectures. 

And we usually shoot the PR. For these, the BBC lectures sometime around July or August. Um, but this year, this year we've had to do it slightly differently. So we were in London yesterday. I can't tell you who the lecturer is or what the topic is. But I can tell you that we were in London yesterday with the Royal institution photographing this year's publicity photos they'd been brought forward incredibly early. Uh, for not just because of our diary, but because of the presenter's diary to.  And so instead of doing it in July, we've done it in the first couple of weeks of January, but that's been on top of everything else. We're doing so it's been a hell of a week. 

And then today, if I'm honest, I'm quite tired. It's not also been the best. Start to the end that we've had a few bits fail. I've just had a monitor fail. If anyone has a great alternative to my Ben Q my trustee, Ben Q 27 inch. Something or other. Um, it just stopped working. Uh, it flickers on and off, and it doesn't seem to be anything. I can do to stop it.  I have tried. Every test I can think of, but no, it looks like. It looks like the monitor has died. 

 So I've had to replace it with a monitor that our son left lying around. Uh, which is to be fair to Dell. It's not an awful monitor. Um, I calibrated it and it's reaching about 90% of Adobe RGB, which isn't half bad. Uh, but I'd quite like to get back to my hundred percent. Uh, Adobe RGB coverage, because when you're doing color correction, you really do want to know that your images are a color-correct.

I could do with it. My second monitor. I love my iMac. Uh, but I don't trust the iMac display to give me accurate colors. So I've got a second monitor. That's always calibrated with it alongside. Um, to show me exactly how the colors will be in that one has suddenly died. But anyway, how are things with all of you? 

How was your year? How have you been.  Uh, I hope it was a good year. I hope you had a really good break. Over Christmas. And I hope you've started the new year full of ideas, full of inspiration. Um, and full of energy. Um, next week is the society's convention in London. Which historically has been such an incredible start to the year. 

I always love it.  It's back in its slot in January. Uh, and that is for me, at least the perfect place for it because you get to do a few days judging. You get to do a lot of socializing and I get to present masterclasses. And all of these other things. And so the whole thing is just the best. Energizer for the year.  And spending time with so many incredible photographers and friends of ours across the industry, whether it's on the photography side. Or whether it's on the trade side. so many amazing, amazing people cannot wait.

So if you're around in about next week, please do come and say hello. I'll be there all days. I'll be there Tuesday, Wednesday, Thursday, Friday, and Saturday. Uh, I'm on stage on Friday and Saturday, 

 I'm doing a couple of stints, um, at the convention this time round. Uh, I'm onstage on Friday and Saturday. Uh, I'm doing a masterclass.  Uh, called, uh, creating the coolest composites on Friday from four 30, till six. And that's all about bringing multiple images together, whether it's, um, family groups, whether it's corporate, where you photographing individual headshots at different times, or they're doing something cooler. Where, uh, your taking multiple images or acceptive images and place them onto new backgrounds. 

All of these are composites and there are techniques and ideas. For shooting that make all of that seamless, whether you're using. Um, playing backgrounds, whether you're using hand-drawn backgrounds or whether you're using, um, AI of course.  And so this will be. Uh, that's on Friday at four 30, till six. 

I think that's the last slot people, the drinks. So, uh, I might be doing it at a pace to make sure everyone can get out of the room, get into their posh togs and go down to the awards. So many and then on the 18th, Uh, on the Saturday.  We're doing high key, low key, which is a variant of some videos we've done before, but it's all about pushing to the extremes. Um, using very simple lighting to create incredible high key, bright white, uh, images, and equally going to the other end of the spectrum. Um, and shooting those dark moody sumptuous, um, low key images. That's on the Saturday from four 30 to six. I'm also going to be presenting on the Ellen. From stage. Um, throughout the convention.  I can't remember exactly what times. Uh, I'm there, but if you look it up on the schedules, Uh, Alan Crum schedules, you'll be able to find me and we're just doing mastering portrait photography. 

So we're just going to create incredible images with what I consider to be the best lighting in the business. So that's next week. That's the convention in London.  So please do come and say hello, whether it's to one of the two master classes. And if you have a convention pass, they're both free. Um, or if you want to come in. Uh, have a play or what you're saying, having a play, I suppose, on the Ellyn Crump state, then please do come and say hello.

 So I'll have to be honest. Um, this podcast is one of my unscripted. Sit down at a microphone and see what happens, sort of podcasts. I do apologize. It's just been a very long week, a very busy week. Um, and.  Sometimes it just Wells that way. And I just ended up sitting here thinking, oh, w w what should we talk about? 

Well, let me talk about a workshop. We ran this week because some points came up during it that I think. Are quite, uh, interesting now the master class or workshop this week. Was, um, booked as a one to one. And one of the things we are in a lovely position to do at our studio is we can run our scheduled workshops and they're an absolute blast. 

And people love having a fixed date. They can book in, turn up one of a crowd.  Um, and those are hugely popular, but equally we have people come to us to do one-on-one. So you get to pick your topic, we've sourced the models. Um, you can spend the entire day dedicated to whatever it is. That you feel you need. 

And so this week, um, a few guys came down.  Uh, from a camera club in the Midlands. And instead of it being one of our pre scheduled. Workshops. It was a masterclass, a one-on-one, but they booked. Extra places. So the three of them. Could come now, this works really, really well. If all three of you or all three of the delegates or 10 DS. Ah, of broadly the same standard and have the same interest and have the same goals. Because if you all do then. Even though it's a, um, a group think style workshop. It can be done in the style of a one on one, because we are showing it, going to teach the topic and everyone. Gets to S two. Explore it and play with it. And everyone, no one feels left out and no one feels like someone else is taking too much time because they're all doing the same thing or wishing to learn the same thing.  Um, and this particular one-on-one was all about. Getting the most out of lighting. 

Now, when we hear that, when we read the brief, we get the emails, people contact us. Whenever entirely certain. What it is that they really mean, and also what it is that they don't know because of course, people don't know. I mean, this is the Rumsfeld paradox is that people don't know what they don't know.  And so as a trainer, as a, as someone running a workshop, Um, part of the role is to try and figure out what would be useful. 

And so when they leave, it feels like you've answered that question. And I think from the feedback we got, we did do this, but it's always a bit of a puzzle. Um, and it, it was really interesting and. I think this was one of my favorite one-on-one workshops that we run this week in the morning, we had Abby who came so that we could just do simple portraits, simple light setups. Um,  And talk through how you develop the lighting and then in the afternoon, Uh, Jess and other one of our regular models came. And Jess is a gymnast and a dancer. 

Um, and so, uh, they wanted to learn, the guys wanted to learn how to light. And, uh, uh, capture dance and movement. So those are the two sort of ends of the spectrum and they're actually quite different things. To do. And I'll post some of the images up with some lighting diagrams.  Uh, onto the masteringportraitphotography.com. Uh, website at some point. 

Um, but it's been, it was an absolute through, but what surprised me? I think juring the masterclass and it didn't just surprise me. It saddened me. Was that the guys had been regularly going to a studio where everything is pre-set. So the lights are at the powers. They are they're in the positions. 

They are, you can do what you like in the middle, but you not to change. The lighting and I don't think I've ever taken three pictures of the same person without changing the lighting each time. So to hear this from the guys broke my heart a little bit. I think.  Now I can take. Take you back to 2008 when, um, I first joined the MPA, the master photographers association, which is now sadly. Uh, disbanded, but back then in 2008, when you joined,  um, you had to, or you didn't have to, but you went to an induction day. You, I had no idea what to expect. 

I had not long turned full-time as a pro. And so I rocked up to a conference in the middle of, in the Midlands, in, in England. And sat and went and listened through a whole series of seminars on different things, different aspects of, I dunno, portrait, photography, wedding, photography, studio, photography, lifestyle, all sorts of things. 

It was actually a very, very, very productive day. It was the day that I first met the person that was going to become, uh, my incredible mentor, Kevin Wilson.  And it was also the day that I nearly threw the towel in and left the MPA. And it was because one of the presenters stood up. And he started talking about lighting and he talked about lighting studio lighting. In a way that was so dry was so technical. 

So mathematical.  That I couldn't believe that something is creative as taking a photograph, particularly when you have control over the lights had been boiled down. To a whole series of numbers.  One stop on this half a stop later on that two stops later on those two. And you've got your picture. And that was literally the process.  Now I do understand. And in fact, not just understand, but love the fact that studio lighting can be technical. 

I absolutely adore the fact that this technical I'm a geek. I love all of that stuff. Um, it's one of the reasons I've gone back to Allen Chrome is because I love what they're doing with the technology. I adore it. But it's not, that's not creative. That's not how you. Produce beautiful art. That's not how you engage a client. 

That's not how you capture the mood of a moment. You don't do that with numbers. You can't do that with numbers now, I suppose. You could argue that if your lighting is secured and you're not worrying about that, then you can concentrate on your subjects. Okay. I'll take that as an argument. I do understand that might be. Where people are.  But let me put it a different way. What if we said, I don't know.  Jeans and a t-shirt or a suit and a tie. Our perfect uniform for everybody you photograph, let's do it that way around. Let's just assume that clothing. Is exactly the same for everybody. 

Now, the minute I say it, you can hear how stupid that sounds. So why would light. Be the same for every subject clothes, the same clothes don't suit everybody. Nor does the same lighting. If you have around figure around face, then you use the lighting, maybe. Two. Change that into something that the client would prefer. Now, obviously you have to tread a very gentle game and not so clients. One thing, different clients want different things. 

So maybe you have to shoot narrow. Maybe you have to shoot broad, maybe have to shoot with the softest light you've ever shot. Maybe you have to shoot with the hardest light. You've ever shot.  But not changing the light for every single subject. And in my case for every single image.  Doesn't make any sense? 

Why would you not change it? So when a guy said that, It really? It did surprise me. I'm honest. I wasn't expecting that. Um, and it saddened me because it was such an opportunity. Last, I think, um, that they're going into a studio and not able to change everything. So we spent an entire day, an entire day. Moving the lights we set in the lights.  Changing staff. Uh, we use some color lights. 

We did RC in the end. One of the things one of the guys wanted to learn. With how to combine movement. So dragging the shutter.  How to combine movement along with the studio strobes. So you get that. Sort of, um, it's a really beautiful effect. It's not one that I go to very often. Where you have a blurred image and at the end you have pop of the flash and it freezes just the end of the movement. Um, so Jess very patiently. 

She danced. She swerved. She spun.  She did all of these things so that we could practice or they could practice with, uh, dragging the shutter.  And it was. A really liberating day, just going through the principles of lighting, because with all of this stuff, if you understand.  

Why things work? Why you do certain things? Why, why you have a wide open? Sorry, why you have a long shutter speed too, to capture movement, but why the pulse of the light then freezes that movement at the last second. If you have rear curtains sink, if you understand all the bits of the puzzle. Um, you can piece it together for almost anything. Um, and so we spent the morning creating beautiful portraits of Abby and we spent the afternoon creating well havoc, basically lots of movement. Lots of color, um, with Jess. 

And I think there's the rub is that. When you're working in the studio. Every time you press that shutter button. Every single time you press that shutter button. It really should be not just a unique experience between you and the setter. Not just a unique moment in time. But you should have lit it. Like it's a unique moment. It's not just same old, same old. Don't just stick the lights on the wall.  Or in a high glider on their tripods. I love them at their regular settings. Take a look at your client is their skin shiny. In which case will you put the lights in the same place system on who's got very matte skin, um, are their clothes, clothes absorbing light? Because white. Tee shirts and white blouses. I create kicker light under the chin. 

Whereas black clouds don't.  Would you like them? The same? Is that the effect you're looking for? Um, Do you have a client with blonde hair or dark hair, because that will give you slightly different lighting patterns in the hair. Um, do they have a wide face or a narrow face or more importantly? How do they want their features to look. Because if you've got someone wearing contoured makeup and deep foundation, the chances are that person would quite like their skin to look smooth and their cheekbones and her jawline. To have shape. Whereas, if someone's just wearing, let's say the minimal amount of foundation.  Um, they may just want their face to look exactly the way. Um, it does naturally, without any shadows on it, you need to talk, you need to listen and you need to observe. And when you do that. Then, if you have the knowledge of why you like things in certain ways to do certain things, You can then piece that together, but you certainly never leave the lights. The way they are for every single image. 

And if I've one pet peeve and I'll finish this slight runs, it's not meant to be. And I don't know how I got here. Um, I was just thought I'd sit down and record a podcast. Cause it's been way too long. And to Paul from Chester. Um, I do apologize it. Nice comment on Instagram. We have something along the lines of, when will I find a moment to sit and record? Another podcast cause he enjoys them. 

So here GoPro, here you go. Paul. Here's that moment, but I haven't scripted it and I haven't really thought about it and I've ended up tub thumping a little bit.  Um, But I guess the point I'm making is spend the time understanding why you do what you do.  Um, why you play slights, why you post people and then use that knowledge you use that. Process. Two. Create the very best for each and every one. Of your subjects. 

Um, that's anyway, that's my thought for the day. So on that happy note, I'm going to go and have cottage pie. Uh, Sarah has been to, uh, Waitrose in town and has bought the stuff to make cottage pie. And I love it's my favorite meal. I think I know that's a bit prosaic and I don't know why it's my favorite, but it is. 

I love cottage by. Um, there's something really beautiful about it and given just how cold it is at the moment, it'll be wonderfully warming.  So for those of you around next week, we'd love to see you. Uh, for those of you cursed by our workshops. I think we have one workshop. We have one place on one workshop left. Uh, before we head off to work, uh, abroad for seven weeks.  And that's, uh, on mastering off-camera lighting. Uh, it's a workshop on, he says looking it up. 

It's a workshop on January, January the 20th. So just to just over a week away. Well, I think we've got one place left and we're going to explore assay many of the topics. That we did on the workshop this week, where we balance, um,  Uh, available light with, uh, off-camera flash off camera, tungsten notes, eyesight tungsten showing my age off-camera led people. Uh, I don't think we ever either. 

Remember the last time I used the tungsten light or a halogen light for anything. It's all absolutely led these days. So it's going to be a brilliant day. Um, exploring light lighting patterns. Um, Different ideas and showing how you can do everything from creating the most natural light all the way through to the most complex.  Uh, on that note as well on off-camera flash. Uh, look out over the next day or two for a video on exactly this off-camera flash, which, uh, Sarah, myself and Katie put together. Um, a few weeks ago, I've just finished the edits. 

I finished the edits for that last night. Um, and that will go up onto mastering portrait photography. For those of you who are members. Uh, it's a 30 minute video all about this very topic. So if you fancy having a look at that, please do. Become a subscriber. Where you can not only find tons of videos, tons of articles and lighting diagrams, but also get access to our Facebook page, our Facebook community, where you can ask questions and get answers from a really positive, energetic crowd. 

And I should say hi to all of the guys who are already in there. There's just a joy. I'm on that group.  Has never a negative word said everyone's really positive and enthusiastic and it will stay that way because we make sure. It stays that week  📍 stays that way. Sorry. So on that happy note, I'm going to go and fill it with some carbohydrate, a glass of wine, and have a nice cozy evening in front of the tele.

Um, and until next time, whatever else you do  be kind to yourself. Take care.       

So after three days of judging images for the British Institute Of Professional Photographers, it's time for me to step down from my role as Chair Of Awards And Qualifications.  I have been in the role for three years and it is time for someone else to pick up the reins and run with it (if that isn't a mixed metaphor.)

I have loved doing this and if it weren't for a million things I have to go on and do, I think I would do it forever!  So as I drive home from my last round of qualifications - possibly the best one I've ever been involved in - here are a few musings of things I have spotted.

This is a 'Tales From The Land Rover' edition so please forgive the audio quality and any mild road rage!

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] Paul In The Defender: So for those of you who love the Land Rover episodes, you'll be thrilled to hear that I'm just leaving the BIPP, the British Institute of Professional Photography Awards, uh, event 2024 25. Uh, why do we call it 2024 and 2025 is because if you get an award at the end of a year, it's a real pain from a marketing point of view if you can only say you have an award for 2024. So we call it 2024 slash 25, uh, just to extend the marketing value. So you're, you hold the titles for a year, , so why wouldn't we? Anyway, that's where I've been. I've just spent an absolute fortune on some fuel, uh, because I hadn't got a lot of choice but to fill up at a service station.

[00:00:47] And I am just pulling in to traffic. He says, concentrating on driving.

[00:00:52] Paul In The Defender: I had a lovely, uh, lovely email from someone this week. , sorry I'm driving so I can't, uh, look up your name. I'm so, I think it was John McCarthy. I'm gonna go with John McCarthy. , who said, amongst many other things, uh, he doesn't know how I drive and record a podcast at the same time.

[00:01:09] Well, the answer to that is I drive. And chat. Uh, there's not a lot of structure to it, , and a few people have said this week they like the podcast like that, uh, because, uh, they find it interesting to hear me ad libbing. I don't know whether that's, I don't know whether there's merit in that, but yeah, I am ad libbing because driving is the priority.

[00:01:30] They also said, uh, John said, I'm sure it's John McCarthy. I hope it is, if not, uh, I'm crediting somebody who's a fictional character. , he also said that uh, he can hear in everything we're talking about just how busy we are here at the studio. And it must be hard to find the time to fit in to do the podcast, and it is, which is why, uh, I am recording while driving.

[00:01:52] , but he did also go on to say, he loves it when we do them. Uh, they are really valuable. They don't just disappear out there into the ether. There are lots of you out there in the photographic community listening to, uh, hopefully enjoying, uh, at least to a, a greater or lesser degree, the podcast.

[00:02:10] So here we are. I'm Paul, and this is the Mastering Portrait Photography Podcast. Well, hello one and all. Uh, I am in relatively. Reasonably slow, fast ish, medium paced traffic, which is not good for me getting home quickly. I've got about an hour and a half of driving, but it is good from a road noise point of view 'cause at this speed, the road noise in my Land Rover isn't quite as, uh, intrusive as it would be. I see. It's not so much the road noise as the wind noise in this thing. I'm just looking at the other side of the motorway and thinking, I'm glad I'm not going that way 'cause it's must have been an accident.

[00:03:01] It's absolutely log jammed.

[00:03:04] Paul In The Defender: Uh, so what have I been up to? Well, it was the awards. It was the British Institute of Professional Photography International Awards yesterday in, uh, Bromsgrove, which is in Birmingham, in the Midlands, in the heart, in the heart of the country. Uh, an absolutely wonderful event.

[00:03:20] Lots of our friends and lots of colleagues, lots of photographers, uh, having a drink, having a laugh, and celebrating some of the very best images. That you can, uh, possibly imagine is absolutely brilliant. Uh, I have to say it's my last formal event as chair, uh, of qualifications and awards of the BIPP and I.

[00:03:41] I guess I have to just say a quick thank you, uh, to Martin Bains and the guys at the British Institute for asking me to take on the role. It has been the honor of a lifetime. You know, when you start out in photography, I, I was just a kid with a camera. Actually, to be fair, I still probably am, uh, just a kid with a camera.

[00:04:02] I've just grown quite a lot older and now earn my living from it. But the enthusiasm and the awe and wonder of what you can do with this gadget hasn't diminished at all in the time since I first picked one up at age, sort of, seven or eight or whatever age I was when my grandfather's, uh, Kodak Brownie.

[00:04:21] So to be. Chair of Quals And Awards for the oldest photographic association in the world has truly been the honor of a lifetime and when Martin asked me if I'd take that on three years ago, I think I might have been a bit reticent because I wasn't quite sure whether I could deliver what he needed, but hopefully we've gone on to answer the question.

[00:04:42] That was an emphatic yes and he, he and the board let me create a program and methods and standards That I think we can be really proud of. , and at the end of the, uh, sorry, at the beginning of the awards yesterday, so it's the end of my tenure. It's my last one as chair. So it is a, it is a sort of a bittersweet moment for me 'cause I've loved it.

[00:05:01] Uh, I'm only stepping down because I desperately need to find time to do a load of other things. And now is the time after three years, all the work we've done, uh, you know, on the, on the judging side for me, but particularly on Sarah. Putting in processes and making sure you can get judges when you need them.

[00:05:18] , so I'm gonna say thank you to Martin, thank you to the B-I-P-P-A huge thank you to Sarah. And thank you to all the judges who've judged with me, , who've been part of the team. , hopefully over the coming years I'll be able to stand back on the other side of the line and judge alongside the judges that for the past few years I've been sitting in front of while chairing.

[00:05:38] Paul In The Defender: , the other thing that happened last night, , so forgive me, this is a very personal. It's one of those things where I don't know quite how to do it, but I'm so chuffed I'm going to tell you anyway. I was awarded an Honorary Fellowship of the BIPP. So, if you're not in the industry, I guess it's hard to articulate just how rare these things are and what an honor they are.

[00:06:04] There's only 26 or 27 Honorary Fellows in the industry. And as of now, I am also one. I already had my Fellowship. I got that in 2011. , Uh, but I now have an Honorary Fellowship, which is, it's been given to me. It's engraved on the thing is for services to the BIPP, which I rather like it. Uh, so it's just a real privilege to be given that, , I never, you know, just being chair of quals was to be honest, gratitude enough but it is still a lovely thing to be presented with. And that will carry with me for the rest of my life, you know. You keep that title, , and I'm so proud. I was so surprised and pleased last night and so proud now.

[00:06:50] But I must also just put out there that, although it is me because I'm the photographer, it's my letters. , actually, this particular one has to be 50 percent Sarah. It's Sarah that coordinated the judges. It's Sarah that managed things and runs me. It's Sarah that manages my time. It's Sarah, and even last night, several of the judges were telling me they were sad to see me step down, but actually, , it's Sarah they're really gonna miss.

[00:07:16] So, uh, this goes to Sarah more than anybody else. Uh, so that's a huge, huge thank you. Right, traffic's all braking. Good job I've left lots of gaps, that's nice. Right, so, what was today's topic?

[00:07:31] Paul In The Defender: Today's topic is, , based on a question that a client asked me the other day. So I was photographing a beautiful family, mother, father, nine month old baby,

[00:07:42] The weather? Horribly unkind. It was cold and raining. Your perfect blend of the two types of weather that you don't really want to photograph a baby in. However, we did some studio work and the little girl possibly got a little warm and a little bit grouchy, and so we stepped outside just to see if we could get anything and it turned out, actually, just going out into the cool air, uh, sort of, she, completely cheered up so i think she might just have been a little bit warm or she just didn't like being in the environment of the studio i don't know which but out in the cool air so her mom's holding a huge umbrella over her she sat on one of my our doormats from the studio and scattered the front edge edge with leaves so it looks like the little girl is sitting in this beautiful sort of array of leaves but she's actually sitting on a dry mat in the middle of our lawn and beautiful light and of course when you have water around and Those sort of gloomy bluish tones from a cloudy sky actually the colors pop, you get these oranges and greens that are really interesting.

[00:08:45] So we got these incredible pictures and, and afterwards we're sitting chatting and it was the, it was my client, it was the dad said, so what is it? He said, what is it that makes, what's the, the one thing you have to have to make a great portrait? Ah, well, you know, you don't ask someone like me to talk about stuff like that, or at least you don't if you want a short answer.

[00:09:05] Uh, so of course the obvious answer, , I'm a lighting specialist. , I love portraiture, but I've always been fascinated by light, its qualities, its colour, the, the shadows that it creates, and I think light obviously is a key ingredient, and I think if you were being Purely pragmatic, you'd have to say the one thing you need to create a great photograph is light.

[00:09:31] There has to be light because without it, it's dark, and if it's dark, you've not got a picture. So, that's a really pragmatic answer, but it's a bit dull and a bit obvious. And as I'm a portrait photographer, and during that day, I was taking his baby's portrait, and I've taken their portraits before now. It got me on to think, what is it?

[00:09:48] What is that primal? Thing that absolutely makes a portrait. And I think it's a relationship. That is my answer. , it's the relationship you form. Oh man, we're in a rolling roadblock. , that's what's going on. , so there's a slow moving, uh, police car or two.

[00:10:06] At the front of, , this particular traffic jam, so we're now travelling at 10 miles an hour. Uh, if we, if we carry on travelling at 10 miles an hour, I'm assuming we won't, but if we do, uh, I'll still be travelling home tomorrow. It's going to take us a while. I'm going to assume up, up ahead, somewhere, they're having to clear an accident, and so all of the traffic, we're sitting straight behind, , a police vehicle.

[00:10:28] Anywho, uh, let's talk about the relationship. If you're creating portraits, the one ingredient that you cannot get away without to create a great portrait is a connection with your client.

[00:10:43] When you connect with your client, when you create that magic between you, , then something happens and yes, you need beautiful light, of course you do, but in that moment, that split second when they look down the lens and you, uh, fire the shutter, if you have some kind of connection with your client, people who see that picture later will feel it.

[00:11:08] It's a really subtle thing, but it's all about what happens when somebody else sees the picture. Because remember when you're holding a camera and you grab that shot. The ultimate consumer of the image isn't you. Yes, all right, you've got the camera, there's that moment, you can show the client if that's your particular workflow, , all of these things, but what you're doing is , you're going to show that image or the image is going to be shown by your client to somebody else.

[00:11:34] Normally, that's how it works.

[00:11:36] And if you've got that magical connection between you and the person in front of the camera, that connection seems to flow out to someone who views the image later. That's where the magic happens, and you really have to do it fast too. , when people come into our studio, we have an entire workflow that is based around getting our client to relax, getting them to feel comfortable.

[00:12:03] And we are starting to create a very temporary but very powerful relationship. It's not, it's not a love affair, but it is that sort of some kind of rapport. Where. You can have a conversation, you can laugh, you can maybe learn a little bit about someone, which is always lovely. And when you do that, when you pick up the camera, you, that sort of momentum of that relationship carries through.

[00:12:28] So if you tell 'em to look down the lens, it has a, a magic to it if you're tell, even if you're telling them to look slightly to the side or down, that still has a body language to it that feels comfortable. So for me and the kind of portraiture that I love, it's that. relationship that you build, that connection in the moment you hit the button, and that is the most important thing about a portrait, and it's beautiful.

[00:12:53] And I said this to my client, and I really hope he sort of thought, oh, okay, that's a, that's a, you know, useful answer. I don't know whether, , I think he might just be making chit chat, same, because it was, he's the client, and so that's the rapport, right? So instead of me asking the questions of it, he was asking questions, , of me.

[00:13:11] Anyway, there you go. Key ingredient other than light is a relationship, the connection with your sitter.

[00:13:19] Paul In The Defender: I know this is a short one as I'm pottling along, but I also wanted to take the opportunity in this podcast to formally, as much as, you know, anything is formal with me, to formally launch masteringportraitphotography.

[00:13:33] com. Now of course the website has been there for an eternity. It's been there pretty much ever since we launched the book. Actually on the book there might be some news coming, but I'll keep you posted if and when contracts get signed. , But the website's been there, it's had sort of content, but we've really only used it primarily for the podcast as its spiritual home.

[00:13:58] Yes, there's lots of articles, there've been tons of articles, , but we've never really used it as our first and foremost focus.

[00:14:14] Mastering Portrait Photography is now very much in our viewfinder, if you like, if you like the metaphor, and we are pushing a huge amount of energy and content into it. So every month there will be a long form video. By long form I mean half an hour. Video, uh, talking about something, uh, I think the ones that are up there at the moment, like I said, I'm in the Land Rover, and while I did make some notes, uh, prior to clipping on the microphone, I didn't make all of them, so I think there is how to structure a shoot is on there, uh, I think there is how to work in harsh sunlight in there, , I know the one that's on the editing screens at the moment is five ideas for off camera flash, oh, we're all speeding up again now.

[00:14:57] We're So it's about to get a little bit more background noise. They must have rescued whatever vehicle it was. , and so, uh, you get one long form video a month. There will also be an article a month, or every couple of weeks, with a lighting diagram. On top of that, there are the frame, room, whatever you want to call them, mock ups, where they are photorealistic Photoshop files that you can drop your own image into, and it just looks like that's how the image was put on a wall. Why do we do those? Well, originally it was to help sell, , wall art to our clients. Because obviously as a business, I need ways of getting them to visualize the, uh, the wall art that I'd like them to have. And the closer I can get it to photorealistic, the better it is.

[00:15:50] Because they'll, they can't touch it. Because. That we haven't made it yet. And the old adage in sales, if they can touch it, they'll buy it. , we can't quite get there, but we can certainly visualize it. So that's really good. , and that's why we built them. I built them for my own team and everything about the website, Mastering Portrait Photography.com is of and for us, I built it or we built it to support us as a business.

[00:16:17] The articles, some of it came out of the book, but then much of the rest of it. It's been to help train people, it's been to help train my own team when we've got assistants in, , the room mock ups or the art mock ups are entirely built for us. They were built for us to be able to improve our sales, and that works.

[00:16:38] Make no bones about it, they work. You can see them, there's hundreds of them, we're building more all the time, , Oh, this bit's bumpy. The thing about recording in a Land Rover is if the road, the M40, as it is, has a rubbish road surface, which it does at this particular bit, , then it gets a little bit shaky.

[00:16:56] You can hear everything rattling around. And so we built them to be photorealistic. We built them for us. There's tons of them, but there's actually a by product which I didn't necessarily anticipate. So while I'm building these things, I drop images into them all the time. I go back to my sort of stock of portfolio images, some of my favorite images, my favorite clients over the years.

[00:17:17] And I drop them in, , to create, , thumbnails that when you browse the site you can have a look at. , but actually what I've learned, or I'm learning as I go, is how different styles of image work in different types of frame. So certain images work great big on a wall. You know, I think as photographers We're drawn towards the idea of the Mona Lisa type portrait photograph, or at least I am.

[00:17:43] I love a headshot. I love a clean, big, bold, you know, almost as if it was an LP album cover. Uh, I think, you know, Bruce Springsteen or Peter Gabriel, that's I'm sure my age, I suppose, , on an album cover, something like that, I think would be just brilliant. But would my client really put that huge on their wall?

[00:18:04] Well, they might if it's Bruce Springsteen or Peter Gabriel. They're unlikely to if it's them. Now, they might if they have an only child and they might if it's a picture of a dog. There's some amazing photographers out there doing pet photography and I can, and certainly when we do it too, you know, I can visualize how one of our dog photographs, for instance, might appear in a big frame on a wall.

[00:18:28] I was with a client and an old friend of mine the other day and they had a A picture on the wall. It's one of Randall Ford's pictures. , and I know the family and their dogs and, and, uh, the dad. And I just think I could do exactly that with, uh, his dogs and his family. , something big and bold. A couple of frames lined up across the wall, but on the whole, if you are gonna sell big frames, single big frames, you probably want groups in there.

[00:18:56] Now, if you've got clients with huge walls and. You know, a couple of kids, you might be able to put individual headshots into individual frames on the wall, and I do have clients like that, and they look stunning, my oh my, do I love it. Uh, but they're not the norm, they're not the norm. The norm is a normal sized house, with moderate sized walls, and if you put a big frame up on the wall, it's either got to be something like a fine art piece, where, let's say, The couple are silhouetted against the wall, small, but there's a big sky or something, , or a picture of a dog, or a picture of, you know, the two kids, or the whole family.

[00:19:35] It's highly likely that they're going to want something full of joy and laughter, because that is something that would be appealing at that size on a wall. Similarly, if you're laying up three frames, you can tell a story across them. You can use a different star a different type of image. You can use individual shots in a different way.

[00:19:52] For more information visit www. paulwilkinsonphotography. com , if you put three acrylics on a wall, you can triptych across it, so you have one picture that's spread across the three acrylics, and that could look super creative, uh, really, really interesting way to do it, , and all of this, my understanding of this side of it is increasing all the time, because I'm laying out using these mock ups, so on top of them being brilliant as a sales tool for you and for your clients, they're also a really creative thing to play with, just trying different ideas, And seeing how they look.

[00:20:25] So that's the room mockups on the website. There's also, of course, the podcast, this very thing that you're listening to, that's the spiritual home for it. Even if you're listening to this on iTunes or on Spotify or on YouTube. The spiritual home for it is masteringportraitphotography.com.

[00:20:43] Paul In The Defender: And then the final section, or the main section is the academy.

[00:20:47] And this is now where all of our workshops, , are going to be. So, uh, while I'm on that topic, I'll just reel off the workshops that we have already got, uh, to book in the diary. Now these have got, uh, people have already started booking on them, , we only put them up a week or two ago. Uh, so on January the 20th, January the 20th, we've got an Off Camera Flash Workshop.

[00:21:14] Uh, funnily enough, one of the toughest topics to teach, uh, but also one of the most rewarding techniques to learn. , so we did, uh, we are in the process of releasing a video on it that will go on, a long form video that will go onto the website, uh, and that is a deep dive into some ideas of what you can do with off camera flash.

[00:21:33] I think people are a bit afraid of it because it's, , a little bit technical, but once you get your head around it and what you can do with it, you can do anything from create really natural, almost available light portraits but with stunning light wherever you are all the way through to theatrical halloween images with smoke machines and all of the paraphernalia and they're all in this video and the workshop on january the 20th is going to cover that ground it's Off Camera Flash we may or may not include some continuous lighting but at the moment the plan is for it to be Off Camera Flash but if the delegates ask to also cover continuous light then we could do Some of that because of course every workshop we run we tune it to the delegates We tell you broadly what the topic is going to be and then through the feedback we get in the Early forms that you submit and we can tune it if you want to

[00:22:27] It's the joy of having a studio. I guess we can do anything we want to as long as everybody's happy with that on March the 31st, we have a Mastering Headshots Workshop, so As it says, it's all about headshot. It's all about, uh, the, uh, for me, I think one of the purest, most beautiful forms of portraiture. I love doing headshot. They're my favorite, uh, thing to do.

[00:22:51] I think it, I dunno why I, maybe it's 'cause I've always been fascinated with faces and a headshot is simply an excuse to photograph a face. So that's headshots on, uh, April the 14th. So the headshots is March the 31st, April the 14th. We have got dogs and owners. We're photographing dogs with their owners for a day.

[00:23:11] , Of course, during that we will take some pictures of the dogs on their own. We will also take some pictures of the owners on their own. But primarily it's targeted at how to photograph dogs in conjunction with their, uh, their owners. Why do we do that? Well, most of our clients would wish to have a shot with the dog.

[00:23:32] That's the best shot you can get. , not all, we have plenty of clients that just want the dog photographed, but we also have plenty of clients, one in particular of the day, brilliant, oh man, one of my favorite sessions, Vivienne, who has given me permission to talk about and show the shoots. Vivienne came with her dog Dodie, tiny little West Highland Terrier, who contrary to my Nan's West Highland Terrier that used to bite my toes, this dog was the best behaved dog in the world.

[00:23:59] PAULWILKINSONPHOTOGRAPHY. COM , followed her everywhere she went, but also would just wander off and get inquisitive and then immediately return. A beautiful dog, beautiful shots, and she booked us specifically for one thing. She said, I can find people who shoot their dog on their own, I can find plenty of portrait photographers, only one photographer came up who quite openly and on the website said, yeah, we can photograph a dog with their owner, and I do it all the time with the hearing dogs, why wouldn't I?

[00:24:25] , I think it's a really lovely thing, and the shots of her. They're off the top of the scale. So that is April the 14th, Dogs and Owners. Uh, and then, this is a completely new thing. On May the 12th and 13th, we we have a two day bootcamp Now what's a bootcamp? Well, basically, it's as much stuff as we can fit in over two days. And we get the chance in the evening to have some food, maybe have a drink, have a chat, be together as a group. , We don't have accommodation at the studio, uh, but we certainly have plenty around us. So that will be, uh, two days, , either at our studio or somewhere local.

[00:25:06] , depending on what we decide exactly where it'll be. But it will certainly be within a mile or two of, of where we are based two days. That's two days back to back a maximum of 10 people. So it's a few more than our normal. Uh, workshops, but it'll be pretty intense. We're gonna cover all sorts of ground, , using available light, using studio light, using off camera flash, maybe a bit of post production thrown into the mix, again, depending on what the delegates, the delegates would like to cover.

[00:25:34] It's gonna be an absolute blast, cannot wait for that one. It's the first time we've run it, , and it's such a smart idea, it's Sarah's idea to do it. , as always, the smart ideas come from Sarah, uh, and, uh, looking forward to that one. That's May 12th and 13th. And then the final one that's available at the moment, right now, is June the 9th.

[00:25:52] We are doing our regular jaunt, uh, we're gonna dance to the weather, see what we get, uh, on location in Oxford. Now this workshop, I think, might be, might be my favourite, because it's just me with a camera, with some people to photograph, on a location. That's it. We don't carry a load of kit, don't carry particularly reflectors and lights, we just go and find locations, find light pools and patches, find stories to tell.

[00:26:24] We just go and photograph our models in Oxford on location. So that's on June 9th. And all of these workshops are now home, housed, ha ha, can't even say it, are now located, let's try that, are now located on masteringportraitphotography. com. We've moved everything over because that was always what we were building with the workshops.

[00:26:50] , originally it was under Paul Wilkinson Photography, uh, but we always knew, , and had, and had a reasonably openly talked about this, Always knew that we'd be moving it across to Mastering Portrait Photography. 'cause that's the place that's all about learning, all about teaching, all about enjoying and exploring portrait photography.

[00:27:10] So if you go to mastering portrait photography.com, there's a, a section called the Academy. So there's all these sections. There's The Visual Vault, that's all of the articles. There's The Podcast, there's, uh, The Resources, which is, , the mockups and , tools, Photoshop downloads and things. And then there is the, uh, Academy.

[00:27:31] And this is where you'll find the workshops. Exactly the same booking process as before. Everything's as it was, it's just now hosed, ha ha ha, it's just now located on masteringportraitphotography. com. Now, for the articles and the videos and the mock ups, at the moment the mock ups are 9. 99 each, uh, which is already a bargain, there's a few free ones, just so you can get an idea, uh, so they're about a tenner each, , there's a few backgrounds, I'm working on building more backgrounds as I need them, but mostly it's the mock ups.

[00:28:02] So they're a tenner, which is a bargain, you can create them, you can put them in magazines, you can use them on your website. It just shows your prospective or your existing clients how their images might look. A tenner. Bargain. However, there's a bigger bargain. I suddenly sound like a salesman. So sorry, it's because I'm driving.

[00:28:21] And I want to give you not one, but two bargains. It sounds like that. Anyway, if you become a subscriber of Mastering Portrait Photography, you get access to the videos. , and you get access to the downloads. And you get access, well, to everything we put on there, except the workshops. We charge separately for those.

[00:28:39] But you get access to all of the resources for 6. 99 a month, which is an even bigger bargain. So even if you only want to download a few of the room mock ups, it's still better to keep a subscription going at 6. 99 a month. It's less than an expensive cup of coffee. And, uh, we will keep the mock ups coming, we will keep the articles coming, we will keep the videos coming, so you'll always have value for money for your 6.99. If you're feeling a bit more, you know, a bit, you have a bit more conviction, then it's 69 quid, or 69. 99 a year, so that's 12 months for the price of 10. Uh, 10 percent saving, or whatever that is, 2 out of 12. Is it a 10? Yeah, it's a 10 percent saving. Is it? No, it's not. It's, I don't know what it is. It's two twelfths.

[00:29:25] There you go. It's one sixth. No! Which is a great saving. My maths isn't good enough, uh, while I'm driving. I can't concentrate. I'm concentrating on the road, as I should be, by the way. Uh, so it's 6. 99 a month, , or 69. 99 per year. So head over to masteringportraitphotography. com, , and we promise, we promise we'll make it worth your while.

[00:29:48] Oh, sorry, all of our members also. Uh, you get access to our Facebook community. Which is hidden and private. You can't get onto it any other way. , only people who are part of our community can be in there. And that way people can ask for critiques. People can ask for advice and tips is where we put discount codes for things.

[00:30:07] , like software where we have, uh, access to discounts from suppliers, those kinds of things. They all go onto the Facebook community. I know a few of you aren't on Facebook, and if I'm honest, it's not my favorite thing. Because I'm just a dopamine idiot when it comes to social media. Once I'm on it, I can't get off it.

[00:30:26] , however, it's the best way to do this to be, so you don't have to log into multiple places to find information. It's on our Facebook community, uh, and most of us have a Facebook account. So you see the, , the alerts come up when things, uh, are uploaded. So that is masteringportraitphotography. com. If you want to find the workshops, Head across there and go to the academy.

[00:30:47] You can Google Mastering Portrait Photography Academy or mastering portrait photography workshops. , they're a little bit lower down the rankings at the moment because obviously I've spent my entire life saying just Google Paul Wilkinson Photography workshops and everyone heads over there. So, uh, you might just have to scroll down, uh, one or two line items and we'll be there.

[00:31:05] Uh, that will change more and more of you. Uh, search for it and click on the link. So search for mastering portrait photography workshops or Mastering Portrait Photography Academy and you will. Find us.

[00:31:15] Paul In The Defender: And that's it for me. The traffic is free flowing. There's cars going everywhere. The light is dimming.

[00:31:20] They're salting the roads. They must be expecting some cold weather. It's a beautiful, beautiful afternoon. It's been a wonderful evening of celebrating photography. I am thrilled, thrilled to bits that I've rounded off my three years with setting up the most incredible monthly photo competition and also, of course, the surprise and honor.

[00:31:46] So on that happy note, I hope you're all well, I hope things are treating you nicely, and until next time, whatever else, be kind to yourself. Take care. P. S. Sorry if this sounds a bit shouty, but when you're driving a Land Rover, it's really loud, and I forget that although I'm mic'd up, or I forget rather that because I'm mic'd up, it might sound weirdly, like I'm simply yelling!

[00:32:27] That's because I'm traveling at Sixty mile an hour in a Land Rover Defender, so apologies if I'm shouting. Be kind to yourself. Take care. Bye.

So after three days of judging images for the British Institute Of Professional Photographers, it's time for me to step down from my role as Chair Of Awards And Qualifications.  I have been in the role for three years and it is time for someone else to pick up the reins and run with it (if that isn't a mixed metaphor.)

I have loved doing this and if it weren't for a million things I have to go on and do, I think I would do it forever!  So as I drive home from my last round of qualifications - possibly the best one I've ever been involved in - here are a few musings of things I have spotted.

This is a 'Tales From The Land Rover' edition so please forgive the audio quality and any mild road rage!

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

So I'm driving home from Birmingham, just in a service station, having bought the most expensive cup of coffee in the world, um, but I need one. It's been a long few days, um, and I am beyond exhausted.

I've just been judging for the British Institute of Professional Photographers. I was there as chair of judges and quals for the last time, maybe not for the last time ever, but certainly for the last time, uh, in this current guise.,

it's been three years, I've done it for three years, and I need some time to be able to do some other things, it's nothing more than that, that's all I need, it's just to be able to do some other stuff, because we're building up Mastering Portrait Photography, which, by the way, we actually got another royalty statement through this week, um, for the book, ten years later, and the book is still .selling, I cannot believe it, uh, selling all over the world, and it's such an honor to have something out there that is still ticking over, you know, a few hundred copies, I'd say it might be more than that, but it's hundreds of copies, every year, around the world, it's still in print, after ten years, and while much of the book I would update now, it's still reasonably, uh, current, the pictures certainly stand up for themselves, as do the Uh, all of the notes.

I think the one thing I would change is the opening chapter, which is all about current cameras. And of course that's changed in 10 years. They're not at all like that. And that's kind of what we're doing. We're building this incredible website called Mastering Portrait Photography. That is what I always loved, which is images and explanations and diagrams and ideas.

And I have a bookshelf from floor to ceiling full of those kinds of books. So, it's time to stop judging for a moment, and I've just spent the past few days doing it. I'm on the M40 heading south. I'm Paul, and this, this is the Mastering Portrait Photography Podcast.

Well, wow, what a few days it has been, and what an honour and a privilege it's been to have the role of Chair of Qualifications and Awards for the world's oldest. Photographic society or association, um, just beyond belief that I was asked to step into that role and it saddens me to leave, particularly after these couple of days because it's been just the most exciting thing.

It's been absolutely wonderful, but I have to do it. We have to find a way of getting a little bit more time to do the other things that I need to get to. So.

I've stepped down, I stepped down a few months ago and said I'd run it to the end of the year, so I've just finished the last set of qualifications that I'll be chairing, for now anyway, and the last annual printmasters competition.

I've got one more round of monthly images to, uh, chair the judging for, and then I am done for a little bit. So I'm not done judging, I'll still be judging both for the, sorry, for the BAPP, I'm sure. And for the Societies where I'm going to be in January, we're presenting again in January at the Societies Convention in London.

Um, I'm doing a couple of workshops, a couple of masterclasses, but I'm also going to be judging. I'm also leading the judging for the Click, uh, Click Light event, uh, sort of towards the end of next year. I already know that's in the diary. So it isn't that I'm stepping away from judging, it's just I'm stepping away from the role that I currently have at the moment.

Um, because it's just too time consuming, it's all I can do. Um, so what have the last few days, uh, been?

Well, we've judged hundreds of images, and I, it is, it's hundreds and hundreds of images. We've judged eleven panels, there are six judges. I chair a team, there's myself and six incredible photographers across all genres, um, of our art form.

commercialphotography, portraitphotography, weddingphotography, landscape, wildlife, you name it. Uh, this broad skillset in the judges, um, was in the room. Six just wonderful people, um, and it's that I think I'm gonna miss if I stop judging, of course. It's being in a room with these massive talents who make me laugh and inspire me every time we do it.

So we have judged 11 panels. of which five, uh, came out as a fellowship standard. That's the highest grade we can offer is fellowship. Fellowship at the British Institute of Professional Photography. I got my fellowship, uh, 2011, I think. I should know the dates to my own life, but I don't. Um, and I remember then wondering what, where that would take me.

What did it mean? And where it's taken me is to where I am right now. We've written a book. I've chaired all sorts of associations, I've chaired, I've been the Chair of Quals and Awards for the, um, for the British Institute of Professional Photographers. Um, I've travelled the world, I've worked on cruise ships, I, just, so much stuff has happened, and it's all thanks, or at least it was triggered, by me doing my quals.

Uh, so five fellowships, uh, three licentiates, um, three of the panels we saw of the eleven sadly were unsuccessful, um, but of the others, eight were successful, and a couple of those were uplifts, which means they came in at one grade, and they didn't just get the grade they came in for, um, they were deemed to be so good, they were uplifted to the next level, the next qualification, and they both came out at fellowships.

And I've had the chance to see and talk to the most wonderful photographers and their images. One panel in particular really just blew me away. And it's rare that I look at a panel and I wish I'd taken those images. There are panels where I love the images, but they're not really my field or it's just, you know, a different thing to what I do.

But this was a panel of portraits of artists and creatives and artisans, famous artisans, some of them unknown artists, others, and the way the work was presented, the way the author was so down to earth and humble about what he did, the way he'd captured characters in a moment in time, the way he'd styled each image in each studio, everything about these images just made me wish.

I had captured them and that's how it's left me. But what a way to leave, right? What a way to finish my tenure, um, after three years in the role. What a way to decide it's time, um, and although I'd taken the decision a few months ago that it was time for me to step away, I couldn't have foreseen that the last round of judging that I would chair like this would be simply the best couple of days of my time in the seat.

Absolutely. uh, amazing. So as I said, we've just judged the printmasters 2020. I don't know if I did say it or not. Obviously when I'm driving in the car, I'm on the motorway, uh, concentrating on the driving is my priority. Speaking into a microphone is very, very low down the list. Um, so of course I'm making it all up as I go along and trying to remember what I've said.

I have no idea. Did I tell you that, um, we've just been judging the printmasters as well as some qualifications? I've no idea. So that's what we've been doing two days, one day printmasters, another day. Quals, the print masters, hundreds of prints, hundreds and hundreds of prints.

So what have I learned over the two days?

Uh, well, let's sort of think of, uh, some things. Firstly, and this sounds obvious, but I'm in the same way that McDonald's print caution is coffee might be hot on the side of their coffee. It's such an obvious thing, yet people don't. So I'm telling some of the obvious things and yet people don't read the rules.

Start there. Whatever else you do, read them. Don't ignore them, because we will find out. We have had one image confirmed as being generated by AI. I doubt it's the last. We're gonna see more. The judges spotted there was something not quite right about it, so we dug in. Sure enough, AI. That's not to say there isn't AI we've missed.

AI now is so good that if it's presented to us, Unless we forensically check every file, I don't know what else we're supposed to do. Um, we spotted it, we got it checked, that's disqualified. There are others maybe in there, um, that have more than a smattering, um, of artificial intelligence involvement. But, you know, uh, the tools will get better and better and better at spotting it.

Um, and maybe it'll get to the point where in all competitions we have to ask to see The original RAW file, but even that, you know, you can fake a RAW file. So, what do you do? Uh, either way, absolutely brilliant. Um, also if it says it has to be a commissioned image, that does mean you can't use images from workshops.

Um, commissioned means you had a client who paid you to take the picture, that's what a commissioned image is. And of course, when images of models start popping up, this In a room with six of the most experienced photographers in the UK, there's always going to be one of them that's like, I know that model, I've seen those pictures, I know where that was taken, I know who took that.

Um, and so yeah, sure enough, we had to ring around a little bit and find out, um, whether some images were, um, within the rules, um, and the confirmation, uh, came through one way or the other. And of course, just read the rules. Uh, I say this every time I do one of these mop ups. Paper and mounts. Paper and mounts.

Paper and mounts. If you have any white paper showing of the printing paper, it's a good idea that the matte is either significantly different in colour to that paper, or is exactly the same as that paper. Um, one of my favourite, um, ways to mount an image, and there were quite a few we've seen over the past few days, The idea behind this was to have a white paper border around the print that sits then inside the mount.

So there's a gap between the edge of the actual ink on the paper and then the cut of the mount. It creates a really beautiful sense of space as it sits into the opening. But the paper needs to be the same colour as the mount. Otherwise it looks really weird. I suppose you could have a black mount and white paper.

Yeah, that would be fine. But a slightly off white mount and a pure blue white paper probably are not going to sit that comfortably, uh, together. So think about that. Think about how the whole image appears.

So what else?

Well, good mentors matter. I might write a title. I might, might, maybe I should write a podcast on that and that alone. Good. Mentors matter. They really do. We can see the work coming through from great mentors. Um, because the panel is considered, the way it's laid out is considered, the image selection is considered, um, having somebody else's eyes on to help you step outside of yourself.

The problem is when you're looking at your own images is you are by definition attached to them. You can't get around it. That's the way it should be. You are attached to your own images, which means you're not looking at them objectively, or at least most of us can't look at them objectively. I'm sure there are photographers out there who profess that they can.

I can't. I need another pair of eyes on. I have a mentor, and having a mentor is utterly, utterly crucial. Um, someone who can not just cast their eye over what you're doing, but help and shape and guide, give you ideas, bounce stuff off of you. Someone, ideally, who you respect, that you think what they've created and maybe what they can drag out of you will just make you a better photographer.

That's your mentor's role. They don't have to necessarily be a better photographer, they have to be someone you respect. Um, so have a good mentor and talk to them. Being meant, I've said this, there's a podcast on this somewhere in my history. That being mentored, being a mentee is a skill in and of itself.

It's not just a case of a mentor telling you how to get better. It's you driving that, you asking for the right help. You listening to what a mentor tells, tells you, you deciding what from what they're advising, what to do with it. You won't do everything a mentor suggests because your mentor is them and you are you.

You know, unless your mentor is your twin or something, they're always going to tell you things that, well, I can see how that might work for you, but it probably isn't what I want to do for me. That's fine. That's completely fine. As long as it's a rational decision that you're going to do something slightly different.

It's not just, nah, can't be bothered because can't be bothered, got no one nowhere. So have a good mentor, listen to them, use them, drive it, uh, and, you know, It just, you can see it in the panels that came through where the mentor, the relationship with the mentor, uh, was incredibly, incredibly good.

The next thing I'm thinking of is be current.

And what do I mean by be current? Well, the trick, I think, is to love the world in which you work. Look at the art, look at the Tele, films, listen to the radio, be influenced by the world in which you work. Don't just, you know, it's the temptation always, I think, when you do things like fellowships, is to say, well, that's defined me, that's who I am.

And we see it sometimes in the work, and frankly, we see it sometimes in the judging, where, um, just because it's always been, So that's the way it always will be. And that's, that's, that's not a great way to be. I don't think, you know, mix with new photographers, new generations of photographers. If you're like I am just that little bit more experienced in the industry, you know, my influences now have to broaden into the younger market because that's not my natural fit.

So I've got to get out there and explore what's being created. On channels that maybe just maybe I wouldn't normally gravitate towards. You know, I can't say I am a TikTok king, um, but I do go on there. I do keep an eye on what's going on. I try to learn from it. Um, Insta, I have a big account on Insta, um, which right now is still reasonably current, but it won't be in the same way that Facebook probably isn't anymore.

So, be current, be aware of what's on magazine covers or the latest and greatest websites. Have a. I don't know, have a link on your browser that gives you the top ten designed websites in the world at any one time. You can do these searches. In which case, have a look at what they're using as the imagery.

As a photographer, that's our job. You can have a style, of course you can. But, you should all, always be absorbing and assimilating. And, some of what we've seen over the past few days, It felt a little bit like it was looking backwards rather than looking forwards and we should represent the future as photographers, not just what's gone on before.

Again, I'm not saying throw away the classical techniques, of course I'm not, because they're there for a reason. Cliches are cliches for a reason and rules are essentially just cliches. So don't ignore it, but interpret it in new and exciting ways. Style images. Finish images, use post production, try different things that it would never have occurred to you to do.

Just be exciting and be current.

Uh, for you wedding photographers or frankly anybody who photographs people who are in love, uh, or people I suppose because there's an extension to this, um, one of the things that came up a little bit was a disc or various discussions around whether A couple had been photographed and it looked like they were genuinely and authentically in love.

The connection between the couple, um, there needs to be movement in that. It's like choreographing a dance when you have a couple sort of, um, in each other's arms or really close to each other. Don't think like a photographer, what do you want the end, what do you want the shape of them to be? Think like a choreographer and think, what would I like the movement to be?

And then as a, as a photographer, think, okay, now I've got the movement and the shape and the emotion and the rhythm of this, what moment do I want to hit the button? Now of course you can pose it statically, that's not a problem, but it should feel alive. It should feel like they're moving, that they are in harmony with each other.

There needs to be a connection between them. And then ultimately, there needs to be a connection with you, the photographer. Or more importantly. The viewer who sees the image in the end and to do that they must connect with your camera now You're holding the camera So they have to connect with you and then you have to guide them towards the lens if it's eye contact that you want But there has to be they have to like you and you have to genuinely like them It shows in the images when there's a relationship between the subject and the photographer You can feel it.

It's, it's sort of there in the picture. It's there in their eyes and their muscles. It's there in the timing of the shot that you take. It's there in the way their shoulders rise or fall or the way he's not just holding her or she's holding him or she's holding her.

It's the way that they bring each other closer together with laughter or emotion of some sort.

So have a connection with your with your subject and get them to have a connection with each other. Um, one of the biggest things I've thought of, I've lost track of where I am, of course, because I'm in the car and it's, the road's busy.

Um, but one of the things that occurs to me, it's the most important thing you can do with, um, competitions and qualifications is do them.

Actually get off your hands and do them. I know some very good photographers who think that they won't win something or they won't qualify. And they certainly won't if they don't enter, that's certainly true, but if they do enter, who knows? I know some of the categories that came through for the print competition this year were eminently winnable.

There are great images in those categories, but I know photographers producing equally good images Who had they simply entered, stood as good a chances as anybody else? Why not? I obviously can't enter because I'm, uh, judging. But with another association I enter all the time quietly behind the scenes. I don't really make a fuss about it because if I'm not entering, if I'm not pushing my style and my techniques, how can I consider that I'm qualified to either mentor or judge others?

So I do it too, and yes, it's heartbreaking when your images don't. Well, of course it is. It can be expensive and soul destroying. You know, it's a real problem. But, equally, it can be hugely rewarding. So you, you can't win if you don't enter. You can't qualify if you don't try.

And the process, particularly with qualifications, the process is so much more important than Than the qualification itself, though that is absolutely not , not how it feels.

It's only afterwards when you can say these things. You never, anyone if, if anyone's ever going for qualification. Um, and I say to them, um, you know, uh, how do you feel? And they're like, ah, it doesn't really matter. It's just a process. It's a journey that I'm like, no way. No, no, no, no way. I know you are not telling the truth.

Why? You wouldn't put yourself through that kind of expense and that kind of pain and discomfort if it was just about the learning. But the learning is the bit of the puzzle. When you look back with hindsight, whether your panel is successful or not is the most valuable thing you'll do. Because that's where the lessons are.

That's where the learning is. That's where the development is. The letters give you confidence. The letters help you shape who you want to be. And they certainly, if you know what you're doing, help you market yourself. But they're not a definition of who you are. The process of getting there, though, is, because it gives you, or it shapes, or it demonstrates, I don't know what the right word is, that you have the dedication to your craft, that you're willing to get down and push and push and push to be the very best that you can be.

You're never going to be a finished article, or at least I don't think you can be.

I think every day, I mean for me for instance, I wake up every day it's a mix of enthusiasm and energy and ambition and insecurity. I just think, oh I'm not very good but today I'm going to be better. That might not sound like the most reassuring thing in the world but it is what it is.

You know, I've learned to use my insecurities as my driving force. I don't like feeling that way. God, I hate feeling that way. Why would I like feeling that way? You know, I look at some of the photographers out there that are Sometimes massively, they overrate themselves, but they're just hugely confident.

And I'm not that guy. That's not my personality. Mine is to feel, I suppose, um, insecure about my work. But I use that insecurity and that sense of, I wish I was better as my driving force. And everyone has their own driving force. You'll have to find yours. I've found mine. I know what it is. I wish it was something slightly different.

I wish it was something slightly more sort of positive, I guess. I saw a counselor would ask me why, why have I empowered other people to make me feel insecure or something. I have no idea. I've never been to a counselor, but I'm guessing that it's my, my, the energy that I use, the fire that I have might not be the most positive, um, and reaffirming way of doing things.

But for me, it, it is who I am. And it pushes me to do things. It pushes me to try things. It gives me the energy to overcome hurdles and, and create videos or create the website or write a book with someone. Um, terrifying though it is, I just want to be better at it and so I'll keep trying it. Uh, so put yourself forward.

Another thing I'm just thinking of is the headlamps. Headlamps and taillights are all around me. Is learn how to craft lights, or just as importantly, learn how to see light. Learn how it lands on someone's face, or their figure, or a scene, or a dog, or a cat, I don't know. Saw some of the most exquisite, exquisite cat photography today.

Saw some And the author of the panel has learned how to use light to bring out texture and form and character and personality in cats. That's her skill set. It's wonderful. And she's learned how to do it. And, you know, that's where photography stems from. It's all about light. If you're a daylight photographer, learn how to see it.

Learn how to observe. Learn how to almost Smell it out. , you know, you see it. You, you, do you ever get excited be, I mean, even now I'm watching a car ahead of me and I can see the pool of light on the road ahead from its headlamps and it's dark in between the Land Rover and him or her, and then there's a pool of light in front of that car.

Well, that pool of light might be quite an interesting thing to light somebody in. I spent my life doing that. I can't help it. It's like light is addictive. It's like a drug. Finding good light, or interesting light, or light that might give an effect, when, you know, the cars coming the other way, their headlamps are giving the car I'm following, kiss lighting, because of course it's bouncing off the sides of the metal, and I can see these kind of pockets of light along the side of the car, you know, that's just, oh, that'd be really interesting to photograph someone in that kind of lighting, you know, let's say a, you know, a car's headlamps are probably a bit low to the ground, But if you had a truck or something with overhead lights and you could get them to point down so they're above someone's head but you've got other trucks in the distance where they've got their normal almost ground level headlamps on and they they're going to create the backlighting yeah that could be really super interesting and it's that enthusiasm for exploring light that I think photographers need if they're going to create the truly stunning interesting images.

I mean I would say that, I love light. You know, as an Elinchrom ambassador, you'd expect me to say I love light, but I do. I just find it, I don't know why, why, I have no idea why that might be a thing, but I love it. I absolutely love it. And so, yeah, you know, after all of that, I'm sure there's a million things, I'm sure there's a million things that I've missed.

And had I spent the time thinking about it and driving home and writing up my notes and recording the podcast properly in the studio, it would sound a little bit better. I'd be jolted around a little less, um, but it probably wouldn't get done because we're so busy just at the moment. So apologies for me doing a Land Rover edition at 70 mile an hour because I can hear it's noisy, but otherwise I was not going to record one at all.

Um, the time pressures are now such that I really do have to dedicate more of it to mastering portrait photography, to our website, to building the, um, room mock ups to drop pictures into for beautiful framing, to creating interesting ideas on images and writing up notes on old images. Have I said the videos?

I must have said the videos. Oh, maybe I haven't said the videos.

We're creating these beautiful videos. We've got so many news joined us in the team. Katie's joined our team, who's amazing. She's great. She's a real breath of fresh air. She's young. And so she sees the world totally different to me. Um, so, you know, between us, I think, hopefully, it's a two way street.

I'll help her understand mostly software. I'm pretty good at picking up software. Um, and so Blackmagic's DaVinci is now another one of the tools that I'm reasonably comfortable with and can get my head around. Um, so I'm helping her get up to speed with that, but in return, she's showing us a young view of creating videos, which there's no way I would have done.

Sarah and I wouldn't have done it that way. But I'm really loving having that around. But it takes time. All of this takes time. And, um, running the workshops, you know, we now run regular workshops and they're going to increase.

Um, because we just love doing them but also it's part of our business model going forward.

Um, and to have time I've got to stop doing so many other things that I've been involved in for a while anyway. So, uh, Yep, standing down and it's all for mastering portrait photography. On that note about workshops, we do have a space actually, we've got a mastering studio lighting workshop which is on Monday the 4th of November, so it's a few weeks away, but there's still a space on there.

I love this day, I think this day is one of my favorite workshops, um, that we do, where we just play with lights, play with ideas, try things out, smoke machines maybe. GoBos, BigLights, SmallLights, um, HighKey, LowKey, you name it, we just play. Because that's by far the best way of learning stuff. Um, you can do whatever way you want.

Some people are bookworms, some people like a video or two. For me, I like messing around, um, and coming up with ideas. So that's on Monday the 4th of November, if you fancy it. Why is it right, when you're overtaking someone, why do they accelerate? Bye. Anyway, um, I don't like motorway driving very much. Everyone's very aggy, people are very aggressive, they just, it's a weird, ever since COVID it seems to be a very weird world. Uh, anyway, where was I? Oh yeah, I just love playing in the studio, and that's the workshop. So it's Mastering Portrait, sorry, Mastering Studio Lighting, uh, on the 4th of November, if anyone fancies it, just Google Paul Wilkinson Photography Workshops, or head over to paulwilkinsonphotography.co.Uk, or similarly, you can go to masteringportraitphotography.com, and the workshops are in there, in the Academy. The same workshops, but they're in the Academy, uh, over there. Eventually we're going to fuse all of the workshops into Mastering Portrait Photography. There's one single entity, so at the moment they're sort of co existing on the two sites, um, but it's the same workshop.

Uh, we will be putting more and more of them up on there.

If you subscribe, actually, to Mastering Portrait Photography, um, it's not a lot of money. It's 6. 99 at the moment, as at the time of recording, it's 6. 99 a month, which is actually the same price as the cup of coffee I've got sitting here in my Land Rover.

So it's one very large pumpkin spice latte per month. Um, To join the website, but if you do that, you get an advance notice of the, um, workshops, um, and you get to, uh, jump on them earlier than anybody else. You get to be part of our community, the Facebook community, uh, which we're building, um, making that more and more vibrant and interesting.

And, um, you can post pictures in there and people would jump in and give you tips. If you ask for it, if you don't really want it, then, you know, you can just post your pictures for the sheer joy of it. Uh, so that's all part of it. You get to download any of the tools for free, you get to download any of the room mock ups for free, you get to watch all of the videos and see all of the diagrams and there are hundreds of them.

I did a count up the other day and it's still like 400 diagrams I think, it's a lot. Um, but the whole site is there 6. 99 a month. If you want to spend it, if you want to spend a little less on a bit of a discount and do it over a year then you can enter the annual one. Um, and so if you pay annually it's 69.

99 for the year. Uh, which of course is about, what's that, 10 percent cheaper. You know, have I got that right? It's 10, it's 12 months for the price of 10. There you go. I don't know what that is. It's a mathematical term. I'm going to have to look that up if I'm going to publicize this. Um, uh, but that gives you a slightly better rate.

Slightly cheaper, but also gives you discount codes to the workshops. So not only do you hear about them early, but you get a little bit of a discount on them too. There are a couple of other options on there as well. If you fancy. And no, you're going to book onto our workshops or come to us for mentoring.

There's two other options to, uh, for the membership if you want them, um, and you can have a look on our website for that. Just Google or search for Mastering Portrait Photography Pricing, or just head to our website and hit the pricing, uh, link. So that's where we are.

I'm just heading south on the M40. Um, I've run out of things that I've remembered to say.

That's not that I have run out of things to say. I just have run out what I have remembered to say. to say. So as I thread my, oh that blooming van's just overtaken me again, um, so as I head my way south on thankfully a relatively clear motorway, uh, I'm going to say thank you for listening if you have listened to the end of this podcast.

I know it's a bit noisy when I'm driving in a Land Rover and recording it, um, if you're hearing it I managed to at least convince myself that the wasn't too bad, it didn't sound too rattly. Well, if you're not hearing it, it means I've pulled this podcast.

I'm not releasing it because it's just not good enough, uh, audio, but thank you for listening to this point. Please do subscribe, wherever it is that you receive your podcasts or you consume your podcasts. By doing so, you'll get to hear the episodes as they come out. So if there are any offers and things, or any last spaces, you get to hear about them first.

Uh, you can hear us on Spotify, iTunes, and all over the place, basically. And whatever else you do in the coming weeks, be kind to yourself. Take care.

Well, this hasn't been the easiest of years with inflation, geographical tensions and all-out confrontations, terrible weather and political transitions.  And last night the trusty Land Rover Defender broke down one more time.  Possibly one LAST time.

But through all of that, we have to look for the possibles - the light at the end of the tunnel.  But maybe it's us that has to create, rather than simply walk toward, the light.  

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] Paul - Studio Rode Broadcaster V3: It's Sunday afternoon. It's late. It's getting dark. It's getting dark so early now. Um, Sarah finds it really depressing, but I love this time of year. I love the colors. I love the cool of the air. Though that said this has been well, a weekend of ups and downs. Uh, yesterday we photographed a beautiful wedding. Uh, Hannah and Tom, one of our clients, just the most stunning. Stunning day.

[00:00:25] Sarah came with me because it was a bit of a handful. It was a lot of photography to get through far more far, far more. In fact, Then I would have liked to have agreed to. But in the end, it was one of those very complicated weddings where there was family from all over the world. And they wanted lots of different combinations of groups to be photographed in a very small space of time.

[00:00:46] But they were the. The most incredible couple, the weather was beautiful. The venue were fantastic. The people there were amazing. And it was just, well, it was just a thrill to have Sarah at working alongside me, which made everything. Okay. Uh, the day before we'd spent with Jake, where. So we've gone up to Nottingham, stayed there for the night, had a wonderful night out and discovered amongst many other things, the magic of a wine bar that has vending machines, kid you not. So you put your card in. Uh, you can get a glass from any bottle of wine you like. And it was all just really, really lovely bit expensive, but really lovely. I also discovered the magic. Now I've not experienced these before I am 55 years old. And have never needed to use them.

[00:01:29] Blister plasters. Yep. Blister plasters. So I bought a pair of Converse, uh, decided for a change to have a different style. And it turns out to be a style that cuts the hell out of the back of my feet. Uh, but didn't discover that until two hours into walking around Nottingham. So Sarah, obviously, a bit more used to these things than me having worn heels, um, showed me the glory that is a blister plastic. I'm still wearing them. They're great.

[00:01:54] Anyway, an amazing day, a beautiful wedding, the following day. And then driving home. Last night, congratulating ourselves on having done a really good day's work, beautiful photographs, uh, into, uh, on the memory cards. Land Rover all packed up, um, and then proceeded to have a whole series of really irritating road closures, motorway closures queues, culminating in one

[00:02:21] that turned out to be well, possibly the end of the Land Rover we're queuing and have been queuing for about half an hour. But by queuing. I mean, we're essentially stationary, just stop starting. And then I went to put it into first gear. Nothing. Absolutely no way of getting it into first gear. I've got my foot on the clutch, lift the clutch, nothing. Put my foot down, the pedal is staying stuck to the floor.

[00:02:47] So I've got a couple of tons of land Rover in a single lane queue that no one can get round me. And it's not moving.

[00:02:55] Now. I remember an old trick. My dad taught me. And I don't know why. Why this was a tricky taught me because we don't have, or didn't have at that time. Anywhere near where I lived level crossings with no gates, but he said, if you ever get stuck on a level crossing and you can't for some reason, get your car to start, or it's just stalled, put it into first gear. Turn over the starter motor and it will give you just enough power to get yourself out of that situation.

[00:03:24] So I just very quickly thought, well, I'm blocking an already irate queue, cause we've all been stuck there for, for hours. Um, I can maybe get it over to the side of the road where I can call recovery. So I turned the engine off, wedged the gear stick into first where the engine, uh, stationary turned it over on the starter motor, which of course with the clutch being permanently engaged now. Uh, rolled the wheels and got me just enough movement to get out of the way of the barely moving traffic and onto the hard shoulder, up to the embankment, where Sarah and I proceeded to look like for the next five hours.

[00:04:04] I kid you not it's cold. It's dark. Thankfully, this time. I'm like the last time I broke down like this. It isn't snowing. Uh, but we lay with as many layers on as we could and a high vis vest over the top with our feet. Um, strapped into boots, but also now in polythene bags to try and keep the cold at bay, because it was absolutely freezing.

[00:04:23] We're laying on the embankment, up to the rear and above the Land Rover. And anyone who must have seen us and they all must have seen us. Cause we're wearing, high-vis looked like a pair of corpses. Just lying there in the Moonlight. It must've been a strain site, but given the RAC who came to recover us, took five hours and they took five hours, because all of the recovery vehicles were involved in re in, sorting out the crash that caused the motorway to close, which is the reason I was in a queue. So it's one of those very complicated things. But in the end. It culminated in Sarah and I lying side by side, like two corpses in a crime drama. Uh, it must've been a dump site, you know, the kind of thing the police say, wow, this isn't where they died, this must be the dumpsite. Um, and they've left them laying here on the embankment in homage to the Land Rover. I've no idea. I was very glad Sarah was there. Um, so in fits and starts, we slept eventually we got picked up at about, uh, I think it was about four o'clock in the morning, maybe half past four in the morning, um, and then, uh, took the recovery vehicle. The Landrover is right now sitting outside the garage that did the work on the engine earlier in the year. They're going to know the minute they turn up that something is wrong. My suspicion and I hope I'm wrong. Is that the slave cylinder on the clutch has failed because if it has, it means the whole transmission and gearbox has got to come out. And that's a proper, yet another expensive job.

[00:05:52] And. I think maybe, maybe this will be the one that says the end of the Land Rover. I'm Paul. And this is the masteringportraitphotography.com podcast.

[00:06:03] Well, hello again. We are back recording the podcast. And once again, it's a tale of woe and drama. Sarah said to me, as I left, she said, you need to record a podcast because you haven't done it for ages. She said, it's all right. It's all right. To feel a little less upbeat than you do normally. And that's just as well this year. I think this year is a year that I'll be happy to get to the end of, we started this year with such energy and enthusiasm.

[00:06:50] We thought that. You know, we're getting to the end of the backwash from COVID, everything would pick up, but of course, inflation hit the roof. We've had in terms of weather, just awful weather, which always deflates the mood. We've had a general election In this country, as well as in the states that you're about to have yours and we've already had ours. Which I thought would , would Herald in good news and optimism. Um, you know, I think it was time we had to change. There's no question about that. And no matter which side of the politic line, uh, you prefer, there's no question at all that we needed to change, but that changed that the good news side of that hasn't lasted particularly long. Um, Inflation is still high.

[00:07:28] The weather is still crappy. Seriously, we've had nothing but rain. I was so blessed with the wedding on Saturday. Um, the sun shone, and it was glorious. It was dry. It was warm enough. Um, it was just beautiful light. But that has not been the story of this year. The amount of water around us, just at the moment.

[00:07:48] And nobody's thinking when they wake up and read the news about the terrible weather, the terrible economy. They're politicians causing just all, just doing stupid things. You know, inflation, um, the stuff going on in the middle east or stuff going on in, on the Russian borders. You know, very few people are gonna wake up and think, oh, with all of that news do you know what I need what I need is a photographer. It's uh, there's work around, but it's just not the year we thought it would be, this is not been. A vintage year for photographers.

[00:08:18] And he really don't have to ask very far to find that out. Now we've done. All right. If I'm honest we're probably bucking the trend, but we have had to work, ah, back-breaking hours to do it far harder then we've had to work any of the year. It won't be a record breaking year, that's for that's for sure. But it will be good enough somewhere in the middle of our regular numbers, but we have worked tirelessly to do it. Backbreakingly tirelessly.

[00:08:47] I cannot remember feeling this tired though, having said that. I've just spent the night laying on an embankment in the freezing cold, trying to get some sleep. Maybe that's why I'm feeling. I quite so tired, but even talking to the videographer. Uh, on at the wedding on Saturday, he was talking about the bits of the industry in his region because we were working out of region and he was saying the same thing.

[00:09:10] There's just. It's just been a tough year. There. Aren't the number of weddings. For instance, if you're a wedding photographer. Um, and there isn't the money sloshing around at the has been, um, Sort of in the industry with our clients because our clients are under the same pressure as we are. I was trying to work out our operating costs. Um, on things like, you know, albums and frames.

[00:09:32] And I think on average, somewhere in the region of 15 to 25% increase, over two years. And if you put that into the context of running a business, And, and also assume that your clients are having exactly the same problems with their day-to-day expenditure. It means that we're running a business that's less profitable than it would be if we don't change our prices, but at a time when people have less money to spend. If we did increase all of our prices and of course we're all juggling that particular set of requirements.

[00:10:04] Uh, and on top of that, of course, one of the reasons we're also feeling tired. Is we're still running workshops. Uh, I'm still at the moment, the, uh, Chair of awards and qualifications for the British Institute of Professional Photography.

[00:10:17] But. Um, I mean, big news on that one is I am stepping down from that role at the end of this year. Now I've loved every single second of the past three or so years I've been in this seat.

[00:10:29] Uh, I've done everything that I wanted to do. We've organized it. We've got the standards where I wanted them to be, so that they're rock solid. You can trust if somebody got the letters after their name from. The BIPP then they've earned them. Um, and that means that we have real cute OSS in the industry. It means it's something that people really want to attain.

[00:10:49] And that's, I guess what I wanted to be able to do. But I also loved being a mentor. And while I was chair of one of the qualifications bodies, it's very hard. To be a mentor because it can be really easily accused that I might be, um, swaying results or influencing the outcome of judging.

[00:11:08] So I took the decision when I accepted . The chair of judge's role that I would not to do any mentoring towards qualifications or anything involved with people wanting to enter the competitions and things, because it just, it didn't look great,

[00:11:21] But it's something I've always. Really enjoyed doing so it's something I can return to. I'll get a chance now to actually enjoy looking at other people's work, um, guiding, nurturing, you know, also spending some time developing our own work because you need at the same time, I need the time to dedicate to our own businesses for a little bit.

[00:11:41] So I'm stepping back. At least, you know, in a frontline role. Uh, from, um, the chairing side of the BIPP. Hopefully I'll still get to judge, but I certainly won't be chairing it. Uh, we're still running the workshops, of course, on that note, uh, I think we have just two left this year. .

[00:11:58] So the thing without podcast is our podcasts have a very long lifespan.

[00:12:03] People are listening to podcasts from sort of six or seven years ago. Uh, but as of right now, which is the 28th of September, I think. Hang on a minute. Which I can't believe I had to go look that up on my screen, the 29th of September. Uh, 2024, we have two remaining workshops in our diary. I think there's one space left on each off the top of my head.

[00:12:26] Uh, on the 4th of November, we have Mastering Advanced Studio Lighting, which is, I might actually have become my favorite workshop to run because we just play: we play with lights.

[00:12:40] We play with ideas with form. Uh, we play with shape and color. We play with the smoke machines that people want to, we play with continuous light if people want to. Um, of course, as an Elinchrom Ambassador, that nearly all of it is geared around strobes. You name it? If it's in the studio, we can do it. And I absolutely adore this workshop.

[00:12:59] I think there's a space left on that last, the 4th of November. It's an all day course. Uh, all day workshop, sorry. Uh, and then the second one we have, which is a brand new workshop. We've never tried this before and we'll see how this goes. Having spent the night lying on an embankment last night, I'm not so certain. I want to be outside at night for a while. However, it's at the end of November 25th. Of November. We have a mastering day and night workshop. Now this workshop. Is one, uh, I think it might've been Sarah's idea. Uh, If it's successful. It was my idea. If it doesn't work, definitely Sarah's idea.

[00:13:36] No, I think it was Sarah's idea and I think it's a great idea. Uh, Mastering Day and Night. So we start unlike most of our workshops where we start at sort of 9, 9 30 in the morning. That this one. We're going to start straight after lunch. We're going to spend the afternoon working with daylight and then as dusk falls. We're going to work with a nighttime scene.

[00:13:55] So it's not really a, it's not studio lighting, but we might use some lighting. Depending on what the delegates want. So we're going to mix it up a little bit. We're going to spend a half the workshop working with available daylight and half the workshop working with a combination. Um, of available light, which of course won't be daylight, but it might be street lighting. Um, or light coming from people's porches and those kinds of things working around the village.

[00:14:21] We'll also have some lights with us. Just as I did at the wedding yesterday, I see. In this slide. Here's an aside. Uh, yesterday working with the videographer I had in the land Rover. Uh, I had to Elinchrom threes, which I thought we would work with. Cause I love them. Absolutely amazing lights. And I thought we'd do some stroke work. Um, but I also had a pair of aperture. Uh, continuous focusing, uh, spots, focusing spotlights led spotlights.

[00:14:47] They really quite chunky. Um, and they throw off who wrote the most beautiful light as well. Um, and so I said to the videographer, um, we might do some nighttime photography and he looked a little bit glum and he said, yeah, you mean with strobes? Don't you? And I said, well, do you want to do anything with it?

[00:15:02] So, yeah, I'd really, I'd really like to be able to capture some of that. So I'll tell you what, why don't we run the two spotlights were run continuous lighting for this one. Because working with a videographer, it makes it a little bit easier for you. Um, and while I'd still prefer to be using my Elinchrom Threes, there's no reason why we can't do something at least similar. Um, with continuous light, so threw a spotlight and had a play at night.

[00:15:23] And the reaction from Richard, the videographer. It was just brilliant. He took one for, oh, it's not a photo who's doing. Slow-mo. High-speed video. And he just went. Wow.

[00:15:36] And then everything I set up, he wanted. Like sort of five seconds of slow motion video of it. Um, moving around cause you get lens flan, all of those things. So we were creating very similar vibes that you can do with stills and a strobe, uh, with continuous light and uh, in his case with video. So it was quite exciting to do that. Um, anyway, back to Mastering Day Night, we will be using a mix of different lighting, maybe a bit of off-camera flash, depending on what people ask for.

[00:16:00] Um, Now. On the topic of workshops next year, we're looking at. Um, some new ideas and that if there's anything you'd like to, uh, like us to host, so you think would be fun, then please do drop us a line. You can always get ahold of me on [email protected] dot code at UK. That's [email protected] .

[00:16:22] If there's something you can think of that, do you know what it'd be great. If you could run a day on whatever it is. As long as it's photographic people, not animals. And not buildings, not landscapes. I'm not good at all of those things, but it's photographing people. Uh, understanding light then of course, why not drop us a line?

[00:16:41] Um, one of the ones we're already looking at, and this I'd be curious if anyone's interested. Um, we haven't got dates for these yet, but we are looking to do. A two day workshop. That's a back-to-back workshop. Um, Now I don't yet. So we haven't quite worked out yet. What will go into those two days, but we know, we know it's just going to be. Uh, blast. And of course, with it being over two days in the interim evening, we get to sit. Have a meal, maybe have a few drinks. And chat about photography and not quite sure. Um, what the format will be.

[00:17:16] My guess at this stage is, uh, the very least. A day and a half of photography and then half a day may be. On workflow or maybe on Photoshop or maybe on Lightroom. Uh, maybe the use of AI tools, which of course are now a considerable part of all of our workflow. I don't know. I honestly don't know. We're still working it out um, for those of you who are part of our workshop community people who've been on our workshops. We've sent you a quick survey. Um, which we'd love to hear your thoughts on for those of you who listened to podcast, but never been on one of our workshops. Again, if you have an idea, and you think that might be fun to come along to, uh, please do drop me a [email protected] . Uh, of course alongside all of this. And another reason why you might hear the fatigue in my voice. I think today I can be excused. All right. I think today. I'm allowed to sound a little bit weary because having laid for five hours on an embankment next to a slow moving motorway. Um, until like four or five in the morning. I think I'm all right to feel to, to justifiably sound a little bit fatigued, but we're also running a couple of different businesses and one of the things we're still working on and I'm still reworking is the mastering portrait photography website, still a few bits to sort out.

[00:18:36] So those of you. Who do go on and off the website, apologies for things moving around as we're doing this. , I had an email the other day that said, do you know your shops down? Um, and for every user that I tested on the shop was just fine. Uh, but for just one or two uses, not so much. Um, I had to go digging around in some code. Uh, to find a one-line and do you know what it turned out to be?

[00:18:57] It was a line I'd put in to debug the rest of it. The rest of it was fine, but the line of debug code was glitching. It's just. Oh, I hate it when that happens. It's an old school. Uh, cockup . When you put in test code and it's the test code that causes the problem. Uh, so never mind apologies for that.

[00:19:16] Uh, so. But we will keep you posted. There's lots of new articles and there's going to be regular videos and all sorts of. Uh, features on their rolling forwards. Uh, sad news this past couple of weeks, is that the incredible NPhoto magazine, which I just loved writing for has stopped publishing. What a shame I'm gutted about it.

[00:19:37] I've loved every time they've asked me to write for them. And so it's just been, um, I dunno, it's just been part of my monthly activities is to sit down. Tapping the, uh, figurative pen on my teeth and wondering what to write. And of course it being about Nikon and my love of Nikon. It's been a real pleasure to do, however, as with all of these things, when doors close, other doors open and it looks like there's a chance, at least that I'll be writing for an even bigger online title. Um, They approached me. Um, some of the same editors were involved in the new, well, not a new sites and established site, but they've moved over from their role at NPhoto, into new roles. Um, and they reached out to see if I'd be interested. In putting together some ideas to write for that.

[00:20:25] So. Um, like I said, you know, some doors close and while I'm really sad and photo has gone. Um, then, uh, maybe just maybe another door is, uh, opening. I've just got to figure out what angle to take on it, because it's a really open, brief, as long as it's interesting. Um, then he said, I can pretty much talk about anything.

[00:20:44] I like. So, whether it's business or techniques may be creative ideas, I don't know. Um, the state of the industry, AI post-processing. I honestly don't know, but one thing they have said. Is I could do with writing some things that are slightly contentious, at least in the sense that they can create a little quote that, uh, will get people out of bed and engaged . There's some ways, many of the things, um, I'm not that good acts.

[00:21:11] I don't know. That I'm particularly contentious. I did get in a, it was a wonderful review. We had at one of our workshops through the day. Um, and the review said. It's just great. And he said he really appreciated the fact that I was ever so slightly irreverent sometimes. Uh, which I think is about as far as I would get, I don't know. That I'm known for being particularly contentious, but it might be something I have to get my head round.

[00:21:37] They also said I'm going to need. Good headlines now, for those of you who are regulars with the podcast, you'll know that one of my weak spots is I'm not very good at writing. Headlines. That's just not my scale. Just definitely not good at it. I try I've even tried just one of the few things that I've tried, getting chat, GPT input on.

[00:21:56] So dear Chat, GPT. Uh, please give me some, uh, I dunno, punchy headlines for this article. And when it comes back with just they're even worse than the ones that I write. So I've come back to writing my own. Um, that's definitely not my skill and the editors I've been working with whenever they've taken my articles, they've written far, far better headlines than I ever have.

[00:22:19] So hopefully they'll look after that, but it was there. In the brief. Um, so, you know, I'm gonna have to learn some new skills, enough to be a bit contentious. I want to write some better headlines. I'm just gonna have to get my head down and, learned some new stuff, but here's the point. No matter just how rough this year has been.

[00:22:37] And I think in some ways, at least psychologically, this has been a tougher year than some of the ones we've been through recently COVID well, that was out of our control. Um, coming out of COVID. Well, everybody knew it was going to be tricky. But now, with so little reason for it to be quite so tough.

[00:22:59] At least there's no. I mean, I know there are reasons for it. I'm not saying there aren't. But it just feels like there should have been a better year. But at the end of the day, there's only so long people can be depressed, whether it's me, whether it's my team, whether it's our clients or whether it's the bigger world, the greater world. In general, there always has to be. Light at the end of the tunnel, but here's the but, weirdly. I suspect that light at the end of the tunnel is the light that we put there ourselves. It's almost like a mirror being held up. So that it reflects back the light that you have to generate, and that's not an easy trick, particularly when you know, I'm facing yet another land Rover breakdown and possibly the Last land Rover Defender breakdown.

[00:23:50] I'm not entirely certain that at the end of this year, we'll still have a Defender. I don't know how I can have a car, that I'm worried is going to break down every time I head out on to a gig. Um, But it is the trick that I'm going to have to master, to be, to have light at the end of the tunnel. It will be me that has to create it.

[00:24:09] And it has to be reflected back at me. I have a suspicion. That's just the only way to do it. If you can't create the light, there's nothing out there to run to. And I intend to run towards the light. So in spite of the rain, the time pressures, rather buggered, Land Rover Defender. Ultimately it's down to me. To shine, a light that I am running towards, and I'm going to choose that light.

[00:24:36] I'm going to make that light. I am gonna look for the new opportunities. I'm gonna. put, together new workshops. I'm going to focus on all of the new opportunities that are thrown up over the past couple of weeks. Um, I am loving running the workshops and they are going to get bigger and stronger and more exciting.

[00:24:52] I'm loving making the website changes. To Mastering Portrait Photography, the videos that Sarah, myself and Katie are creating. Um, the time I've had to spend with the kids. And of course the incredible clients that we've been able to work with and the images that we've created so far this year, and the many more. There are to come.

[00:25:12] That's the light at the end of the tunnel and that's what we're creating.

[00:25:17] The team around me are well, frankly, fantastic. And one thing from last night is unexpectedly lying under the stars. I was lying under the stars with my wife, Sarah, who is to me. my savior. It was just not lovely. I'm not going to say it was lovely because it was so cold. Um, and so slightly depressing. Um, however, if I was going to be there with anybody, it would be there with Sarah. And so for me, that's a little high spot in what was otherwise quite a dark. Uh, at cold night,

[00:25:46] On that note, I need an early night now as I haven't had any sleep. And I have to be up early yet again. To go and explain why yet again, I'm not really happy that my clutch has failed. Less than eight months after having the entire engine and transmission, replaced. But whatever else you're doing. In this cold weather. Shine a light and be kind to yourself.

[00:26:10] Take care.

So I have a new toy (or two) - a nice new set of RODE Wireless Pro 32-bit floating point recording units.  Nice.  But I honestly wasn't sure if the recording had worked (there must be a lesson or two in UX design here, but I'll let that go.)

Anyway, the recording DID work, or I wouldn't be publishing this podcast.  No editing.  No effects.  No tricks. Just straight out of the recording unit - 32-bit floating point is good like that, you don't even need to set any levels!

The topic is mostly about what we've been up to and the things going on. Which is to say, lots!

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] What is it? No matter which way you put the keys in, it's always the wrong one. Oh, squeaky windscreen wipers.

[00:00:18] The sound of a Land Rover's windscreen wipers, as you can, as you can probably tell from the scraping sound, it's drizzling outside, which means you have to have the wipers on intermittent, and a Land Rover's, Windscreen wipers are not subtle. They're kind of, they're just noisy. They kind of scrape water, um, off the windscreen.

[00:00:43] If, and if you're wondering, maybe they should just be replaced. These are new ones and they always sound like that. Anyway, as you can hear, I'm in the Land Rover. I am just leaving a shoot with the Hearing, Dogs. I'm acutely aware that it's been a while since I've, uh, recorded a podcast, and so here I am.

[00:01:02] Once more sitting in the driving seat of some really wonderful British engineering, even if it is clunky, making scraping sounds in the drizzle, which is so poetic, I suppose. I'm Paul and this is the Mastering Portrait Photography Podcast. Now, dear listener, if you're listening to this, then it's been a success.

[00:01:39] If you're not listening to this, well, you won't know it hasn't been because it simply won't come out. I'm recording this on a new set of Microphones, or at least a new set of transmitters. So, uh, we were recording a workshop video the other day and it became apparent that I needed to bite the bullet and upgrade our transmitter system.

[00:02:01] It's been a while. I've had the old RØDE system now probably ten years, I think. And it felt like it was the moment to buy into some new technology. So here I am. Quite excitedly, if I'm honest, because I've never recorded myself in 32 bit floating point before. Now, if you're just a stills guy, that means nothing.

[00:02:24] Uh, 32 bit, I mean, our images are in 16 bit or 8 bit, so you obviously are, you know, aware of the difference in quality, but 32 bit floating point essentially means you never need to set the levels. Now, that's the bold claim by anybody. RØDE, Zoom, Sennheiser. who make 32 bit recording, 32 bit floating point recording gear.

[00:02:48] Apparently you never need to set the levels, you can plug in and record, it'll sound amazing, and how easy could that be? Where could it possibly go wrong? Well, I will know where it goes wrong at the end, when I drag the audio off this unit. Uh, and see if I can make a podcast out of it. Uh, so, as I said, apologies.

[00:03:11] I seem to spend my life doing this thing. I'm really sorry there haven't been many episodes of the podcast. But it's not because I'm lazy. It's not because I don't want to do it. It's simply that, just for a minute, we are swamped. There is so much, uh, going on. And we've gone quiet on quite a lot of channels.

[00:03:30] To the point where, even yesterday, I had a couple of WhatsApps. Are you alive? Uh, anybody there? Almost knocking on the glass to see if, uh, we're alright. We are fine. We're just incredibly, uh, busy. And that's not to say we haven't found a few gaps in the diary to go do some nice things. We've been watching the cricket, the 100, which is the UK's franchise cricket.

[00:03:54] And obviously the test matches have started again. Now, Sarah and I, we really weren't cricket fans until Jake started working with the English Cricket Board. Now, obviously, Superfans. So we went to the final of the hundred, uh, at Lords the other day. Wonderful day out with the kids. It was a beautiful, I mean beautiful, hot, sunny day.

[00:04:16] You wouldn't know that this is Thursday I'm recording it, and on Sunday it was hot and sunny and nearly 30 degrees. Today it's 16 degrees and drizzling and windy. Uh, you wouldn't know it's in the same week, let alone the same season. Or the same season, let alone the same week. Uh, but there we are. So we have found time to do a few bits and pieces, uh, like that to spend a little bit of time with the family, but essentially that's it.

[00:04:42] Everything that isn't core to what we're trying to do just at the moment has fallen by the wayside, including my love affair with a Peloton exercise bike. I'm paying for it dearly. I'm gonna have to get back on that thing when all is done. What are we doing? Well, we're re engineering still, but properly.

[00:05:02] Finishing off the re engineering of the Mastering Portrait Photography, not just the website but the whole offering. So ranging from the way we do our workshops, the teaching side of it, through to the assets that you can download, uh, as well as the articles, the videos, the membership side of the site, all of it is being overhauled with a view to getting it out there at the beginning of September.

[00:05:28] That's our current date which of, as of right now, we've is about a week away. It's a lot closer than I would like it to be, but that's what we're trying to achieve is to get version one, um, everything sorted and out there. So, uh, last night, um, basically I spent the entire night building, uh, an animation of our garden.

[00:05:49] I've built the garden that we shoot in, in 3d, in software. So that I can, uh, run any angle of, on the garden and show exactly how the lighting would look and why we use it the way we do it. And that's an exercise that's been going on, uh, for a few weeks as well. So there's all of that. We're also been working on how we do workshops and trying to figure out what I want the workshops to be.

[00:06:14] And essentially, I want them to be why. I want them to answer the why. That's what I'm trying to figure out.. How to use language, how to use pictures, how to use, um, the various, um, things we do. The what and the how, yeah, they're kind of interesting. They're the sort of things you get from YouTube videos, typically, or from trainers, typically.

[00:06:38] You know, do it like this, do it like that, this is what you should do, this is how you should do it. Um, but, I get really bored really quickly. I have a boredom threshold that's more or less on the floor. Um, And so, I'm really only curious when somebody's explaining why. Why do we do things? Why do things work the way they do?

[00:07:00] And so that's become, um, our focus, or my focus on, uh, that side of it, is explaining why it's important that we do what we do. rather than just the what. So that's the reason why the podcast has gone quiet and we've had, I mean, a myriad of clients. A brilliant, brilliant magician, David Schwartz, flew over from New York.

[00:07:26] He's a native New Yorker. I first photographed him on a cruise ship heading towards the Arctic Circle in Russia. Nine years ago, it turns out we were discussing it. Um, anyway, he was in Europe. So he flew over from where he was in Germany, came over to London and, uh, I photographed him again, just the nicest guy and the nicest pictures.

[00:07:47] Um, and also he did me the honor of recording an interview on the podcast, which I will cut, um, and release in the near future. Um, it was, this was intended to be an introduction to that. Particular podcast, but it takes me longer to cut those podcasts. This podcast, you're getting this straight off the microphone , so if I screw it up, you're getting it anyway.

[00:08:12] Uh, because there isn't time to do a craft edit. uh, on this. The other thing we've done is we've now got someone inside, talking of craft edit, someone in the business, uh, Katie, who some of you will know is one of our, uh, she was originally a client, went to film school, went to university to study film, um, and then sarah and I were at Jake's graduation. Jake graduated, he got an upper 2. 1 from Loughborough University in Sport Technology. He's now back working with English Cricket Board, but we went to his graduation and while we were sitting having breakfast, the three or four of us were sitting having breakfast, I got a text from Katie.

[00:08:53] I'll have to paraphrase it because obviously I can't read my phone when I'm driving, but it said broadly speaking, I You're my favorite people to work with. Is there any chance of a more permanent role? Because Katie had been and helped us record a few bits. She's obviously modeled quite a lot for us these days.

[00:09:07] Um, and so I looked at this text and thought, you know what? This is, I mean, this must be six, eight weeks ago. Um, and so, well, we're at this kind of interesting junction in the business's career. And, uh, We need, we know we need video capability. We are building videos and have been building videos, but what we don't have is the natural capability in house.

[00:09:29] Now I can do it, I can learn it, so can Sarah, so can Michelle, but it's a little bit of a struggle. It's a bit of an uphill battle to learn all the software, to learn all the edits, even things, you know, like the recording gear I'm working on right now. And, and so it'd be really useful if we had someone in house who could help us shape the videos, help us script them out, maybe storyboard them, and then edit them.

[00:09:55] And Katie, of course, being a graduate from film school, uh, fitted all of those bills. And on top of that, she is super lovely, um, and has slotted in to the team almost seamlessly. And so we're sitting looking at this text and it's, you know, as you all know if you're running a business, how can you You can't simply find the money.

[00:10:16] There's got to be an argument as to how we're going to do it, how we're going to monetize that, what's going to come out of the budget. Uh, so a few things like me getting a faster computer for a minute, that's stalled, that's for certain. Uh, not least of which because obviously the Land Rover blew up at the beginning of the year and we're still just paying that six and a half thousand pound bill off.

[00:10:34] But nonetheless, nonetheless, we sat and looked at this text and thought, well, it feels like the stars are aligning. We wanted to get the website up and on its feet. There are some things next year in the diary that mean it would be very useful, uh, if the website was, uh, up, the Mastering Portrait Photography website was up and working, uh, almost autonomously.

[00:10:56] We need to be able to create videos, we need to have a backlog of videos ready to roll for some of the chunks of next year, early in the year. More on that will come out in future podcasts. And so, um, with a little bit of trepidation, we committed to the first ten days or so. With Katie and it's been an absolute blast.

[00:11:15] We're all still learning how this is going to work, how we're going to do edits and things, but uh, DaVinci, which is the editing suite we've chosen to go with is incredibly intuitive. Now I'm, I've used Premiere Pro since I can remember, probably 20 years um, or something like that. So uh, I thought we'd go down that road, but it turns out that DaVinci is a much better collaborative tool.

[00:11:39] It's also I think it's a better editing suite. Certainly if you love sound, uh, the Fairlight sound engine in it, um, that allows you to do the mixing is absolutely wonderful. And I love, I absolutely love a bit of sound. Uh, so Katie has joined the team and that's sort of another distraction away from me just releasing podcasts.

[00:11:59] But today I've just been down to Hearing Dogs. But before I left the studio this morning, I don't know if this is the point of this particular podcast, but it's certainly a little bit of a reminisce. So now we're teaching. Now we're really growing the academy side of our business. Um, coincidentally this morning, I got posted, you know how Facebook sends you notifications? And there was this thing about some of our favourite teachers from the high school, for our American friends, uh, secondary school for my British friends, uh, I went to, which is the Alun School in Mold in North Wales.

[00:12:33] Um, and it was really nice to see some of the teacher's names knocking around and it got me to thinking about my English teacher. Now I've emailed the school to see if I can get a hold of him, uh, in a nice way just to say thank you. Now, Mr. Betley was probably. The strictest teacher I have ever met. Um, and back in the 80s the teachers were fairly strict.

[00:12:56] I have had boar dusters bounce off my head, bits of chalk thrown at me. I've been, one teacher who shall remain nameless held me up against a wall by my throat, which these days would instigate legal proceedings, but back then seemed to just be the norm. However, Mr. Betley, strict as he was, somehow dragged English out of me.

[00:13:21] He dragged the written word, or the love of the written word, out of me. Now, he was also the guy that broke my own ruler, hitting me over the knuckles with it. Because I'd been messing around. I was a dick. I mean, let's be honest, I was an absolute idiot. Probably still am. Um, I wouldn't say I was unruly, or particularly I wasn't naughty as such, but I certainly never focused.

[00:13:45] I found it impossible to focus, um, particularly in academic, um, subjects. Was good with things like woodwork and metalwork and art, music, of course. Uh, but when it came to sitting and concentrating on a page of writing, I was not gifted in the slightest. And so, one particular lesson, he asked me to get my ruler and come up to the front, to which he whacked me over the knuckles with it, splintered it into a thousand pieces, and gave me f I don't know what it was, 40p or something to go and buy a new one.

[00:14:14] Um, that was the life back then. I remember one day, um, I had been asked to do an errand for another teacher midway through the class, so I pottled off across the school campus to do this errand, whatever it was, can't remember, and on the way back, our lesson, whatever lesson it was, was on the top floor of one of the blocks.

[00:14:35] And so I thought I'd use the lift, um, elevator. And so, uh, without really thinking too much about it, I was on the ground floor. I hit door, you know, up, climbed in, went to the top floor. And as the doors opened, I knew I was in trouble. Cause you're not allowed to use the elevator. Gradually, ever so slowly, the doors opened and I can see a figure, a shadowy figure standing in the corridor outside, and there he is.

[00:15:02] Mr. Betley, just stood there, arms folded, who'd clearly clocked that I'd walked in on the bottom floor and knew, somehow, that that's what I was going to do. So the doors opened. There's Mr. Betley, stood there, just quietly watching me. Wilkinson, he said, Wilkinson, come to my room at lunchtime and you're going to write four sides of A3 on the life and times of a ping pong ball.

[00:15:30] He leant in. He hit ground floor button, stepped back out of the elevator and let it take me all the way back down to the bottom floor. Come lunchtime, I had to sit and write four sides of A3 on the life and times of a ping pong ball. Now I don't know quite how he got that idea, where that subject came from, but I remember it clearly.

[00:15:52] I remember thinking up all of these arguments and all of these stories about dented ping pong balls and ping pong balls that have lost their air. And ping pong balls that have been spun out of control by these incredible Welsh ping pong players, uh, I was in school in Wales. Uh, and how, how sometimes when they hit the net it's a relief just to get a bit of respite.

[00:16:12] Um, you know, it's just one of those, uh, things. And then the ultimate demise of every ping pong ball is that crack. The final, untimely, ignominious crack. And the ping pong ball is useless for nothing more than going into somebody's craft box. www. Where it'll be reincarnate as, I don't know, the eyes on a monster or something, I'm sure that's what I wrote about.

[00:16:35] Anyway, Mr. Betley gave me a love of the English language, the written version of the English language, not the way I speak, I know I don't speak particularly, um, eloquently. But he gave me a love of writing stories and that has carried on now and I write for Professional Photo Magazine and NPhoto Magazine and Digital Photographer Magazine.

[00:16:55] www. professionalphotographer. com And I absolutely love the written word. And so I'm trying to get hold of him, and it's all a bit of a coincidence, but it's, I suppose what it's done in my head, is just trigger some thoughts about what makes, what makes, I don't know, there are teachers I loved, but didn't impart an awful lot, and there are teachers like Mr.

[00:17:16] Betley, who I, I guess, I don't think I feared him, but I certainly respected him, and he drew out stuff from me, and how he knew that I had, the ability in me to write when all I really did was mess around. Um, then I don't know. Uh, so we're trying to figure that out. And the reason I tell you the story is that's what's been going on behind the scenes is it's me trying to figure out and putting the materials together for better workshops, for better content on the mastering portrait photography website for finding ways to be useful to add insight, to answer the inevitable why. I love the question why. Why do we light things the way we do? Why, why do I bang on about the catchlights in the eyes when I'm doing portraiture? Why is that my anchor point? Why do we use fast shutter speeds for some things and slow for others? Why do we pick the lenses we do?

[00:18:20] Why, oh why, oh why, all of those. wise. So that's what's been going on. So apologies for there being no podcasts for a while. I will try to make up for it. If this little bit of kit works and I've got no idea, there's absolutely nothing that tells me this is recording apart from one little red light, um, on the transmitter, which has gone orange, which is a little bit freaky.

[00:18:41] I don't know whether it's still working. Everything seems to be good. It doesn't even have, because it's 32 bit floating point, it doesn't even have level dials. It just kind of says, yep, recording. So in about 10 minutes, I will know whether this was a fool's errand or whether you're actually going to hear this podcast completely uncut.

[00:18:59] It's going to come out the way it is. I'm just driving back through the village to the studio, um, over the speed bumps. There you go, speed bump, and still my squeaky windscreen wipers in the background. They'll be in the background, by the way, but I can't drive without them. Uh, that's just, uh, one of those things.

[00:19:17] Anyway, anyway, I hope the podcast, I hope, I hope a little bit of me hopes you've missed the podcast. If you haven't missed it, if you're, this is the first episode you're listening to, please listen to one of the other episodes that have been recorded, uh, and edited. Craft edited, I like to think. Um, if you like your podcasts raw and from the cab of a Defender Land Rover, then I'm your guy, here it is.

[00:19:39] Uh, anyway, I hope your world is good. I hope the summer. Or as we head into the late summer and the beginnings of the autumn, I hope you're having a wonderful one. I hope you've had a wonderful one. Um, I hope that life finds you well. To all of the students out there today who've just got their GCSE results in the UK, I hope it's gone well for you.

[00:20:01] Uh, I know a couple of my clients, uh, Jess in particular, one of our dancers who's I've worked with. Uh, I hope you've got the results that you've, uh, deserve having worked so hard and as I pull up in front of our studio in the drizzly mizzle, uh, whatever you're doing, whatever you're doing, be kind to yourself, take care.

Ah, so it's the 4th July as I record this so Happy Independence Day to all my US friends and colleagues! 

In this episode, I do my regular round-up of things I've heard during judging - I was chairing the Click Expo Print Competition (the standard was incredible!) and I made a few notes from this and a few other things I've been involved in.

I mention a couple of products and here are the links:

EVOTO AI - https://go.evoto.ai/PaulWilkinson (if you use this link, you'll get 30 free credits!)

ACDSee https://www.acdsee.com/en/index/ 

DXO - https://www.dxo.com/

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] So, let me read this out to you. I'm loving this podcast. It's like sitting in a bath of warm water in that the subject matter is gently flowing over you in a warm, friendly, soothing way. When I get to the end of the series, I'm going to start again. I think Sarah sends it to me, so I'm assuming it's on iTunes. So thank you to Skinny Latte via Apple Podcasts. Yes, it is. It's Apple Podcast. Who left that review. It made me laugh. I've never, ever. I don't think been compared to a bath of warm water, but Hey. It certainly, it certainly made me smile. And I will take a review worded like that. Poetry in its finest, in its finest watery form.

[00:00:43] I'm Paul, and this is the Mastering Portrait Photography Podcast.

[00:00:49] Well, I blew that ambition out of the water. Didn't I, the let's do one podcast every week for the rest of the year. Uh, I've barely managed three or four, I think. It has been just one of those. years, this is episode 154. And really it's just been busy.

[00:01:23] As I record this, it's the 4th of July. So, happy 4th of July, to all of our American. Listen is in so many ways. The 4th of July might be something of an independence day for us too certainly with a little luck, a day of change.

[00:01:37] Um, it's just been really busy in a year like this everything's working really well, but we're having to work that little bit harder to get there. Everything's a little bit more expensive. Clients have a little less to spend and somebody wrote in the other day. And said that they were waiting for episode 154. And partly because having the podcast, this podcast out there, from someone who is living and breathing the same industry that you are. It's feeling the same things that you are going through the same processes, the same client experiences that you are is comforting.

[00:02:11] And just knowing that they're not alone. So here is episode 154. In that sense, I think we really are. Um, a market, we're a collective of individuals. We're all going through the same thing, but on our own. It's useful to know. Uh, that there's other people out there going through the same thing. So I don't sleep very much. Uh, we're working flat-out I love every second of it.

[00:02:35] Don't get me wrong. Having having a camera in my hands is just the most natural thing in the world. So, and taking pictures for a living. Well, I couldn't ask for a better way to put food on the table, but that's not to say it isn't really hard work. And in fitting in all of the other things that seem to have crept up into my world. Um, it just takes a little bit of time.

[00:02:58] So apologies that the podcast has been a little bit more sporadic then I would have liked. Uh, before I get any further, I would just like to say thank you to everybody that filled in the questionnaire that Sarah has sent out. Um, It's really, really, really interesting. The data in it is incredibly insightful.

[00:03:18] And what we're trying to understand is what do we do with Mastering Portrait Photography? How do I push it and prod it and coax it forward? Um, we're due to give a really big kick this year? That's what we're trying to do, but at this stage we weren't entirely certain where to focus. So we now have an awful lot of really insightful, useful data. And the biggest thing that's come up is that it's well-worth. I know that sounds really bizarre. You know, I know people read our articles.

[00:03:48] I know people like the diagrams, our stuff is out there in Professional Photo Magazine. And this month also, In Digital Photography Magazine, you want to pick up a copy of that. On the news stand of a Professional Photo. Uh, it has gone all Digital, but Digital Photographer. Is there a paradox there that professional photo magazine is now all digital, but Digital Photography magazine, you can pick that up on it. I can't. I think there must be a paradox in there somewhere or an irony. Maybe it's an irony. I never entirely certain. The difference between an irony and a paradox. Anyway, anyway. Um, thank you to everybody who filled that in. Uh, I was due to record his podcast. This podcast was meant to be. It was meant to be a podcast from the land Rover. Uh, but it's been a very hot day.

[00:04:33] I was working. A two hour drive away. So two hour drive, half hour shoot, two hour drive back, and I was going to record one, maybe two podcasts. Um, weirdly the Landrover was more rattling than usual because, and I don't know why there is a toaster in the foot well. You know, when you get into a car and you, you, you drive away and you can either clanking rattling. There's a little Chrome toaster in my foot.

[00:04:56] Well, I need to pick that up with my son. Uh, anyway.

[00:04:59] On the topic of kids. Both my kids. I know. It's got nothing to do with photography, right. But I'm a dad and you can't help, but be proud of your children and this couple of weeks. I am beyond proud. Uh, today. Jake got his degree. Uh, Sport Technology from Loughborough University.

[00:05:18] So you got a two, one. Uh, degree in BEng. In it's literally engineering with balls, there's no other way to describe it. That's what it is. They study balls and things with which to hit balls. Cricket bats, baseball, bats, golf clubs, football boots. And then they also, uh, research things like, uh, helmets.

[00:05:37] So when the ball hits you, it stops you being an unconscious cricket player or backstop or whatever. Uh, so truly, truly a magnificent result for him really, really proud of him.

[00:05:49] And just as proud of our daughter who has for the past few weeks just started her new job, working in London for one of the biggest creative agencies, creative marketing agencies. In the UK. Um, as a creative account manager. Uh, she's just going to tear the world apart. She's super organized, super creative, super lovely to work with.

[00:06:10] She's a grafter and I could not be prouder of both of them. So forgive me for saying that and giving a shout out to my children, but Hey, my podcast. You don't have to listen to it. Uh, so where are we? Right, it has been a very busy. Uh, I think it's about six weeks since I've done an episode.

[00:06:28] Um, so I cannot I've lost count. I usually I'll give you a quick count up of everything we've done. Numerous hearing dogs shoots a load of workshops and one-on-one master classes them. I just. Do you know what? I never thought. I honestly never thought I'd enjoy running workshops and masterclasses as much as I do. There's something. And I don't know why, but there's something really thrilling about being in a room with a few people who genuinely want to, uh, take ideas and create ideas and push boundaries and try things and discuss things. Um, and that's turning into actually a really, really, for me, a really rewarding part of our business.

[00:07:10] And I never, I don't know if I ever really expected that. It's, I'm certainly not one of those people. That I want, you know what, I really love doing training because it's giving something back. It's none of that. It's not that at all. There's just an incredible buzz. Of a group of people working towards creating an image and explaining. And understanding and learning how things work and why more importantly, why we do things, why it's always, everyone tells you what. You know, when you look at things online, everything's about the what and the how, but why, why do we do things?

[00:07:42] Why do we approach. Light the way we do why'd we approach the camera settings the way we do. Why, why, why, why, why? I just find the Y. So much more interesting than the what and the, how. And I think probably more valuable because if I understand why then I'll do it. If I understand the what I won't necessarily do it, it might be a useful tool or it might be a useful technique. But if I don't really get why I'm doing something, I will bin that off as just not useful.

[00:08:12] But if I understand why there's a rationale to why. And so all of our workshops and masterclasses now are premised on why. Anyway, that's a slight aside we'd last week we had a couple of students work placement students that are. Uh, 15 year old and a 17 year old. Two brilliant. Uh, young students who had approached us to come and spend. A few days with us in the studio.

[00:08:36] Uh, they came with us to the hearing dogs for shoot. And then we did, um, a shoot here, uh, with, um, a guy in military uniform. Um, it's one of those, the shots. Uh, this was the perfect sheet for me. Um, a guy said, I want to do something. Really sort of vintage modern cameras, modern lighting, all the rest of it. But he sent me a couple of pictures that must've been taken.

[00:08:57] I'm going to guess in the 1940s at, I don't know the exact date, but I'm guessing around there from the style, my grandfather. Both my grandfathers had pictures like these in their military uniform. There's something about the way it's lit. Something about the way it's styled something about the way it's posed and finished.

[00:09:13] And of course it's on film, black, white film. And he said, I want to, we create these, but you know, he's a, he's a soldier. He's at the very top of what you can be if you're a noncommissioned officer. Um, and he wanted to celebrate that moment. And so we photographed these incredible images and there was a moment in the shoot, where literally the hair stood up on the back of my neck and I realized what I was looking at with the same pictures that I would have seen of my grandfather's the same styling, the same vibe, same feel.

[00:09:47] And it's a sort of, it's an almost indescribable styling that makes all of that hang together. Anyway, it was absolutely wonderful. And I would love to share them. But I can't because he works for one of the top secret, um, units in the military. So I've got these beautiful pictures. It's of a guy that I can never tell you about and never show the pictures. I can tell you I did the shoot because it's of course nobody knows. Uh, but it's a real shame, but I really, really, really enjoyed it.

[00:10:14] So now looking around for anyone with a military uniform of the similar style, That we could do something that we could do something with I can share. So if there's any of you out there who have, uh, retired from the military, but still have your number two uniform. I'd love to. Uh, love to take some pictures just for the sheer joy of doing exactly the same thing, but then I can share them. Uh, I think the students really enjoyed it too.

[00:10:38] And then the day after that, a brilliant magician . I've worked with Sam strange. Probably for 12 years, I think now. Um, incredible magician. Part of the Champions Of Magic him. Uh, Young and Strange, he works as part of a duo with Richard Young. Uh, but this was a shoot just for him. Sam Strange, wonderful guy just playing. I'm so lucky in the studio that the human beings that come in here. Uh, I think some of the nicest people in the world, I mean, I have only met a tiny proportion of the people in the world.

[00:11:08] I'm sure there are other nice people. But my client base is genuinely. Uh, just a never ending stream of people who I love to spend time with a, Sam Strange. Is right up there. So he spent ages taking pictures of him. And as, as a kind of, we wanted to get some shots where he was genuine, genuinely performing.

[00:11:25] So the two work placement students became instantaneously his audience, uh, some card tricks. He did these card tricks. One of the students looked quite confused. I'm not entirely certain that she understood what had just happened while she was holding the card with her name on it and a knife hole in it. Anyway.

[00:11:43] It was very funny and absolutely. Uh, wonderful. We've done a load of portrait shoots. The weather has been kind for a couple of weeks. Which is a pleasure. Uh, so we've been out in the sunshine, um, And just. It's just, it's. What I came into photography to do was to laugh in the sunshine, taking beautiful pictures. Uh, so that's really, really, really lovely. Um, we've been judging the monthly's the BIPP. The BIPP the British Institute of Professional Photography.

[00:12:11] Monthly's over the past couple of months. I think we've done two. Monthly since I last spoke with you, sorry. That's my bad, just busy. That's all it is. We're just busy. Um, I love doing, I love chairing the judging.

[00:12:23] And then on top of that, Um, I was asked to chair the print judging for the click expo.

[00:12:28] That was up in the Midlands a couple of weeks ago, some big names there, Lindsay Adler, and a few others. Uh, with some of the photographers presenting, it was. Um, it wasn't the biggest expo in the world, but we had a really good entry into the foot print competition. And the standard is out of this. World.

[00:12:45] And when you see a panel of judges, we had judges on rotation. So five judges at any one time and me chairing it. And when you see the excitement, you see the judge's eyes just light up. When they are appreciating the very best of the craft of photography, I think, you know, there's, I don't know how to explain some of this stuff.

[00:13:05] Why that, you know, that feeling when you take a picture right. And you hit the button and you just know, you just know you can feel it. That's the same sensation that I think we still get when we're assessing images at the highest standard, there's something really exhilarating about it in explicable. Uh, but exhilarating.

[00:13:26] I see on the flip side of that, I was laughing with our two work placement students of the other side of the line, which is when you see somebody else take a beautiful photo and they're in the same session as you. Sometimes when I'm training people, this happens to me. And, you know, with talking through staff were doing ideas and then somebody hit the button and they'll create a picture. That I wish. I'd taken and then I have to suppress. I have to suppress that kind of. I'm really jealous about that.

[00:13:54] Why didn't I take that picture? I cause you call and of course you have to celebrate. The absolute, the excitement. I still get the same excitement from the picture. I just wish I'd taken it. Um, Which is quite a weird sensation. I'm getting used to that sensation because if I'm doing my job well in a workshop, I won't do. My job well in a masterclass, if I'm genuinely. Um, passing on ideas and information, then. Really people in those workshops should be creating beautiful images that I'm jealous of. It is still quite hard though.

[00:14:26] Anyway, we were judging it. Click. Um, and I'm going to come back, uh, to, to that in a moment as the topic of this particular podcast. Uh, but a few bits and pieces. Uh, one of the things that occurred to me this morning, and I'm going to drop this into this podcast because it's a useful thing to remember. Um, is always remember to pack your bag so that at a single glance, you know, what's. In it. And will more importantly, what isn't. I was driving along and I do this thing.

[00:14:56] If you. I don't know if you're the same as me. I'll get halfway down the road and I'll be like, did I pack my passport? And I literally, I don't know how many times I've done it. I've pulled into a lay-by and gone and checked. I still do the same with my camera kit. But this morning I was driving away and I did that thing. Have I, I packed everything I need.

[00:15:14] And then actually I remembered I'd looked over the top of my bag. Um, while it was open and I know everything was there because I pack it in a way that if something is missing, I can see the gap. And it's like, oh, okay. So, um, you could do it with checklists. Of course you can be much more methodical than that, but just as a simple trick, pack your bag in a way where you can visibly see if something is missing. Right.

[00:15:39] So where are we in our warm bath water? I still think that's a great review. Thank you, skinny latte. That's just like the skinny lattes. They use it named by the way. That's not just me being random. Uh, that is like the best review. I'm going to put that on a, if I ever have a poster. You know, Paul Wilkinson appearing somewhere. , it's like sitting in a bath of warm water. I don't know what to do with it, but it's, uh, please feel free everybody. To write us poetic reviews like this, and I promise you they will get read out because it's absolute genius.

[00:16:10] Um, I just love that I'm going to have that printed as a poster. I'm loving this podcast is like sitting in a bath of warm water. Anyway. Um, I thought I do these regularly, um, quick updates on things that I heard or saw during um, the judging. Um, So, let me just go over some incidentally as an aside one of the reasons we use, sorry, there's lots of asides with me. You get used to that or you don't. That was funny. The night I met someone for the first time and she laughed at me and said, you're always after the punchline aren't you. And I was like, yeah, that was really. Is very astute, but it did somewhat stop me in my tracks. Um, I don't mean to be like that. I just am a.

[00:16:54] One of the reasons we use a panel of judges are more than one judge. Is so that we get a more reliable score, but I was judging in the monthly's this month round. I. So I wouldn't say who the judge was, but they were very worried that their score was out of kilter with the other judge. And they had no reason to be.

[00:17:14] I, I can export the judges scores and I can see exactly what's going on. Um, I'm a big data, nut, I love data. I love the data behind scoring. So I've had a look at the data and their scoring is exactly where I would hope it would be, but you don't always agree. And that's really important. If every judge for every image gave the same score, we'd only ever need one judge. That's not how it works. That is so not how it works.

[00:17:43] It's not supposed to work like that. A panel of judges are all supposed to bring different experiences. Different backgrounds, different hotspots that they look for different passions, different prejudices, different biases by using a panel of judges. You will always get a different score or you should always get a different score from every judge or you haven't picked your panel of judges very well.

[00:18:09] And we pick up panels of judges incredibly carefully so that they are different. They bring different ideas to the table. We pick the panel of judges so that they're going to get on, they're going to work as a team. So if there's a challenge, if there's a discussion or they're not going to get into an argument, they're going to develop. Uh, thought process, and come to a considered view.

[00:18:28] That's why we use a panel of judges. It's important that the judges are reliable and they are experienced and they're top of their game. Of course. But they will give different scores. Anyway in the, from a Click. At this time and a little bit from the monthly's I thought I very quickly go through one or two things I heard.

[00:18:45] It's just useful stuff. You know, there's nothing major in that.

[00:18:48] Um, so paper choice. Paper choice comes up in every single printer competition I am involved in. Just does. Um, the big one, this time was be careful, where. Um, If you've got a textured paper and you print something like a baby on it with smooth skin, it can look like the baby's skin is wrinkled, particularly when the baby or the face of the baby is quite small in the frame, newborns.

[00:19:12] This was typically a criticism. What's your paper choice. If you're going to. Print things that would have a smooth texture in the real world, smooth skin, that kind of thing. Use a smooth. Paper. Uh, that said if you're using fine art matte, papers, go and figure out how to get your blacks to map correctly because typically fine art matte papers.

[00:19:33] Don't give you much. Uh, changed between the grades of black. It suddenly goes, it goes. Sort of dark. So you get blocked up areas that aren't quite black and then suddenly when it gets to a slightly lighter. Like a lighter tone. You'll start to see texture again. There are ways of printing for that. Go look them up. Uh, Sanjay Jogia, I'm going to give Sanjay quick shout is a brilliant printer. Brilliant technician. Uh, he does, uh, workshops and seminars on printing. You can do a lot worse and go talk to Sanjay. And he's a super lovely guy, too.

[00:20:06] Uh, stray hairs. We had one assay. This was in a digital file, um, in the competition. Uh, this month there's a stray hair in the print in a file. And that's clearly on the sensor. With print and competition judging. The judges are gonna zoom these things in. They're going to look at them under a light on a light box. If it's a print, they're going to zoom it to a hundred percent on a big Eizo monitor if it's a digital competition. If there's a stray hair or a dust spot, they are going to see it. So go find your files, go, go over them and over them and over them.

[00:20:35] If you want to do one in competitions, get the little details, right. Uh, because that score that dropped, I mean, so many points. It was a great image. Great idea, creatively. Brilliant. But if you're letting things like dust spots and stray hairs go through, that's not going to be regarded as competition standard.

[00:20:53] Mounts. We saw some incredible mounts.

[00:20:55] We saw circular mounts and oval mounts and, uh, one photographer. I don't know if it's the same author, but I've seen this technique a couple of times where they cut out the edges of the mounts of the landscape picture goes all the way across and breaks out the sides of the frame.

[00:21:09] Um, they're brilliant. Um, you remember that with a print competition?

[00:21:12] Typically the mount is part of the puzzle. So make sure your mounts are complimentary. Make sure they are adding to the image. They're not distracting from the image. Um, make sure that your everything is super accurate, super, just square. It needs to be lined up. We had one. Uh, image where the horizon wasn't horizontal. Uh, it was a seascape. And it wasn't horizontal and it may have slipped in the mound or maybe that the author just didn't notice.

[00:21:40] I don't know which of those two things is true, but of course it's not going to do that. Well, So mounting is really, really important and we do zoom in to make sure the quality. Um, is there.

[00:21:50] Uh, a few dead come up with banding issues, JPEG issues. In this day and age where computers are pretty powerful and you know, the sensors and cameras are at least 14 bit these days. Um, if not 16, Um, then please do just get your techniques down.

[00:22:06] So if you got a big blue sky, make sure it's a big blue sky without banding in it. Um, it's just one of those things.

[00:22:12] Uh, titling. I don't. This comes up every single time. I don't like titling. I don't think it should be necessarily part of an image competition. Um, but I'm out there as I'm in the minority. I think. Um, but I just don't like it. I think we should judge what we see in front of us. But, uh, if the competition asks for a title, enter one, create one, invent one, stick your image in an AI generator and get a title. I don't care how you do it, but put a title in on average. Now I've only heard this anecdotally and I've no idea what the research was, but anecdotally, a couple of judges told me that titles typically give you one additional mark on average, if it's a sensible title. It certainly can add poetry to it. It can add a meaning to it. So if you put a picture. I have no idea. Uh, of, uh, a sad looking child. I don't know, making this up a sad looking child with no title. Well, it's a sad looking child. Put up a sad looking child and give it the title, Daddy's Gone Again. Suddenly, you've got a very different tone to how the view is and the judges. Our assessing an image.

[00:23:23] Now this is why I don't agree with it because I don't think that's how it should work. I think we should judge the image. But given it's an opportunity to get a mark or two. And given you're entering a competition, which is a game. Then play the game. And put titles in.

[00:23:37] Uh, where are we? Um, a couple of images came up this time round, which I wrote down all details and reading this and we notebook. I carry a note book almost all of the time.

[00:23:46] It's a throwback to my PhD days. I think always had a notebook. Uh, title, sorry. All details. Some so EEG cushions, this was a, an image that came in where the hole that the room had been styled to perfection. But when you looked at the sofa, It looks like. Somebody had just sat on it. So the cushions were fine. Like the back cushions, the throws and all of those, but the actual seated part of the sofa. Had been left as if somebody just sat on it, perhaps sat on it to plump up the cushions. I don't know, but it just, it drew our eye to X. Everything else in the image was so pristine. What's your details, particularly with architectural and commercial.

[00:24:25] Uh, confusion.

[00:24:26] This came up. Where we weren't certain or the judges, weren't certain what to make of an image. I've talked about this a few times. It's not the judges, job to decode your story.

[00:24:40] It's your job as the author to tell your story in a way that the judges can get it. It's got to be approachable. Um, you can be as clever as you, like, you can be as subtle as you like, but in the end, if you're not telling the story in a way that the judges can understand decode it, that's not the judge's fault. Um, so just, you know, make sure, maybe test it on other people and see what they think at image before submitting it.

[00:25:04] Uh, we saw a few of these. Uh, what have I written down? Uh, They've written down. Uh, the only image here. Okay. I wrote down if only if only is one of those things. Have you ever done that with your images where you look at an image in Lightroom and you're just like, oh, if only. If only the background was clean. If only I hadn't blown a highlight, if only the eyes were sharp. You know what I mean?

[00:25:29] You have these if only moments where the image you'd done everything. Right. But then you've missed a bit. Well, don't enter those into a competition for a star. Um, There was one image that came up and. It felt to me like. It felt like a grab shot. It was a beautiful shot, but a grab shot. Now the construction of the image was one we see all the time dog in a basket, nothing particularly clever about that. Um, or, you know, rare in that, I suppose.

[00:25:56] But the particular angle, the way it was framed, felt like they grabbed the shot. Now, if you said to a fine oil artist or pencil artist, or a cartoonist or a commercial air brusher, create me a picture of a dog in a basket. They would have a real angle on it. There'd be something about the way they place the objects relative to each other and relative to the frame. There'll be a way of doing it. That would have a certain aesthetic, a style, a cleanliness for me, my particular thing is I love when the lens is absolutely horizontal. Low down in the frame, preferably on the floor. If it's a subject that is on the floor so that everything for me, I feel like it climbs into that world.

[00:26:42] That's just my particular aesthetic. It doesn't have to be anybody else's. I mean, please. Everybody. I'm a Muppet. I don't know what I might have out, but I liked the idea that I've done something that has a, it has a statement to it. It has a shape to it. I love the work of E.H. Shephard who drew A.A. Milne's books, um, Winnie the Pooh and house at Pooh. The corner and when we were young and all of these beautiful Christopher Robin stuff. The drawings always feel like you're in the small characters world. You're not an adult looking down at it.

[00:27:13] And I think that's the point I'm trying to make is have a view. Think about it. Think as if you're drawing it, don't think of it as a photograph thing. Okay. Take a step back. If you've got time. Sometimes you don't right. If you're a news photographer, you haven't got time, but step back from your image in your head. Say, okay, these are all of the bits of the puzzle. This is, I've got one of those, two of them, three of them. I've got these colors and this shape, this light. If I was drawing this, if I slowed down and somebody said, draw those on a piece of paper. So that made sense. How would I do it? Uh, you know, there's an, there's another picture.

[00:27:49] It was a picture. Um, it was a newborn picture. And there were objects in the foreground. So it was, it made it feel like the baby was amongst objects and then objects behind the baby. But what's happened is they've. Thought that because we mutter a lot, and I'll come on to this one later. don't crop things at the edges of a frame. They pulled the objects.

[00:28:11] That baby is surrounded by, away from the edge of the frame, but that meant, it felt like there was only a few objects. In this instance, using the objects and cutting them at the edge of the frame as if there was millions of them receding into the distance that would have made sense. And visually it would have had an expansive feel to it, rather than I only have four of those objects, so I've placed them where I have. And it's that sense of thinking about your layer? And if you look at the very best of these types of images, The guys really do know their way round it.

[00:28:41] Uh, comping compositing. Combining images. It must be invisible. We actually, as photographers, don't have a problem on the whole, unless the category says you can't use composite images. We don't have a problem with it. Judges don't worry about it.

[00:28:55] We just don't want to see it. So the compositing, the bringing different images and elements together has to be invisible. Uh, there are skills to this. Practice them. Because if you, the minute a judge spots that it's a composite, it's failed in its job. I mean, obviously there are obvious composites, you know, if you're doing a. King Kong thing of a gorilla climbing, a skyscraper. Fair enough. We're going to know straight away. That's not real. But it still has to look real, has to be believable. Uh, okay. What else have we got?

[00:29:26] Um, baby skin. This has come up a few times. Be careful of. Using blue and dark green style filters, filter effects in your monochrome conversions. Uh, blue filter typically turns the lips dark, which is fine. If you have, um, You've got a model and smooth skin like ultra smooth skin and makeup that's flawless because you've got red lipstick and you punch them on a Chrome with a bluish or green filter. It drops the lips to a very dark color and that could look incredible. But with babies would it also does. If there's any red in the cheeks, it makes those go blotchy too. So you have dark lips and bruised looking cheeks, and that's not really, how probably you want to have. A baby photograph, by the way, if you can hear stuff going on in the background, I've got all the windows open because it's a really warm day. Um, and I'm sitting just recording. Uh, where are we?

[00:30:23] On the converse side of that. So we've got blue filters, making skin look kind of grungy and textured and blotchy. Equally, we are still seeing way too much over smoothing. Um, on the skin work. Um, it just. It doesn't look, if it doesn't look quite right, you know, and it's really subtle. I don't know how to describe it, but we know as judges, when we look at I I'm a big one for, when someone applies makeup to a face really well, really beautifully. It smooths out the lumps and bumps, but what it doesn't do is remove the texture.

[00:30:59] There's still pores, there's still skin pores there're still fine hairs. There are still little tiny ripples created by blemishes underneath the makeup. So, if you want to make it look real, when you're doing digital makeup or digital smoothing. You have to remember to leave details in that show reality, even when you're doing really fine art kind of work.

[00:31:21] So just what's that. Um, incidentally, a shout again to EVOTO.AI. Um, I've just had a new release of that this week. Um, incredible bit of software. Uh, in that you can control how much you do. So it's not, it's not all the bells and whistles that make these things good. What make these things good is when you can turn it down, so it's imperceptible. Uh, EVOTO.AI is actually very, very good. Please do go and have a play with that. I will drop a link down in. Uh, further down in the show notes.

[00:31:54] Over sharpening. Uh, this came up as a bit of a debate actually, me and Sanjay don't entirely agree on this. I don't think. My view is that you don't need to sharpen images anymore. Um, I've never heard, not once have I heard. Uh, judge say this image needed more sharpening. Not once I've heard images get critiqued, cause they're soft by the which, I mean they're blurred. And the minute you try to rescue a blurred image using, um, Topaz or, you know, any one of the sharpening tools. Unless you're really on top of it and really, really, really careful, it looks like it's sharpened. However, I've heard many times. That an image looks over sharpened over, over you see halos, you see this kind of slightly, really weird edge effect. Um, I took the decision a couple of years ago to stop sharpening my images, because it removes one or two problems when you. Because for us, we don't, uh, we produce the same file to be printed at different sizes.

[00:32:49] I don't worry too much. Um, about, uh, scaling at 300 DPI for A4, 300 DPI for seven by five, three to DPI. I just give the guys one file. Um, and our sensors now is so sharp that they reproduce and they give a, for me, they give a slightly smoother finish. Um, And I've only ever been pulled upon over sharpening when I did it.

[00:33:11] No one's ever pulled me up on under sharpening. So I would say don't sharpen Sanjay. Doesn't say that he says you should do sharpening, but know exactly at which point in the workflow to do it. And that's fine. Um, Sanjay is a master at this stuff. So he does sharpen. Uh, I'm using Sanjay as an example because he's one of my judges, uh, this time round. Uh, so is there an interesting thing. My, if you're not absolutely a hundred percent certain of what sharpening to do, don't do any, you'll be fine.

[00:33:40] Uh, where are we?

[00:33:42] Um, oh yeah, one of the things. It has come up this come up in conversation a little bit is why we as judges get so picky about which images get over the line to be a merit or a bronze. So typically with all of the associations all slightly different. But around about the 80 mark for most associations is the break point for bronze or merit. Now. The thing about a bronze or a merit is that is something that's likely to end up being used on a website or being used in social media for the association. Um, maybe with the societies, it's going to end up on their display boards at the convention.

[00:34:23] And that's why we're picky. That break point between professional standard is a lot, the associations call it and a merit or bronze. That break point defines what will be displayed to the public and to the rest of the photography industry. And as such the message we're sending is that this image is what you should be trying to attain. So when I go round, if I'm, uh, if I've entered a competition, I go round and look at all of the things that have. Uh, they're being displayed in the convention or they're in the magazine or in a book.

[00:34:55] I look at those images from bronze to gold. As the things I should be aiming for. And that's why as judges, we're very careful what goes over that line. And if we find a defect that we think, do you know what the photographer should have spotted that. You're going to dump marks really quickly because the judges don't want to have that out there as something that becomes an exemplar for what a successful image should be.

[00:35:16] That's why. That's why that break point is so tough. Uh, so just what you, it was quite funny, this in the competition this time round. Uh, and the monthly's is, uh, one of the images looked like the horizon. Wasn't quite level, it's a digital file. So it clearly wasn't anything to do the mounting. And by the way, it was a degree or two out, which is. I don't know. I don't know why people do that. Why would you do that? Given you just put into Lightroom or Photoshop and align with the ruler to it anyway, my two judges, I'm watching both of them on, uh, our Squadcast screen. So we record these sessions. Um, One of the judges went to his EITZO monitor took the file, put it into Photoshop and checked the horizontal alignment.

[00:35:57] My other judge went to a cupboard. I watched them do it, went to a cupboard behind them, opened the cupboard door, got a ruler. And started measuring her screen, which is quite weird when you're watching it on the webcam that's on her screen. She's measuring the screen. It was quite old school, but it did make me laugh.

[00:36:13] Anyway, things like horizons, check them.

[00:36:16] Uh, Great. Well, so if we got, oh yeah, when you're, there's a lot of actions around and even I've written a few where you're going to soften or blur the edges. Um, So there was a particular file. Where I think a baby skin had been softened. You could see that it had been, and it was fine.

[00:36:36] It looked very good actually it looked like they got a good technique on it. But what they hadn't done is lift all of the skin onto a new layer, just cut it out and drag it onto a new layer and softened it there, what they done is soften it on the original layer with all of the. Um, blankets and clothing around it. And what that did is, it dragged color from the blankets into the soften skin. So you could see a slight coloration around the edges where the softening had been done. And you expect that if you're using a blur. It blurs across the boundary. So what you have to do is cut out the skin onto a new layer. So it's transparent all the way around except for the skin, soften it there, and then you can drop it back in and you'll get no color contamination. Um, but we spotted it and of course it's a real shame.

[00:37:19] Uh, With babies and with faces, the light, the light source should always be above the nose.

[00:37:25] I heard this said a few times by different, uh, I think I was working with Elli Cassidy who is just like one of the best judges to work with, she's lovely. Super lovely, super nice person. Um, great newborn photographer and she raised the same point as did lots of others. The light source should be above the nose, nine times out of 10. It's very rare. Do you want the light coming up from underneath?

[00:37:44] Um, I love this quote. This is one of my judges. He just, he liked a particular image because it was a bit more different. If ever I have another podcast in this industry, I'm going to call it The Bit More Different Podcast because I know it's a great title.

[00:37:57] It's not English, but it's a great title.

[00:37:59] Um, final bit on this bit. Is cropping at the edges. We can't, I kind of talked about it a minute ago with the baby and the objects. Just look around the edges of the frame. There's an amazing news image, this time round. Loved it. I'm not going to say what it was cause I'm not gonna draw attention for the author. But there was a scene in the middle of his action in the middle.

[00:38:23] And on the right-hand side of the frame, there was nothing contaminating. Everything was kind of contained, but on the left. They were knuckles and elbows poking in onto the edge of the file when just moving the crop edge in by. I dunno, a couple of hundred pixels on a six megapixel file would have removed all of that, and focused, directly on the story in the middle. And it's such a silly thing.

[00:38:47] We see it all the time. Is we get sidetracked by what's going on in the middle of our picture, the bit we want people to look at it and we forget to look. All the way around the edges of the frame. I look around the edges of your frame carefully. And if there's anything there that's distracting and pulling your eye away. Just change your crop or clone them out, whichever is easy for you.

[00:39:08] Um, So that's it. Those are the notes. I mean, there's loads, of course there's loads of things. I carry copious notes, but I thought those are the most interesting. Um, to talk about, uh, particularly as we're, heading towards, uh, at this time of year, when people start to hive images away ready for the competitions, uh, for the BIPP print competition. Um, and eventually, you know, the doors will open for the society's convention as well.

[00:39:30] So I thought there'd be useful. Um, The other thing, a couple of updates. Where are we with things that I've been asked? Uh, to look at. Uh, where are we? DXE DXE. CXO asked me to play with. DXA labs. Uh, the DXA labs for, I think it is an, a DX oh, film pack seven. Now the XO labs. It's not really the photo lab is not really for me because it, Lightroom is at the heart of my workflow. Um, we used the XO pure raw anyway, which is brilliant, pure, or for, by the way. Brilliant.

[00:40:03] Absolutely love it. Uh, so don't, for me, that's not necessarily something I'm going to put into my workflow. I'm sure it's very good. I've used it a little bit, but however, the DSO film pack, film pack seven. It's an absolute blast. Loving it just for the moment.

[00:40:17] I use effects quite a lot, but I like it if I can for it not to look effected. If you see what I mean that of course, the minute you really easily apply a film preset, of course he looks effected, I'm not an idiot. Um, but I love those kinds of tones. They feel very analog to me. Uh, it's really, uh, really, really, really good.

[00:40:34] So, uh, highly recommends if you get a chance to have a play with that. I'm sure they do a trial. I haven't looked. Uh, DXO Filmpack 7. And the other thing I thought I'd give a quick shout about today. Um, his ACDSee, which I've continued to use again, they approached me and asked me to have a look at it and say what I thought it's really, really good.

[00:40:55] Um, it's not good at high volumes of face recognition. I discovered that as it. just crashed my computer basically. Um, but that not withstanding. It's blindingly quick is great to have it there . Lightroom for us is our management tool for all of our raw files. Um, but the RAW files get archived away, and we then have all of the JPEGs that I've generated for print. Hi res. Uh, low compression JPEGs.

[00:41:21] So having ACDSee that looks over all of my Dropbox folders and keeps that as an active catalog. Is great because I can get to any image. I like, in a heartbeat. Absolutely brilliant. So I absolutely, I would highly recommend that. Um, again, I will put a link to, um, I'll put a link to ACDSee in the show notes. And then finally just a more pop-up it's our beer festival on Saturday.

[00:41:45] Now. I know none of you are local, but nonetheless, um, I will be at the beer festival if anyone fancies a beer and a chat we're in, but it had them in Buckingham share. Uh, I'd love to catch up if there is anybody around, because it's, I'm hoping that there's going to be good. Um, it's like the best place to listen to music.

[00:42:02] Have a nice beer. And have a great conversation. And on that happy note, I'm going to go home now and we're going to open. I hope a bottle of champagne to celebrate Jake's success and Harriet's success in her new job. Uh, the sun is shining. And then we're going to try and stay up and see the results. Of this particular, general election.

[00:42:21] Again, to all our American friends have a wonderful . Uh, July 4th.

[00:42:25] And I'm going to go away and be more like sitting in a bath of warm water. I remember whatever else. Be kind to yourself. Take care.

There are many factors to success and I have listed many in these podcasts, but the brutal reality is that it takes hard work.  Lots of it.  There isn't a silver bullet, no matter what every influencer, marketer, salesman, advertorial or Facebook campaign might try to convince you - and AI ain't gonna fix it either.  All I wish is that I could stop seeing the ads that tell me otherwise!

Before all that, though, I head up the episode with a quick chat with Colin Jones, CEO of The Societies Of Photographers. This is one more in my series of interviews-from-the-photography-show (I need a snappier title) and it's interesting that once more, training and education are at the forefront of his thoughts.

Also, I mention a brilliant app called EVOTO.AI in this episode.  At some point I'll do a deep-dive into it but rest-assured, this is well worth exploring if, like me, you create portraits for a living.  The guys have kindly given me a link you can use that gives you thirty free credits when you register: https://go.evoto.ai/PaulWilkinson One great thing about this app is that you only burn a credit up when export a finished image - you can test it out on as many as you like.  This means those thirty credits could be enough for you to play around with as many images as you want until you're happy and then go ahead and run an entire portrait session through!  

Let me know what you think!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] I'm Colin Jones. I'm the CEO for the Society of Photographers. Excellent. It's lovely to see you as always, Colin.

[00:00:06] Tell me why you come to the photography show. Oh, the photography show is a great show. It's great to meet up with all the trade, seeing all the latest products and services in the industry and getting to network with other photographers.

[00:00:17] It's a great show to come to.

[00:00:18] So, tell me why you love this industry so much.

[00:00:21] Oh, I love the industry. I've always been part of the photography industry. It's been part of my family since my granddad and my dad, and it's an industry full of amazing people, creative people, uh, and, you know, so much passion for, for, for photography and for the craft of it.

[00:00:35] And I love seeing people excel in the industry as well.

[00:00:37] So that's all of the positives.

[00:00:38] But if, like everything, there was always things we could do better as an industry. If there's one thing, just one thing that you could change in this glorious passion of ours, what would it be?

[00:00:48] I think I'd like to see photographers get more training, invest more time in training and more, more money in training. Uh, you know, I see, when we see people take that step and really invest in training to push not only their photography but their business, we see so much success. Uh, so I'd love to see training be more, , forefront of the industry.

[00:01:04] When you're talking about training, what aspects do you think, photographers in the industry, certainly the industry we spend most of our time with, which is the UK industry, what do you think is the weak spot? Which direction do you think the development would be most applicable.

[00:01:19] I think, uh, quite a lot of photographers, if they're in business, uh, that's where we see a lot of photographers really struggle getting clients through the door, marketing their services, uh, so that's, that's always been a big passion of mine, is getting photographers more training in the business side, but, you know, I, I genuinely think training of any kind, whether it's lighting and posing, or even just networking with your peers, uh, and getting training that way, just by talking to other photographers, uh, is a, is a real bonus.

[00:01:43] Excellent.

[00:01:43] Perfect answers, as always, from one of the nicest guys in the industry. Thank you, Colin.

[00:01:47] Paul - Studio Rode Broadcaster V3: Uh, so that is one more of those little interviews I did at the photography show earlier this year. That was Colin Jones, the CEO of the Societies Of, Photographers. It's always interesting talking to people like Colin. I mean, not just because he's a really lovely guy. But he hears from hundreds, possibly thousands of photographers, uh, on a scale that most of us can only imagine.

[00:02:11] And yet the themes still seem to be consistent.

[00:02:15] It's all about education.

[00:02:17] Paul - Studio Rode Broadcaster V3: And learning I'm Paul and this is the masteringportraitphotography.com podcast.

[00:02:22]

[00:02:36] Paul - Studio Rode Broadcaster V3: Well, it's been three weeks since the last episode and yesterday, yesterday.

[00:02:45] Paul - Studio Rode Broadcaster V3: It was mine and Sarah's 21st wedding anniversary. She sent me a card and it simply said, imagine how boring life would be without me. Literally in quotes. Imagine how boring life would be without me. Well, this morning, She bit my toe, I was fast asleep. She bit my toe now I sleep with my feet. Out of the bottom of the duvet.

[00:03:09] I've always done it. And I've no idea why, but I do. This morning. She bit my toe. And this isn't really a unique event. I think she probably does it a few times. A year I am asleep, then rudely I'm awakened. With pain. There is nothing in between those two moments except a searing sensation that someone has sunk their teeth. Into my big toe. I don't really know which bit hurts the most, the initial bite or the moments I react and pull away leaving tooth marks. This morning. She bit my toe.

[00:03:46] It's true. Sarah is right. Imagine how life would be without her. Imagine how boring. It would be, frankly, I can't imagine it. I can't picture. How things would be without every morning. They're being the risk that she's going to sink her teeth into my toe. But Sarah is the person who makes me laugh the most.

[00:04:07] She is the person who allows the extrovert in me out. She's the person who props me up when I'm down. And she's the person who keeps a lid on me. When I'm up. That sounds really weird, but you get the gist of it. Um, you know, I can be quite full on, I think, and it, Sarah, that just keeps things nice and steady.

[00:04:28] And so thank you Sarah, for 21 years of marriage, 33 years of hilarity between the two of us. So, yes, life would be really boring without her.

[00:04:41] Anyway, in the past three weeks, what has happened in our diary.

[00:04:46] Paul - Studio Rode Broadcaster V3: Well there have been 22 different portrait sessions, which is lovely, including one, uh, just this morning, beautiful family. Uh, so a mom with her two children and her two grandchildren. Um, just lovely out in the sunshine, a quick drive over to their house. Shot in the garden.

[00:05:05] What was funny about it was every single shot. She wanted her front door in the images. Which, uh, I've had sort of, you know, big Manor houses and different things about to be part of a shoot, but I've never had one where the front door has to be prominent, but it was a joyous shoot, beautiful people.

[00:05:23] They made me very welcome.

[00:05:24] Cannot wait to show them their pictures. And one of the two little girls -she's three years old -was wearing a Liverpool FC football strip. Now on two levels that just filled my heart, with joy. On the one level. It's Liverpool, which happens to be the team that I also have always supported all my life I've supported.

[00:05:46] And when I say supported, what I mean is occasionally I've looked at their headlines and seen the score. Or occasionally, you know, a key match comes up and I might watch the first 20 minutes of it, before it gets way too stressful for me, and I leave the room. I'm not really a supporter in the supporter sense of the word. But if I'm ever, if ever I'm asked, and this is since I've been about five years old, it's been Liverpool. And she was wearing a kit this morning and the kit was almost identical to a kit I was bought for Christmas when I think I was about eight. There's something about the styling of the current, the current kit, the red with the white collar. The cut of it, the styling of it, that's almost exactly the same as it was all of those years ago when it was Kevin Keegan and the boys playing. And so that made me happy.

[00:06:36] The main reason, it made me really happy. Is isn't it amazing. Oh, is it amazing or isn't it about time?

[00:06:43] Maybe it's about time. Maybe we're just getting there. That a girl turned up at the door. She's three years old and she's a football fanatic. And I know now the way it will be for her is so very different, than for instance, if my sister, when she was that age wanted to play football. Now my, my sister, cause I was a drummer, my sister wanted to play drums, but the girl's school, she went to said that wasn't lady like. How heartbreaking is that? I know we're going back quite a long time, but how heartbreaking. Is that, that you can't do something. Because it's not lady like. You can't do something because because of your gender, it doesn't fit in. It's just ridiculous.

[00:07:25] And so it is so heartwarming this morning. To see this little girl in bright red, bright red Liverpool football strip, kicking a ball around the garden and loving every single second of it. And unlike my sister, where I think life in that particular time. In the late eighties, early nineties. You know, Society's, it was sort of prevented things like that. I know this little kid that won't be the case. For her, at least. I trust it won't be the case for her.

[00:07:57] Paul - Studio Rode Broadcaster V3: So wonderful shoot this morning, 22 portraits shoots over the past three weeks, we'd done five Hearing Dogs shoots. Uh, two of those have been out on a location and they've been so joyous, so profoundly joyous. Um, the one yesterday was of one of our recipients whose Hearing Dog has essentially. Been a lifesaver.

[00:08:18] I mean, I, I hear this quite a lot, but I really do think, uh, the lady I photographed with her dog yesterday, she's in her mid twenties. Um, Is just, was just an inspiration, really the relationship with the dog, the way they were, the joy that dog has brought, um, And it was just a magical shoot. And one of the things about these all, I mean, all portrait shoots, I think, but in particular with shoots like the Hearing Dogs is as much as I'm providing a service, as much as I'm providing images that they can use for fundraising and publicity and PR and marketing and all of these things. Is, they provide me with a sense of, what's the right word, they energize me. They give me energy and positivity. I come away from these shoots so much more full of life than I do when I arrive at them. I just think. It's just incredible. The joy that a photography can bring, not just to the people I'm photographing, but also, uh, to me.

[00:09:22] Uh, we've had five cleanse that was a bit abrupt, sorry about that. I don't know. I maybe I just couldn't think of a good point to wind up on, but being a portrait photographer is a thing of joy.

[00:09:33] It is a thing of life is a thing of positivity and energy. Um, and I suppose that's what I'm trying to get to. It really is something, but it's not a one way street. I get as much energy and joy out of these shoots as my client's do.

[00:09:48] Paul - Studio Rode Broadcaster V3: Uh, we've also had five client reveals. Uh, just wonderful. I love it when the clients come to see that images, we never quite certain what we're going to sell. But, uh, it's just a lovely thing to see the reaction to people when they see their pictures sometimes surprise. In fact, nearly, always surprise at how beautiful the pictures can be, I don't know why they're surprised they've come to us. They've come to us because they've seen what I can do for others. Um, and yet still the surprise very often it's clients who've been to us before, and they're still surprised. Maybe I should work harder at explaining what we, what we do, but that element of surprise. It's a lovely thing when it's done in the, in the reveal room and tomorrow we've got a little wedding, it was just a two person wedding uh, who are coming to see their pictures. And again, massively looking forward to that. Uh, we've run one one-on-one masterclass.

[00:10:37] I love the one-on-one masterclasses. Because of course, every topic, every topic can be on the table. We don't need to worry about. Uh, suiting or fulfilling the requirements of four or five people. It's just one person and we can play, we can talk, uh, we can jump between different topics. We can try different things out depending on their needs.

[00:10:57] Anything from business all the way through to how to prep your files for Photoshop. It doesn't really make any difference to us. And so for that, it's just a wonderful thing to do.

[00:11:07] We've also done a, an off-camera flash workshop. Now the off-camera flash workshops are by far the hardest. Even this morning, a little shoot. Um, when I met bumped into the little girl, Uh, in her Liverpool outfit, Liverpool kit. I decided one of the shots we would do would be, uh, like a FIFA or UEFA. Uh, footballer's pose because all footballers are contracted to do these things so that when, uh, the, the, the TV companies roll out or, or show the team list or whatever, or feature a player, there's footage of every player walking into shot and standing a very particular way, they lit a very particular way. Um, and you can do that quite happily out in the garden with some off-camera flash.

[00:11:50] So even this morning I was using. Off camera flash, and you have to sort of pause a little bit and think, okay. And you, you have to build the shot setting by setting. Then it's not as straightforward as it is just using TTL. You could just use TTL on your flash guns. Uh, but you get sort of slightly erratic results if you do that. You have to understand how, uh, the shutter speed, the aperture, the ISO, they all interact to give you the output you're looking for. And this morning absolutely nailed it. But when you're trying to teach it, trying to get those principles across in a way that is clear, a way that is concise and a way that is repeatable so that you will delegates can leave. And use that, those techniques themselves. Isn't trivial.

[00:12:41] It's the, of all the things we teach here at the studio, I think. It's the hardest. And I know it's the hardest because when I'm suddenly faced with having to get the settings right for myself on a shoot, invariably I'll change the wrong thing at the wrong moment. And it's like, oh, bugger. bugger Having to go back. And figure it out. Uh, so it was, it was lovely to do a brilliant day, lots of laughter and one that Sarah was away for.

[00:13:07] So thank you to Katie and James who stepped in. And Katie stepped into the role of, of Sarah, because she had to go and look after my in-laws new puppy for eight days, honestly, she's come back exhausted that, that Sarah, that is not the puppy. Uh, she's come back. Absolutely exhausted. The puppy goes to sleep at midnight. The puppy wakes up at six and there's very little in between. It's on and off. Uh, and it's on from 6:00 AM to midnight and it's off from midnight til six. She was absolutely shattered. So, uh, she was away the week when we running the workshop, unfortunately. And it couldn't be helped, not a lot of sidestepping, but Katie, thank you very much for stepping in. And being sort of a surrogate, Sarah and helping me make sure that everything ran. Uh, smoothly.

[00:13:53] Paul - Studio Rode Broadcaster V3: Uh, also this last week we have done a full day of qualifications judging for the BIPP, the British Institute of Professional Photography. Um, It's a wonderful thing. Qualifications are such an amazing thing to be a part of. And I mean, that from both sides of the line.

[00:14:12] I kind of draw inspiration from the candidates, the people putting their images in for assessment and I draw inspiration from the judges, but in very different ways.

[00:14:24] The candidates, of course. It takes quite a lot of bravery, I think, to submit your images. I mean, we've all been through it, but it still is quite a thing to do. To submit your images in for assessment as qualification, because you don't know, you don't truly know, even the mentors don't truly know, whether a panel is going to be successful or not.

[00:14:45] , we did eight panels in a day. I'm chairing it.

[00:14:48] So I'm not really a judge in that sense anymore. I chair it and make sure it's run smoothly And the process is meticulous in the way we do it, so that it's fair and equitable for every single candidate.

[00:15:03] Firstly, the candidate sets up their panel and the judges, get to assess the images. At the end of that first assessment , we take a vote. Then have a discussion and then we take a second vote. And the reason we do it like that is so that the judges get to make up their minds independently with no influence. They're just assessing the images on their own. And on an individual basis. Then we vote. And then as a discussion and in that discussion, It's about the judging team, the panel of judges arriving at a decision that is, a combination of their own independent view and the views of the other four judges. And it's important that it's done like that because every judge has a different experience, different influences and skills for how they assess the images.

[00:15:53] And so when the judges talk, each judge gets the opportunity to address the panel, and talk about why they think their decision is the right one. But they're also listening to the other four judges and taking into account, maybe things they haven't noticed or maybe things that they just don't prioritize quite the same way.

[00:16:17] And listening to these six judges or five at a time, but the six judges in discourse, listening, giving their views, knowing when to be brave and when to stand their ground, but also know when to flex, and acknowledge that may be another photographer, another judge has more experience in an area or a spotted, something that they haven't, that that was exhilarating in the extreme, because the panel of judges each time there was a discussion , they came to decision and the whole panel doesn't have to be unanimous, but the whole panel of judges respects and understands the outcome of the process.

[00:16:56] Now, of course the delegate might not. That is other candidate rather than might not. That is true. And it wasn't a hundred percent pass, uh, in terms of each of the panels. And it's always heartbreaking. I wish the candidates could see behind the curtain while we come to the decision. That's not part of the process that we've opened up just yet. Um, that may come in the future as we get our arms around a way of doing that, that is. Uh, fair. But genuinely when a panel was unsuccessful, you could almost hear everybody in the room, you can almost hear their hearts. Breaking.

[00:17:37] When we say, we're sorry. We mean it. Because we would love every single panel to be a successful panel. We would love that. But in the end. It's a, it's a balancing act between making sure that we reward the endeavor, we reward the work. But the standards have to be high. They have to be. Consistent. They have to be something that when people look at the letters you put on the wall. They mean something and sadly they can only mean something.

[00:18:12] If we hold our ground, on, uh, the standards, the process, and the reasons why certain panels will succeed where other panels may not make it this particular time, but what an absolute what an absolute privilege to be in the room with those judges, looking at those panels, the panels were stunning. Even the ones that were unsuccessful this time round, the panels were stunning.

[00:18:34] So a huge, thank you. To the six judges who came and provided their skills, their eyes, their experience to, assess each of the candidates work

[00:18:47] And what a beautiful thing to be a part of.

[00:18:50] Um, what else? What have I written in my notes?

[00:18:52] Paul - Studio Rode Broadcaster V3: So, yeah, I've drank a little too much this week and exercised a little too little. That's something I'm now feeling very guilty about. And this afternoon, it's Saturday afternoon. And I sat and thought. Shall I go home and get on the exercise, bike or shall I record a podcast.

[00:19:06] And I thought, oh, I better record this podcast, but trust me when this is recorded. I'm going to go home and do a little bit more exercise than I have this week. This week I've barely slept. I've been working in London. I've been working in Essex. I've been working here locally. This stuff has got to go out.

[00:19:23] I've written an article for professional photo magazine, big shout out to those guys, by the way, the online magazine looks fantastic that's Professional. Uh, Photo Magazine. Uh, but what, uh, what a week it has been,

[00:19:36] uh, final note, . Final note this week. Um, it's been a real run of it just at the moment in that.

[00:19:43] Paul - Studio Rode Broadcaster V3: Lots of photographic suppliers have been approaching us to feature their product on either the podcast or masteringportraitphotography.com, or just getting it into our hands so that we can talk about it. And I have a really strict policy here, um, that I'll only talk about things and promote things that I use that are part of our business, part of our workflow, because if they are worth talking about, then trust me. I've already had a look I'm already using it.

[00:20:11] So this one has, this came in yesterday. Um, and I'll put the link in the show notes. We use a bit of software, or we've been exploring a bit of software called EVOTO - E V O T O, which is it's an AI retouching package.

[00:20:27] Now I know I can feel a few of you are hackles going up and bloomin' AI. retouching automated and all of those things. Why do I like it? Well, I like it because you have total control. So in the same way that we use actions in Photoshop, we put up, um, check layers. And do dodging and burning. This takes some of that drudgery out.

[00:20:50] I say, drudgery that, sorry, that sounds dreadful. I don't mean it to sound like that because actually I love retouching.

[00:20:56] Paul - Studio Rode Broadcaster V3: I love it when I've got an hour. And a beautiful picture that I can just work up, but my business model, doesn't allow me to do that for 22 portrait shoots in three weeks. It just doesn't.

[00:21:08] Now I could outsource it, I suppose. But I've never been really that happy with the results when I've done that. I find, I find things, come back, just looking a little bit plastic. Um, of course I could pay really high-end retouches, but I work in social photography, not commercial retouching. Obviously, if it's going to be the cover of Vogue, I can spend thousands on a single image being retouched, but that's not my world.

[00:21:31] My world is a very solid, very dynamic, very successful social photography. Uh, outfit and. Although I like the images to have a really high fashion look for an awful lot of my work, trying to find techniques to do that quickly is not straightforward.

[00:21:48] Paul - Studio Rode Broadcaster V3: Um, so when EVOTO suddenly emerged a few months ago, it's still sort of in beta, at least a lot of the functions are. Um, it's E V O T O you can go download it.

[00:21:59] Um, this particular piece of software allows you a huge amount of control and there are two. Uh, bits of Photoshopping that I really don't enjoy. I don't mind. I love I say. I don't mind. I love skin retouching. I love working at the colors. I love all of that side of it. I really don't like fixing crosshairs, and I don't like fixing creased clothes.

[00:22:21] So there's a two things there, there are others, but those are two things I really just find irritating for whatever reason.

[00:22:28] Paul - Studio Rode Broadcaster V3: Well, EVOTO on its own, it would be worth the effort of just fixing those, um, it does crosshairs brilliantly and it will take the majority of creases out of pretty much any type of clothing.

[00:22:41] And even if that was all it did, that would be worth the money, but it does so much more. It helps me in so many ways. It's helping us automate and create a higher finish. But it's still looking natural, still looking like they, the images haven't been retouched, I'll do a deep dive into it at some point. Uh, but the guys have been in touch, and I do have a promo code. Uh, if you fancy it again. Uh, put that in the notes, but it's https://go.evoto.ai/PaulWilkinson capital P capital w all one word, Paul Wilkinson. And if you go there and sign up. Uh, you will get 30 free credits, which allow you to have a play.

[00:23:28] So you'll get 30 free credits. The other thing about the software, which I really like is that you pay to finish the image so you can load it up with as many images as you like and run your, your settings on it and run. Basically all of that, the whole of the software. But you only get charged when you export the finished images out.

[00:23:50] Now it's not perfect yet. Uh, only works on certain types of files. It won't work on PSD files. It works on TIFs or RAW files. Uh, or JPEGs, but trust me, it's an absolute godsend. Uh, particularly if you don't overuse it, if you just keep on the right side of the line. The images look natural, they look polished. They look finished. That you've got no crosshairs and even the clothes can get a little bit of an iron. So I'll put that link in the show notes. And if you follow the link, you will get, uh, 30 free credits. By the way, I get no kickback on this. I'm getting nothing out of it. It's just, I talked to the guys. Because I use the software. And I said I would happily, uh, promote it because I think it's, it's absolutely. Uh, brilliant.

[00:24:37] And then anybody, the whole point of this podcast is to make life a little bit easier for anybody, uh, doing portrait. Uh, photography.

[00:24:44] Paul - Studio Rode Broadcaster V3: So anyway, on to what is, I suppose, as much as it ever is the topic of a podcast, these are just, you know, It's the diary of a working pro in stuff that occurs to me as we, as I get all my life. Um, but here's the primary topic of this particular. Uh, podcast and in a sense. It's a little bit of a moan. I just, I don't like to moan.

[00:25:07] It's not my style, but this is just a little bit of a protest protest. Sounds better than moan. Maybe. A little bit of a protest.

[00:25:15] Paul - Studio Rode Broadcaster V3: Which is the sheer number of adverts I get in all of my social feeds with people telling me they have the answer. They can make my photography business successful. They can find me thousands of clients.

[00:25:29] They have a six-figure photographic business. They can tell me how they did it. No one, no one has the answer. It's all lots of small parts. And when I'm looking for help, I look basically for three. Three things more or less. And these. These are three things that it would have to have if I'm going to use someone for some help.

[00:25:48] Firstly, do I admire their pictures? Do I admire their pictures? Do I want or understand why they create what they do? Is it something. That's in tune. With me and what I want.

[00:26:01] A couple of people have come into our studio and said, well, you could do it like this, you could turn the whole space into two working studios, have two photographers in each run, eight shoots. Uh, in each, uh, part of your space per day, that's 16 shoots. Per day, you need to get a sales team onto the calls, do cold calling to lead generation, and you could run a multi-million pound business. Well, I could. But I don't want to. Because those photos are not the photos that I want to take. Um, and besides I want to take them, I love creating pictures. That's part of why we do this. The idea of not creating pictures anymore is not part of my business plan. What I've got to always figure out is how to make this business as profitable as I can, given the caveat, I left a very well-paid job in the city to do it. I left a career and a life of money and shares and shareholder value, and watching stock markets and being a partner in a firm.

[00:26:56] I left all of that behind me because it wasn't, what I wanted. What I wanted to do was create beautiful images and make life just a little bit better for people myself included. Um, so that the idea of doing that, so. I will only ever look for someone who's creating pictures. I truly admire.

[00:27:12] Secondly, , does that business, the business they're describing, does it look like my business vision?

[00:27:18] So whatever it is, they're trying to sell me. Is that part of my vision.

[00:27:23] And thirdly, do I like the person who purports to give me that information.

[00:27:29] If those three things are true, there may be, I'll dig into it a little bit further, but if any, one of those isn't true. I'm not going there. And I get so many ads with people, waving their camera around, telling me some number or rather. You know, I don't know.

[00:27:43] I've created a six figure business in three weeks. Um, I did it all from the comfort of my own home. I mean, there's even ads. Now I get the, tell me they don't need a photographer. You can set up. A headshot business without ever using a photographer. And if I get one more of those ads from someone who clearly doesn't understand. What. Personal branding really is it's the clue is in the title, personal. It's not AI generated.

[00:28:09] I know you can change hairdos and suits. And I use AI everywhere. Trust me. But there's a big difference in the, if you think about the one word you have to have in personal branding, authenticity is at the heart of it. An AI can't give you that. I mean, you can't synthesize authenticity. There's no such thing. Synthetic authenticity is an oxymoron, it is not a thing it's either authentic or ain't. So, uh, I'm sort of very. They're very cynical about those things and they, and these people are always waving a camera around at me, sometimes with the lens cup still on. I assume that it's because the Metta or social media algorithms reward, people waving a camera around.

[00:28:53] So it gets it higher up in my feed and it definitely works as long as it's aimed at me. So I've got hundreds of these things. And they're always, there was a very particular type of person. They're always very bouncy and extrovert and energetic. And I like that. I'm bouncy and energetic and extrovert. Um, but I'd like to know, that their business has been running for 10 years or 15 years.

[00:29:17] I'd like to know. That they consistently do these pictures with real clients, the kind of clients that we find, the kind of clients that are in tune with our business. Um, Now of course, when I dig into them and actually have a hunt around. 99% of them are paper thin. There's nothing underneath there's no, it's not substantiated by any real world. Business acumen or business experience. Some of them will have been successful, but you can feel that they are now going into training because the success of the business has probably beginning to wane.

[00:29:51] I'm looking for a long-term sustained business. If what I want to run is a longterm sustained business. I'm looking for somebody who can do what I want to do. Um, Now it is true. It is true that you can be a great coach without being a sporting star on your own or vocal coach to rockstars. They're not quite the same thing, being good at something and being able to coach in it. Not quite the same thing as being a star in it.

[00:30:18] I understand that. But I really do want to know that the war stories I'm going to learn from are real, that someone's been out there, someone's done it. That they've walked the walk and ideally are still walking the walk I'd much rather learn from a business than from a trainer. If you get what I mean. I want to go to a consultant . Who's still running up business. They're still learning. They're still evolving. I mean, goodness knows. In the UK, we're about to go into a general election. The dates of that have just been released, and if there's one thing I know about elections and anything sort of like, um, referenda, anything like that. Is the phones, just go that little bit quieter. So no matter what happens up until July the fourth, which is the election date, I know that the market will be ever so slightly suppressed because people don't wake up during election campaigning and think first as they wake up, I need to get some photos. That's just not what happens.

[00:31:16] People wake up and thinks, you know, What's Rishi Sunak said today, or where are we headed with the election or any one of a million other things, but photography just gets down the list a little bit, further. So I know we're about to go into a quiet period and what I want is someone who's been through that knows that's what's coming knows that the little intricacies of running a business over a long period of time are far more than you can do something like this in 42 days, or in just three weeks, you can have this success or with just one camera and one lens and working from home, you can telemarket to a thousand people.

[00:31:49] I don't care about any of that. What I want to know is do they run a business that looks a little bit like mine? And I know that they've been there, seen it, done it and are still doing it. Um, now.

[00:32:00] Paul - Studio Rode Broadcaster V3: A couple of episodes ago, I talked about four things, four things, I think are consistent to successful. Photographers that's energy, optimism, enthusiasm, and confidence.

[00:32:12] I stand by that. They're very much there, but they're not all of it. And I did say that in a podcast, they're just the foundation stones. That, not the whole building there. The bit. They're the bedrock or the foundation, everything can be built on, but they are not. The whole building, maybe I'll get over the coming months to talk about each of the different areas that I think you probably need to get to map it out.

[00:32:35] Maybe that'd be a good idea. if I draw it all out. Uh, maybe actually create a little bit, maybe I should stand in front of a camera and wave my camera around with my lens cap on and say, I've got the answer for you. I don't, I don't have the answer. I've just spotted some things that are consistent with people who are successful, energy, optimism, enthusiasm, and confidence. But you'll also need some other stuff.

[00:32:58] And one of them is just hard work over a period of time. Call it, practice. Call it graft, call it wherever you want. It's doing it over a long period of time so that you have your chops down. You graft at it. You'll get some breaks. You'll miss some breaks. You'll have a bit of good luck, you know, have a little bit of bad luck. That's life. There isn't a silver bullet for this, and you really do need to plow through it. So these little ads that come up and say, I've got the answer for you in the next three weeks, you can do this. Um, then just, I'm just doubtful.

[00:33:32] I certainly don't buy into them. And every time I have sort of investigated, they've come up short now we all have superpowers. We do. But we don't all have the same superpowers and there's no one superpower you need, you need a suite of them. But you can't have everything. It's just not possible to be good at everything. Um, my superpowers, I suppose, are I am a grafter I work hard. I can read light. I love, I love technology. I know it's slightly ironic that I'm muttering about some of the AI stuff given I've got a PhD in AI. I adore technology. And I get on with people. Well, mostly I get on with people. But I am not for instance, an avant-garde creative photographer. I'm not edgy. I'm not a visionary. I'm certainly not a master, of marketing or a sales.

[00:34:22] I'm non of those things, but I work hard. At it, I love doing it. And so I do a lot of it. And I particularly love being amongst people. And I love being amongst people when I've got a camera. And if I'm, I suppose I, if I think about it, I can create a portrait. In almost any light. If I can see it. Well, probably I can use it. Those are my superpowers, but everyone will have different superpowers. Some of you will be amazing at business. Some of us will be amazing at marketing and sales. Some of us will be amazing photo shoppers. And fine artists things that I'm not. Um, but that's my superpower. Those are my superpowers. Uh, I'm a grafter can read light love tech and I get on well with people.

[00:35:07] But even then in and of itself. that's not enough. It's a damn good start, but it's not enough. I've got to learn and I have learned as much as I can about everything else. I'm still learning. I'm still on that journey. We're still running. Uh, business that I've learned how to do it alongside Sarah. Sarah. and myself, we've worked out how to do it.

[00:35:27] We've had a corporate background. So we were exposed to the fundamental principles of running businesses, which is really useful. But I've learnt how to run our little business, how to sell. We've learned how to sell stuff. We've learned how to market, we've learnt how to do those things. Using what I would consider to be natural tools. Um, so using the S the superpowers that we have, the ability to get on well with people, the ability to create a picture, actually, after that, you don't need to do too much on the sales side, a couple of little bits and pieces.

[00:35:55] There are techniques. But for us, we've just lent into our natural talents. Um, of really liking our clients and really enjoying being there with them and really enjoying, creating images of them. Uh, and so that's how we've learned how to run a business and we're still learning.

[00:36:12] But I do wish I could stop receiving ads from people, waving a camera at me telling me that they all 25 years old of them. Are the answer. Well, they may be the answer, but they're not the answer. that I would look for. They can't change my business only I can change my business and I'm very, very picky. About who I take advice from.

[00:36:37] Paul - Studio Rode Broadcaster V3: Anyway, thank you for listening.

[00:36:39] If you have enjoyed this, please do let us know. Please do leave us a rating on iTunes or wherever it is, you get your podcasts and also please do subscribe. So the minute we publish the next one. Bang. There is. In your in-tray or in your list, on your library, on your latest or on your alerts or wherever it is. That it pings up when you listen to your podcasts, please also head over to mastering portrait photography.com, which is. the spiritual home of this podcast. But also of course includes a ton of stuff all about the love. The passion, the creativity in the business of mastering. Portrait photography. If you're curious about any of the workshops and one-on-one masterclasses that we run, um, where there's a whole suite of them. I go back to the thing I said earlier, though. If you think we're the kind of thing you'd like to do.

[00:37:23] If we creating pictures that you'd like to learn how to do, and if you think actually you'd like to learn it from us. And then please do head over to, uh, paulwilkinsonphotography.co.uk. And there you will find the, um, Coaching section, but just Google paulwilkinsonphotography.co.uk workshops and you will find us.

[00:37:41] So on that happy note, I'm going to go, I think. And have a beer in the sunshine with my wife. And lament the fact that I've got one very sore, big toe. Whatever else you do. Be kind to yourself. Take care.

Sometimes it's just a pleasure to sit back and listen.  This is one of those moments - for me, certainly, but hopefully for you too. 

I had the pleasure of sitting and chatting with two icons of the industry - Sean Conboy and the inimatable nonagenarian, Stuart Clark who is not only still shooting at the age of 97 but is a considerable racontour (you can hear me and Sean laughing in the background throughout!)

Stuart started his career in 1941, so his stories are not only entertaining but are fascinating as they cover every photography development from glass plate through to the state of the art digital wizardry we're facing today.

This interview is worth listening to every one of its 90 or so minutes!

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] Paul: So there are so, so many things I love about being in this industry, the things we get to do, and in particular, this podcast, and one of the many things is having these moments that you're about to hear, where I get to sit and chat with someone I've known for a very long time, Sean Conboy, fantastic photographer, and just a wonderful human being.

[00:00:20] And someone he introduced me to, a guy called Stuart Clark. 

[00:00:23] Now Stuart is 98 years old in July this year. Self proclaimed as one of the oldest working photographers in the country, and I'm not sure that anyone's going to argue with that. He started training as a photographer in 1940. That makes this, he's been working as a photographer for 84 years.

[00:00:46] And the whole of this interview is taking place in what was, his photography studio in a little town just outside Leeds. It's his front living room, but it's huge. It's got a high ceiling and you can imagine how the lighting would have been hot, continuous lights and families just having the best time with someone who I learned very quickly, is a storyteller and a raconteur, uh, just a wonderful, a wonderful human being. There are lots of things to listen out for in the following interview, and let me draw your attention to just a few. Uh, listen out for the flash powder story. It's very funny. Uh, the story of, uh, People retouching, lots of retouching stories from the 1940s and billiard ball complexions.

[00:01:31] . Doing multiple jobs in a day. He used to do three or four jobs in a day, and have the timing so accurate that could include photographing a wedding. He learned his craft. He's great.

[00:01:42] He's spent time creating images for press, looking for alternative, alternative images and looking for PR images that no matter how much a sub editor crops them, the brand or at least the story is still very much intact. He talks about the utter love of the job and appreciating what a privileged position photographers like ourselves are in every day of the week.

[00:02:07] He talks a little about the role of agencies and how they now manage messages from companies in a way that probably they never did. He talks about relationships and he talks about being positive and persistence. He also talks about the role of the Institute.

[00:02:24] Finally, he talks a little bit about photographers always being the fag end of everything, but in the end, what he talks about really, It's the love of his job and the love of his clients. 

[00:02:35] Why am I telling you all of this upfront? Well, this is a long interview, but the sound of Stuart's voice and the history that it represents, as well as the fact that he's more current than an awful lot of photographers who I know right now who are much younger, uh, but just, there's something in his, his entire manner that is captivating and enthralling, informative and useful. And so, although it's a long interview, I thought I'd just explain a little bit about why I found it so appealing and why I've left the edit almost entirely intact. I've removed a few lumps and bumps where we all managed to hit a microphone as we're gesticulating.

[00:03:16] So picture the scene, there's myself, Sean and Stuart sitting, in armchairs and on couches.

[00:03:27] And if you're wondering why it took me quite so long, this interview is actually, it goes back to February of this year, and why it took me quite so long to get it out, it was partly because there was a lot of of lumps to remove and partly because it was this trip, this interview, this podcast that I was returning home from when the Land Rover blew up.

[00:03:46] And frankly, I think there's a little bit of trauma there with a six and a half thousand pound bill to re, to replace and repair piston number two. I think my heart just, I needed a minute just to not recall it every single time I try to edit this particular podcast down. It's a wonderful interview. Please enjoy.

[00:04:06] I know it's quite long, um, but what an absolute legend. I'm Paul and this is the Mastering Portrait Photography Podcast. 

[00:04:32] So, firstly, Stuart, thank you for welcoming us into your home. We've driven quite a long way, uh, to come and see you. Sean, uh, recommended we speak to you, because the number of stories you have make even his collection of stories look Insignificant.

[00:04:48] And as we all know, Sean, The Footnote Conboy has more stories than any man I've ever met up until probably this, this moment in time. So to kick the conversation off, how did you become a photographer?

[00:05:05] Stuart: It was an unfortunate or fortunate chain of events because, um, I was at the Leeds College of Art in 1940, 41, and I had the desire and intention of being a commercial artist, which is now referred as graphic designer and at that time, being wartime, there was little advertising being done, and so, uh, perhaps I was not sufficiently talented, but I finished up working for a firm who were essentially photoengravers, but they had a commercial photography studio as well, and they were short of somebody to join them, and I went in there and became virtually an apprentice photographer. This was very interesting because at that time, again, there was very little commercial photography advertising being done, and so all our efforts, or most of our efforts, were centred on war work, which involved going round the factories and, uh, Photographing for record purposes, the input of the particular company. And in those days, I can tell you that that was not a very comfortable proposition because we were on total blackout, and therefore, all the fumes in the factory, whatever they were, had very little chance of escaping, so you've got the fumes and the heat, and then of course we were only Illuminating scenes with flash powder, which was an added hazard, and, and so Photography outside in the factories was not very pleasant, but inside the factory, or in the studio, we were also doing war work, and that was to photograph silhouettes, scale models of all aircraft of both the enemy and, uh, and, uh, Home, uh, Aircraft for identification purposes, so that the air gunners were not shooting our own planes down in action. And another very interesting thing which I have always remembered was that the four, or the eight cannons In the Spitfire, that was four in each wing, were harmonized to converge at a point away from the Spitfire so that the Fire, the maximum fire point was when those two lots of cannons converged.

[00:08:34] The only reference that the pilots had was a silhouette which we had photographed, so that he could visualize that silhouette in the, aiming sight of his 

[00:08:50] guns. 

[00:08:51] Paul: a very early heads up display. 

[00:08:53] Stuart: Indeed. 

[00:08:54] Paul: Yeah.

[00:08:55] Stuart: And, so, that was quite an important element, I think, of our war work for the Air Ministry.

[00:09:03] The main factory was engraving the, conical, rangefinder cones for 25 pound howitzers.

[00:09:14] Paul: Right.

[00:09:15] Stuart: And at the time of leaving school, everybody had to be doing war work. 

[00:09:21] And so I went to the company on the pretext of doing war work of that nature, rather than going round snapping.

[00:09:31] Paul: Right.

[00:09:32] Sean: Stuart, could you also, um, I mean you've told me many great tales about your time actually in the, uh, armed services film unit, i think that might be quite interesting, 

[00:09:42] Stuart: Well, I was called up and because of my interest in mechanical things and gadgetry and so forth, I finished up in the Royal Army Service Corps. But a friend of my mother's husband suggested that I applied for a trade test in photography. And one day I was called up to the orderly room and they said, We've got the movement order here for you. Um, to go to Pinewood Studios, of all places. I don't know what this is about, but anyway, here's your movement order. So, I went down to Pinewood, and we had a trade test, and I think I finished up, uh, top of the, the, uh, examination. But then I was returned to unit at Catterick, and I was up there for another few months, and then I was posted. And eventually, after about six weeks of the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cinephotography,

[00:11:06] and still photography. Now, this was the last course. before Pinewood closed down and the unit closed down. I'm talking about Pinewood closing down, Pinewood was the headquarters of the Army Film and Photographic Unit from when it was formed in October 41.

[00:11:35] The course included preparation for action photography, essentially. when the course started, the war was still on in Central Europe. but before the course finished, it, uh, the war finished.

[00:11:58] And The Japanese War was still going on until September of the same year, which was 45. But we were still being trained, and when the course finished, we had very little to do but just wait to see what happened. And so from September to, um, December of that year, we were just hanging about in the studios.

[00:12:30] We were then posted to the Far East, in fact to Malaya, where the No. 9 unit was formed. Having been moved by Batten's headquarters, Mountbatten's headquarters, from Ceylon to Singapore, thought that it would be probably much more congenial there than in Ceylon, India.

[00:12:57] So number nine was there and it's interesting to note that right at this moment an exhibition is being produced for the photographer's gallery on Bert Hardy's life and Bert Hardy at the time that I there was, in fact, the stills captain in charge of all the still photography in Malay Command. Or the, not Malay Command, the Far East Command, because we had outstations in Java and Hong Kong, and even, uh, one guy, uh, was in, um, in Hiroshima. So that was the formation of the, the, uh, Far East, Southeast Asia Command photographic, uh, outfit. until it closed down, uh, in September, August September of 46, and we are then dispersed Some went to the Imperial War Museum, the Imperial, uh, war, graves Commission, et cetera, and six of us went back to Vienna, where we joined number 9, Public Relations, because unit had been disbanded completely. So, there in, uh, in Austria, we were doing what they call Local Boy Stories, and we made a couple of films on the Irish regiments and also the East Yorkshire, not the East Yorkshire, the Yorkshire regiments who were guarding and on guard duties at the palace, Shurnbran Palace, which everybody has heard of, and um, and so that carried on until, uh, the Until I was demobbed in 1947, December. came home and went back to the company I originally started with because they were compelled to take people for 12 months. And at the end of that time, I decided to leave I had a bit of a a difference of opinion with the studio manager, who was RAF, and I was Army, and I was a sergeant as well, and I don't think he was quite that when he was in the RAF photographic section, but there was a resentment anyway.

[00:16:02] of my presence. 

[00:16:03] So, I went to the firm called C. R. H. Pickards, who were one of the finest industrial, uh, and leading industrial photographic units, companies, in the north of England.

[00:16:24] It was there, then, that I began to learn industrial photography. And we photographed all sorts of various things, from factory engineering, factories, products and so forth, lathes, milling machines, railway engines, all manner of things. And that's where I cut my teeth on industrial photography.

[00:16:56] Sean: And, and Stuart, what sort of, um, equipment would you be using in those days? not 

[00:17:01] Stuart: so ha! 

[00:17:02] Sean: but how 

[00:17:03] would you be lighting these spaces in those days 

[00:17:05] Stuart: um The equipment that we were using was always, almost always, whole plate, six a half, eight by, eight and a half, six a half, uh, folding field cameras. when I started, we

[00:17:29] were on glass plates. But then the advent of film came in. And this was obviously much lighter stuff to carry around. And every, exposure had to count. Now in today's terms, where you press the button and pick the best out of however many, all we used to do was a duplicate at the most. So we used to There was a variation in the exposure or the aperture setting, and that was the only difference the two exposures.

[00:18:19] So what we used to do was develop one side of the, uh, the double dark slides, see what they were like, if they wanted a little bit more or a bit less development, that was applied to second side. And, don't know whether you've ever heard of the expression of, um, developing by, uh, vision. But we used to have a very dim green light, and the sensitive film.

[00:18:59] was not, uh, sensitive to the green light. 

[00:19:03] Paul: All right. 

[00:19:04] Stuart: But you had to be in the darkroom for ten minutes for your eyes to become adjusted, and you could then see absolutely every detail of the, the development process. And when the highlights started to you, to, To show a dark mark through the back of the antihalation backing, then the development was just about right, if but if you wanted a little bit more contrast, then you just pushed it on. If it had been a dull day, a dull, miserable day, then you pushed the development on a little bit further.

[00:19:49] Sean: And 

[00:19:49] Stuart: you've asked 

[00:19:50] Sean: be, how would you be lighting some of these scenes? I'm very intrigued at that 

[00:19:53] Stuart: I 

[00:19:53] Sean: that 

[00:19:53] Stuart: about to say that.

[00:19:54] Um, for big areas, we used to use flash powder. And a little bit of flash powder goes a long way, believe me. But it was pretty dangerous stuff. And um, I remember we photographed a wedding on one occasion at the Majestic Hotel Harrogate. And there were 450 people. at the reception and they wanted a photograph to show as many of the people as possible. So we put the whole plate camera on a table stood up there with tray into which I poured flash powder.

[00:20:38] Now then, this was actuated. with a percussion cap, like we used to have in little

[00:20:46] hand pistols for toys. and when you pulled the release catch, that ignited the cap,

[00:20:56] that ignited the flash powder.

[00:21:00] So, the exposure was only going to be once. One exposure.

[00:21:07] And so, the photographer I was with, he said, right everybody. Look this way, and I want to be making sure that everybody keeps still.

[00:21:21] I'm going to count five for you, but don't move until I've finished counting.

[00:21:29] So the idea was to take the sheath out of the slide. With having put a cap over the lens, shutter, just an open lens with a cap or a lid on the front.

[00:21:46] And the technique was to take the cap off hold it in front of the lens, so that that allowed the vibration or any vibration in the camera to settle down and then take the exposure. the idea was count 1, 2, 3, 4, then take the cup off. And on four I ignited the flash gun and then the cup went on and the guy that I was worth put the sheath back and said, right, let's get out of here quick. The reason for that was that you got the brightness, got the, the buildup of the available lights. then it's just topped off, illuminated with the flash, not a very big one, I hasten to add. But the significance of flash powder was that there was a flame which simply went upwards. 

[00:23:00] And that was it, that was all there was to be seen. But, it produced smoke, which used to go into, onto the ceiling, and it would roll across the ceiling, carrying with it the grains of the flash powder, which had obviously changed colour from

[00:23:24] silver

[00:23:25] To yellow, that was okay. But when the waiters came to move the, uh, soup plates, what they found was a white circle on a yellow 

[00:23:47] cloth.

[00:23:51] And you can also visualize the fact that a lot of people had a lot of. Little flash powder grains in their hair 

[00:24:01] as well. well. By the time that

[00:24:04] By the time that this happened, we were halfway back to Leeds. 

[00:24:08] Sean: Very good. 

[00:24:09] Stuart: But this this was the scourge of flash powder because you could only take one shot. Because the place used to, the whole of the place, the factory, if you using a large amount of powder, made a lot of smoke, and it just collected on the ceiling and it obscured it, the vision. So, we used to use photo floods, these were overrun pearl lamps, we used to have six on a button. And if the subject was still, we could go around on a long lead and paint scene with light. And that was, and that became established, So flash balder started to go,

[00:25:08] Paul: Right.

[00:25:10] Stuart: but you see, at this time, flash bulbs hadn't really got going.

[00:25:17] The GEC flash bulbs, which were foil filled, were about the only thing that was available. Um, in this, in this country. And they were sympathetic.

[00:25:31] And the GEC Warehouse in Leeds on one occasion, uh, a consignment of, um, bulbs came,

[00:25:43] Uh,

[00:25:44] in a, in a case, and, uh, one of the attendants decided that he would test them to see whether they were all alright.

[00:25:54] So

[00:25:54] he fired one.

[00:25:57] and 50 flashbulbs, because

[00:26:01] they had to be in contact with each other. If they were separate, it didn't work, but when you put them side by side, they were sympathetic.

[00:26:11] Paul: What

[00:26:11] happens? 

[00:26:13] Stuart: Well, the whole lot 

[00:26:14] went 

[00:26:14] off. A whole box full of, um, flashbulbs, and they weren't cheap at that time. 

[00:26:22] So 

[00:26:23] really, 

[00:26:23] that was, that was the basic equipment which we used to

[00:26:29] use.

[00:26:31] And

[00:26:32] it was all,

[00:26:33] it

[00:26:34] was all, uh, 8x6.

[00:26:37] Sometimes it was 10x8.

[00:26:41] The, uh, the railway engines, which we used to photograph for the Hunsley's Engine Company

[00:26:47] and hudderswell Clark's in Leeds, we always used to use 10x8 for those. Now it was interesting there because we used to have a particular date for going to photograph them. And

[00:27:04] they were all finished up in black, white and grey paint. Because that served the cost of retouching the finished print.

[00:27:15] There was very little photography done at that time. Apart from views and so forth. But anything that meant a machine, a lathe the, or whatever, it always had to go to the process retoucher who airbrushed the reflections or put one or two, put a shadow in or whatever it is. It was a highly skilled, uh, process. Uh, process, retoucher with white lines and so forth. But the interesting thing about these two railway engine companies was. that they only painted them on one side, the side that was being photographed.

[00:27:59] Paul: And

[00:28:01] Stuart: we used to go back to the studio, develop them straight away, yes, the negatives are alright, as soon as that happened, then they would strip all the black, white, and grey paint off and finish up in the customer's required, required colours.

[00:28:23] Paul: Wow.

[00:28:25] So, so the bit that strikes me is retouching has been part of this art 

[00:28:30] Sean: a long time. Well, 

[00:28:33] Paul: I mean, think about

[00:28:33] it, right? Because we, there's a lot of debate about retouching and post production. That rages. Even now, but when you think about a manufacturer only painting one side of a train, they're painting it colours that repro well, and then it's being handed on to a retoucher, retouching's been going on for a very long time. 

[00:28:51] Stuart: Well of course, everything at that time was, was, um, retouched, and most portraits finish up with complexions like billiard balls. There were no shadows, etc. 

[00:29:03] Paul: haha, It's like nothing's changed! 

[00:29:07] Stuart: Indeed. Indeed, and, and when people speak now in condemnation of, oh well you can see the retouching and so forth, well the only thing that you have to do now is to make sure that it doesn't show. But, it was, really when Photoshop and the like came in on the scene, this was manna from heaven.

[00:29:32] Paul: Yeah.

[00:29:33] Stuart: Because it cut out the need to do the work on the actual print. To retouch transparencies was a rather different process altogether.

[00:29:48] And it was 

[00:29:49] Sean: difficult process to be

[00:29:50] Stuart: Oh yes, and very highly skilled. And the firm that I worked for, Giltrous Brothers, who were the photo engravers, they used to retouch twenty, twenty

[00:30:02] four, twenty glass plates. Whereby, when you talk about printing today, and I think the, uh, top of the range, uh, Epson, Uh, printer works in, uh, we're printing 11 colors, but the, limited edition photolitho, uh, illustrations were, uh, certainly on, on 13 colors

[00:30:36] And from 13 separate plates. All of which were retouched.

[00:30:42] Paul: So

[00:30:42] the plates were retouched separately? 

[00:30:45] Stuart: correct? 

[00:30:45] Oh yes. 

[00:30:46] Paul: Wow.

[00:30:48] Stuart: So

[00:30:48] Paul: each of these plates is a black and

[00:30:49] white plate that's going to take one color ink?

[00:30:52] Sean: Correct. I understood the

[00:30:52] Paul: the process right?

[00:30:53] Sean: Yeah. 

[00:30:54] Stuart: process, right? Retouches were earning more than photographers at any time. 

[00:31:01] Sean: It's most interesting to hear this, Stuart, because you come into my era when I was learning photography and the discipline of the transparency, the 4x5 and 8 inch transparency, and of course there, retouching was an anathema because if we retouched the transparency, we started to lose some quality.

[00:31:17] Stuart: Yes. we to, it was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency. Whereas the processes you were using enabled this retouching method, which is very, very interesting.

[00:31:29] There are certain elements, as you well know, with your, even with your skills, whereby there are elements which cannot be lit out or exposed out or 

[00:31:43] whatever. And there has to be some artwork, or whatever you call it, retouching done. And at the end of the day, most of the photography which, which I was taking and involved with, was going to be reproduced. And so if it was retouched at source, before it got to the retouchers on the reproduction, uh, side.

[00:32:11] of the plate making, then that was, it was as we wanted it rather than what they thought it should be. 

[00:32:20] Paul: As ever photographers being control freaks. 

[00:32:24] Stuart: Well, after something like two to three years at Picards, by which time I got a fair amount of idea of what's going on. 

[00:32:37] Um, I decided that, um, I ought to seek pastures new and became a staff photographer for the 600 Group Of Companies just on the west side of Leeds. And there I photographed secondhand machinery, which they used to recondition and I photographed the, lathes and milling machines, drilling machines and that sort of thing, and they were then printed on and they, all these were taken on the half plate camera, which is half the size of a whole plate camera, obviously, um, and, um. they were made on 6x4 glossy prints, and these were distributed by the appropriate department to potential buyers. And I was there for three and a half years. But I'd got to the stage where I'd photographed everything that didn't move, and I was becoming rather dissatisfied with life. So I 

[00:33:49] Paul: Do you mind if I ask how old are you at this point?

[00:33:53] Stuart: this point? Well, let me see, I would be about, twenty, twenty four, twenty, what, twenty five. Right. Twenty five, six. 

[00:34:03] Paul: Right.

[00:34:04] Stuart: I was dissatisfied because I didn't think I was getting anywhere.

[00:34:09] Sean: So you were, you were ambitious, really, to take your photography on to another level and, and have more control, would you say, over what you were doing

[00:34:16] Stuart: you could say that, yes. just say to work for yourself, Stuart? 

[00:34:20] Sean: The Thing is that the, the company that I worked for. was part of the A. H. Leach corporate, uh, company at Brighouse, which was, uh, a very big organization with studios in Cambridge, Manchester, Glasgow. Um, and the prospects of moving to any one of those places was stalemate because they were well staffed was no flexibility for moving, and so I thought, well the only way to see whether I am a capable photographer was to make it on my own, see if I could make it on my own. And in fact started the business in some premises now occupied by the local library. down at the bottom end of the village.

[00:35:19] Stuart: But this was going on for some time, two or three years, and then the question of getting married.

[00:35:27] came into the reckoning, and this house in which we're sitting now became available, and very suitable because the front room lounge in which we now sit became my portrait studio.

[00:35:46] And across the top of the window, which is facing opposite you, was a bank of Kodak, um, lighting with five, four 500 watt lamps in each for general illumination.

[00:36:04] And So then I had a spotlight which is, was behind you for lighting the hair and then a fill in light on this side. And by this time, we'd moved on to two and a quarter square, real film cameras, 12 on 120.

[00:36:22] I hadn't really at that stage got into, back into the industrial scene because I was doing social photography, weddings and portraits, to build up a reserve of capital to move on to buying more advanced equipment.

[00:36:44] And the changes at that time were considerable. 5x4 were on the, on the fringe. At the time that I'm speaking of, German 9x12 plate cameras were still being used for press photography. And there they were, on the touchline at Heddingley, these, the local press photographers, with box of 9x12 single shot plates freezing to death, and um, and that's it, one off shots.

[00:37:26] But I missed the point earlier on, I think, of saying that uh, every shot had to count. And, over the years, that has influenced me considerably, because I've always made sure that everything was right before I took the exposure.

[00:37:48] And whatever the, whatever the occasion was, whether it was an industrial scene or a social scene, you look at the subject before you, to begin with, and then start looking round and see what's happening in the background. Because, if you do that, it saves retouching, and that's an absolute classical instance of today, where people, when Photoshop came, what about so and so?

[00:38:22] Oh, don't bother about that, I'll take it out. I can take it out in Photoshop, and I've heard speakers come to the Institute and talk about, Oh, I do this and do that, and I've said, well, how long does it take you to do that? Oh, well, a couple of hours or so, like that. It could have all been addressed in the taking, and that would have been eliminated.

[00:38:51] And when you talk about 2 or 3 hours retouching, well how much do you charge for, oh well I'll throw it all in.

[00:39:00] And the number of people who I've heard say that, oh well I'll just include it. I think they've got a bit wise to it now because Uh, any extramural activities are chargeable by the hour, and, uh, and it's certainly in need of that, but what I would say to any in, up and coming photographer, they need to sure of what it is that they're taking to avoid having to retouch it afterwards, albeit that in today's terms,

[00:39:40] With the relaxation of dress and disciplines and so forth, Um, I don't think it quite matters. And so, I think as far as today is concerned, I would find it difficult to go back to being a photographer in today's terms. Because, I can sit in a restaurant or in a room, somebody's room or whatever, and I'm looking at the, the vertical lines of the structure to, to see whether that line lines up with that, and it's surprising how often I can see lines that are out, even buildings.

[00:40:27] I could see buildings that, that were not, um, vertical. completely vertical and line up with the I sit there looking at the streets and doors and windows and it's very, it's very difficult to get out of that discipline into the much more free and relaxed attitude towards photography today.

[00:40:56] I don't know whether I, whether you would agree with that or not.

[00:41:00] Sean: Stuart, I would agree with what you're saying and it's like the photographer's eye, your whole life has been trained by your eye viewing scenes and viewing situations and it's quite impossible to turn that off really.

[00:41:10] That's part of you and how you see things, so no, I couldn't agree with you more. So Stuart, tell me, you obviously, the room we're in now was your studio, and you're in here, you're now married, you're doing more social photography, as you said, and obviously starting to make money. Where did the business go from there?

[00:41:29] What was your sort of next stage really? Because I believe you had another studio then in the village, is that correct? 

[00:41:35] Stuart: The children grew up and we were running out of room space,

[00:41:40] So an opportunity came in the main street down the road to take over a building, um, which I was able to use the ground floor and turn it into a studio, a reception studio and darkroom. And, uh, during that time, I was doing, um, mainly social photography, but also, I had got associated with the local newspaper which circulated in this area, and I virtually, without being on the strength, I virtually became the staff photographer for the whole of the circulation area.

[00:42:32] So on a Saturday in the summer, it was not unknown for me to do perhaps 11 cover 11 eventualities such as garden parties, a flower show, etc. and also fit in a complete wedding. So,

[00:43:00] Paul: So, 

[00:43:00] Stuart: so

[00:43:01] my time, my, my mind used to work like a, like

[00:43:07] a clock, uh, a precision clock, because it was, it was timed to the nth degree. Um, what time is the, uh, what time is the wedding? How long will the service be? Where's the reception? And I had a mental, uh, mental, uh, memo of the distance from here to there, and the length of time it takes to get from, from there to there.

[00:43:36] And, as far as the, as the newspaper is concerned, I tried to take a different picture. at each occasion, so that we don't want the same picture of women serving tea, uh, for the WI, the church of this and that and the other. Um, I tried to make a different picture. So that training and experience fitted me in good stead for when the industrial scene tailed off.

[00:44:15] Sean: I've just, uh, I've just, um, picked a photograph up here.

[00:44:18] Stuart's got quite a number of his photographs in the room with us here. It's a very nice PR, press type shot here of Harry Ramsden's Fish and Chips shop, and it's got a very 1980s mobile phone and the world famous in this part of the world, Nora Batty which some of you may know from a famous last of the summer wine tv show and i think this is to do with the flotation of Harry Ramsden because it became quite a successful company didn't it so talk a little bit about this photograph Stuart it's very captivating and i think very very well executed

[00:44:50] Stuart: Well, the story as you've already identified, I'm surprised that you have, because that was when they went public. And, uh, the, story was the Harry Ramsden fish restaurant, which, it was the center of all activities, just on the outskirts of Leeds, and they, as you said, they got Nora Batty there, who was a very leading personality at the time, and, of course, telephones, you can see the size of that, that mobile telephone, which is about the size of a half of a brick. Um, this was the, um, the story. And the essential thing was to locate the seed of the picture with the name of the, the company. across the top of the, the print or the format.

[00:45:46] Sean: And if I could just butt in there Stuart just to say sorry to do this but I think it's important to get this across that I've just picked this image up and the story has come straight across to me. We've got the mobile phone. You've got the Financial Times, which is holding the fish and chips. You've got the sort of banker type chap behind her.

[00:46:02] It just shows the skill that's gone into that picture, that an image is telling that story to me all these years later. Because I presume this photograph is 30 or 40 years old, Stuart. Am I correct there? 

[00:46:12] Stuart: It's quite a long time. And the essential thing about that picture, uh, Sean, is that however much a sub editor chops it down. There was always be something of the story there, because the nearest or the furthest down that they could chop it would be across the top of the bloke's head, but it would still say Harry on the left hand side.

[00:46:42] And, and, that was the, the art of, at that time, of getting the story across for public relations. Include the company's name or the brand in the background somewhere so that it had to be seen and it couldn't be taken out. 

[00:47:03] Paul: I ask you a question? Have you always loved being a

[00:47:06] Stuart: being a photographer? Oh, absolutely. 

[00:47:09] I wouldn't do anything else. Um, had a very enjoyable life in every aspect of it. And I'll tell you one thing about it, and Sean will agree with me on this. Photography, photographers are in a very privileged position, and they don't realize how much so. Because so often, they are in, at the ground floor of activity. A conference, a confidential conference projecting the aims of the company.

[00:47:46] I was in a company when I was in the conference actually, when the whole of the regional bank managers were in a conference at Harrogate, and they were told then, that we were going to dispose of the buildings, our assets, and I photographed several banks which were up for sale and they were simply being sold off. The managers didn't know. What's the photograph for? Oh, it's just for the estate. I knew what they were, why they were selling it. It was going on the market.

[00:48:25] You know all these little convenience grocery shops and so on, on filling stations, I was in the conference there for all the ESSO managers in the region, when the the project was put to them that we're going to put these little kiosks, or whatever it is, and, and, and there I was. Um, and we were privy to information that was light years ahead of the actual official announcement.

[00:48:59] Paul: Yeah.

[00:48:59] Stuart: Metahall, for instance, um, I was in the conference when they were talking about what their footprint was needed to be to make that viable. And there are several instances such as that. And you do get it to a more personal level, where we've got, uh, injuries, personal injuries to photograph.

[00:49:26] Oh well, what about Snow?

[00:49:29] Well,

[00:49:29] And you just can't get involved with passing that or repeating that information.

[00:49:35] Paul: Yeah.

[00:49:36] Stuart: It's confidential. And as I said, photographers are so often right in the heart of things. And I'm sure, Sean, that in today's terms, you'll be more exposed to it than I was with them.

[00:49:51] Sean: Well, very much so Stuart.

[00:49:52] Very much so. Yeah. I mean, it's, I can't tell you how many NDAs I've signed in my career, so, yeah, absolutely. Absolutely. 

[00:50:00] So Stuart, so you've now got the studio, the, the biggest studio now on in the, in the, in the village here. And you're obviously doing your social, your weddings, you're obviously doing a lot of PR.

[00:50:11] Did you start to do, did the industrial photography come back a little bit more as well?

[00:50:15] Stuart: Yes But I was, I was extremely fortunate and the odd thing about it was that the connection came through the, uh, the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board and they were having an open night and the local paper was invited to to cover the, the event. So I went along and took a few photographs of whatever was going on and had a bit of a look around the place and subsequently then I was approached by their, their public relations department for the northeast region. Would I take a photograph of something else? 

[00:51:13] From that stemmed the work, which really became the mainstay of my activities with the Central Electricity Generating Board.

[00:51:26] Again, I wasn't on the staff, but I was vir, virtually became the staff photographer for the Northeast Region. And the amazing thing is that here I was, photographing power stations, the grand openings of power stations, starting with Thorpe Marsh, which was the, down in Doncaster, which had two 400 megawatt sets, which were the f The Forerunner, they Thorpe Marsh was really the testbed for the, um, the 400 megawatt stations which followed.

[00:52:13] And there again, this was being in on the ground floor whenever there was a fault down there or whatever. or a problem, um, I was called in to, to, to take the photographs. 

[00:52:27] Sean: So

[00:52:28] Stuart, would you say that, um, he's very interesting listening to this about how your business built. Would you say that networking was a great part of building your business?

[00:52:37] Stuart: Networking, well they call it networking now, and it's, it's contacts really. And I think, I'm sure that you'll agree that being in the right place at the right time, and that really applies to anything, the theatrical world, et cetera, and, not necessarily knowing the people, the right people, but getting on with them, and being able to mix with people, and behave in a way that people expect you to. So 

[00:53:10] Sean: Would you have any sort of advice or tips for a young photographer or somebodnew breaking into photography and how to. build a business? Have you anything to add there at all? 

[00:53:22] Stuart: I think that in today's terms, it is extremely difficult for photographers. And I'll tell you why, because I think that the opportunities which I just mentioned are remote, probably remote in the extreme. Social photography is something else, and the, the website, and all the various media opportunities, with which I am unfamiliar and have no knowledge of because I've not had the need to do it. But I am aware because I look at what people are doing. And that's another instance of success. Of keeping an eye on what other people are doing. If you admire anybody's particular work, then that sets the example and the criteria to work to. But as far as going back to contact is concerned, I have the distinct impression now that not only photography, but everything now stems from public Relations and I don't know whether you've noticed it or not, but if there's, if there are any problems, on the one hand, of people's behavior or their activities, or whatever it may be, adversely or favorably, and the promotion of brands and industries and business, it all seems to stem now very much from the agencies. 

[00:55:12] If you read question of the so and so company are going to introduce this product or

[00:55:22] service or whatever it is, or they've taken over a business. the

[00:55:27] statements attributed to the managing director or chief executive or accountant or whatever it is, right across the board, a great many of the people that are being quoted, I would suggest, are not capable of speaking and thinking the way that the statement appears in print. And it raises sometimes, a lot of suspicion as to just what is behind this thing. This business with the post office. It's full of it. And so the point that I'm making is that advertising agencies, that's another one, the advertising agencies are in direct contact with the, um, with the brand or the company.

[00:56:24] And so the opportunities of the photographers, in my judgment, are minimized because of the hold. that the advertising agencies have on the job. 

[00:56:43] And 

[00:56:43] they, 

[00:56:45] they will say who they want and who should be employed. They may think them best or otherwise. And it also then comes down to, rights, and I bet you are right in the thick of this, that, uh, you are the, the favorite bloke on the, on the block, and whilst ever that person is engaged in that company, your situation is secure. But suddenly, if he goes to pastures new, and they've already got their established photographers, as far as you're concerned, you've lost that company.

[00:57:28] Sean: Very 

[00:57:28] Stuart: company. 

[00:57:29] Sean: very true. Yeah, yeah. 

[00:57:30] Stuart: Is it true?

[00:57:31] Paul: But there's always opportunities with these things, I mean, in the end, there are more photographs being created today than ever historically, I think you're right about the structures of advertising agencies, though this isn't my world, when someone moves on, there's an opportunity, and there's always the opportunity to stay as well, there is risk, of course there's risk, but equally, you could be the guy he takes with you.

[00:57:54] So how do you make that happen?

[00:57:56] Sean: Well, I think it's very apt because I've had two or three key clients in my career that have moved numerous times, you know, seriously big companies and they've taken me with them, yeah. And not only that, in some cases, they've taken me to their new company. And it's gone well. They've then moved on to another company and taken me with them, but the company they've left still retains me.

[00:58:19] So there's a benefit that way. But I think it's really, I greatly believe in the, in the networking, keeping in touch with people, making an effort at all times. And I think, I know we've got today's digital world and there's lots of advantages to that, but also personal contact I think is still really, really important.

[00:58:38] Relationships and personal contact.

[00:58:40] Stuart: What you are saying is, is correct. And I remember an uncle of mine who was a milkman and, had a, a big dairy, and he once said to my mum, oh, well, it's so and so, he's come again, a rep has come. It's been three times, so really it deserves an order.

[00:59:03] There's a 

[00:59:04] lot 

[00:59:05] Paul: in

[00:59:05] Stuart: a lot in

[00:59:06] truth in that, backs and it backs up what you were just saying, of keeping in contact, and, of course as far as advertising is concerned, or mail shots. the first one they take no notice of and throw away. The second one, oh well, there's another one from this so and so. The third one, it is usually reckoned that the person will be activated by that And so, as you said, keeping in contact is very important.

[00:59:42] But I'm bound to say that breaking in a lot of it is by accident, but certainly the persistence of contact is very important.

[00:59:56] And when you consider, you see, over the years we have thought of Only the Institute, or I have, and I've done, I've put a lot of time and work into it, as other people have, without which we might have been a lot more better off or a lot wealthier than we in fact are.

[01:00:20] Sean: Stuart, did, did, when we say the institute, it's the British Institute Professional Photography we're talking about here. And I, I'm a member too, and that's how I met Stuart through the institute. Through your long career as a photographer, how important did you find the, The Institute and the ability to mix and talk and, and, and work, you know, get information from other photographers, I suppose.

[01:00:41] How important did you find that 

[01:00:44] Stuart: Photographers, um, are, as you know, very, very much individualists. they work a lot on their own, and when you consider that there are probably 7 or 10, 000 practicing photographers in this country, and so few of them belong to anything. 

[01:01:10] It makes you wonder how all those people survive. but, it really comes back to, to, uh, what we were saying earlier, of contact, those people must be in contact with other people.

[01:01:29] Their reputation goes before them, obviously, and when you consider the situation with the Royals, for instance, who, from time to time, have official photographs taken, um, by names that I've never heard of, where you would perhaps expect that they are members of the, this organization, the Royal Photographic Society, as a case in point. Um, these people are not members of them and so how they I'm not talking about the Litchfields, I'm talking about the other people who officially, officially photograph, uh, in recent times, the, um, William and Kate's family, the, their birthday or whatever anniversary it was. So, those people, um, are plowing their own furrow.

[01:02:33] But going back to the the meaning of the institute, whereby people are individual, the opportunity over the past years was for all these individuals to rub shoulders with each other and the networking that went on then. For instance, you go to a meeting and you're chatting away, and a couple of blokes have a common, common interest, uh, uh, or they're equal practitioners, but suddenly, one of them comes up with a problem that he can't answer, and so he's able to phone this guy in Nottingham, or wherever, because he is not in competition down the street. He can't ask the guy down the street how to tackle the question, but the man in Nottingham will willingly bare his soul for you, and keeping in contact with, um, with other people to solve problems where they have them is incredibly useful, in my judgment. 

NOTE: to see the rest of the transcript, head over to https://masteringportraitphotography.com (it exceed the normal limit for podcast texts!)

So what does it take to be successful (at least as a portrait photographer?) In this episode I muse on the key building blocks that every successful photographer I've encountered seems to exhibit, at least to varying degrees!

This episode also features a quick catchup with Andy Blake from Kaleidoscope Framing (https://www.kaleidoscope-framing.co.uk/) who have been our supplier for nearly twenty years.  Why?  Because their products and their customer service are second to none!

The PMI Smoke Ninja Photographic Competition is now in full swing - deadline is 5th May so what's stopping you?  Head over to 

I also mention Datacolor's excellent products in the podcast, in particular the Spyder Cube, the Spyder Checkr Photo and the Spyder Checkr Video - they can be found at  https://www.datacolor.com/spyder/products/ We have used these products for years and years and I would never go on location without them!

If you're interested in any of our workshops or masterclasses, you can find them at https://www.paulwilkinsonphotography.co.uk/photography-workshops-and-training/ 

Enjoy!

Cheers

If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode.

PLEASE also subscribe and leave us a review - we'd love to hear what you think!

If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at [email protected]. 

Transcript

[00:00:00] Hi, I'm Andy I'm the general manager at Kaleidoscope.

[00:00:02] Tell me a little bit about Kaleidoscope. Kaleidoscope. Okay, so we're coming up to our 26th year in business. We are a bespoke picture framer, mainly for the photographic industry, so we basically can make anything you want. So, as long as we can actually build it, we'll do it, it's as simple as that.

[00:00:18] Tell me why you come to the photography show. So we come to Photography Show, uh, mainly to obviously try and drum up more business, new customers, but also see our existing customers and show off our products, ideas, what we can achieve, what we can do, and try and inspire photographers into what they can tell and display their work like.

[00:00:36] Why do you love the photography industry so much? I've always had a passion for photography. I know we've spoke before on your podcast, uh, from a young, young age. Um, don't do as much of it myself anymore. Uh, unfortunately, uh, more involved in this side. But I love photography in terms of what that moment can capture.

[00:00:54] What you can hold that freeze frame, that image for time. Um, and look back at it. And just, you know, it's memories, isn't it? You're capturing memories, you're capturing happy moments, sad moments, uh, important moments, lots of different memories from people's lives at different times, so.

[00:01:09] Uh, if you could change one small thing, or one big thing for that matter about this glorious industry, what would it be?

[00:01:17] That's a tough one. I don't know. I don't know what I'd change. Um, obviously for us, for us as a company, I'd change in terms of trying to encourage people to sell more products. That was what, that's what we would change, uh, in terms of helping us as a business.

[00:01:31] But it's, in terms of the industry? Sorry, on that note, I'll stop you and we'll just drill into that a little bit.

[00:01:38] Do you think that photographers understand the importance and the role that finished artworks, whether it's in albums, which you don't do, or whether it's in a frame, as opposed to the fleeting pixel base like phones, iPads, TV screens, do you think they understand the difference and the importance of it?

[00:01:57] Not everyone, no. I think there's an element where in a day Very digital driven world. Social media and images being on screens, and I think a lot of people don't realize how different an image can look when you put it up on the wall, when you print it big, when you put a mount around it, put a frame around it, put it onto a canvas, laminate it.

[00:02:15] There's so many different options or ways to display that image. I think when you see an image framed up, we. Customers where we print their images and display them here, uh, as you've seen yours, and I'm amazed actually how often people, the first thing they say is, I didn't think it would look that good.

[00:02:30] I never thought it could look that good. And, and it goes to show that actually displaying it large, printing it and putting it onto some paper can make such a difference to seeing it on screen, seeing it on the back of the camera, whatever it may be. So, and by extension, I've got a few clients that say they put their, these frames like in a.

[00:02:44] Position of prominence, not necessarily visibility, but somewhere they'll see it every day, like the top of the stairs, or somewhere they, you know, walk through a hallway or something, and they enjoy that moment, they relive those memories every single time they look at a frame, and that's something I think digital products don't do, they're much more fleeting.

[00:03:02] No, I'd completely agree with that. We moved into our new house in December, and I'm still trying to get frames on the wall, and it's the one thing I'm missing. In our old house, we had lots of frames. Of lots of small frames with lots of captured memories and, and I used to love it walking past the stairs and you'd see 25 frames on the wall, lots of different things.

[00:03:17] And now it, we don't at the moment. So that's, I'm driving for that because it does, it, it, it brings back that, that memory, that spark, that emotion from that moment.

[00:03:25] Thank you very much, Andy. I'll talk to you soon. Thank you.

[00:03:28] Honestly, it's one of the greatest things about being a part of this industry is the people I've met along the way. And Andy. He's definitely one of them.

[00:03:35] I'm Paul, and this is the mastering portrait photography podcast.

[00:03:40] So I've been in London this afternoon, we've had such a chaotic few weeks. It's nine o'clock at night. Actually it's half past nine at night. And I'm sitting on my own in the studio with just the whirring of the heating. And a couple of disc drives, chattering weight in the background. And if I'm honest, I've just found myself asleep at my desk because finally I've managed to get myself back into the habit of doing some exercise.

[00:04:19] And so when we got back from London tonight, I hopped onto the Peleton and did an hour, but all it's actually happened is I'm just exhausted because it really has been a few weeks and it must have been because I haven't recorded any podcasts and that's in spite of me, not just promising. I suppose all of my listeners, but promising myself. I would do more and I do them shorter, but actually the reality is finding the space, not just the time I suppose, but the headspace to sit and do a podcast. Well, it's just alluded me a little bit.

[00:04:55] So it's me. I'm on my own. A little bit of peace and quiet and I think at the moment, Things are a little bit like playing Mario carts. I love Mario karts. Cause once you get to know the course, you get to know where you're headed, what's coming up, what you've got to do. But in spite of that, well, usually my family, uh, throwing stuff at me, banana skins Inc.

[00:05:18] Shrink me. You name it?

[00:05:20] Um, but then there's also those boosts where you get that little bit of extra energy and off you go, and I think running a photography studio. Is a little bit light that. It's kind of crazy. It's full on. You're running at a hundred miles an hour. Things are thrown at you that in spite of the fact you think, you know where you're going and what's coming up next. Well, life doesn't work that way.

[00:05:41] So what's happened over the past. What's it been? Three and a half weeks, I think since I released a podcast. Uh, in that time we've done nine client reveals, which has been a really nice, hugely successful, which is lovely. Uh, we've done 15 portrait sessions, which means there's a whole load of reveals coming up. Um, we've judged the monthly for the BIPP, which is something I absolutely adore doing. Um, I'm chair of the judges. Uh, chair of awards and qualifications for the BIPP.

[00:06:10] So I'm not strictly speaking. Judging. So I get to be a part of the process and I really enjoy that. Uh, cause it takes a little bit the pressure off Sarah and I coordinate it. And bring it all together and make sure everything's running smoothly and keep an eye on the scores. But in the end, the pressure's not on me to analyze all of these images.

[00:06:28] Having said that though. Uh, over the past couple of days, I've been judging for the Photographic Society of America. Uh, which is a blast as he seeing some work from around the world. Uh, the BIPP though it is an international organization is predominantly a UK photographers, but the photographic society of America is exactly the opposite of that.

[00:06:47] In fact, I'm not sure how many UK guys. are in it. And so to see work from all over the world. And he's just a real pleasure. Um, Don two shoots for the Hearing Dogs, including photographing, uh, Chris Packham. TV presenter and natural history sort of buff. I suppose it was a wonderful thing, actually.

[00:07:09] I didn't know quite how I'd find him, cause it's never, you're never certain when you meet people, who've been on TV. Uh, quite what they're going to be like. And he's quite outspoken about various things, but he could not have been a nicer guy. And at the end of all of the shooting, we sat in a park and had a quick, it was a Coke. I say it was, it was a pub, but we had a diet Coke at a hot chocolate.

[00:07:31] And do you know what. There was a window. There was a window in exactly the way I describe how to set up light in the studio is it was, it could not have been more like a one meter square softbox and so I persuaded him to sit and we had a chat about photography and production and all sorts of things. Uh, and I took a couple of portraits of him using window light in a pub.

[00:07:55] Exactly as I describe how I learned today. So that was lovely.

[00:07:59] Uh, we've done five wedding pitches so far I've lost one, but one, all of the others, which I think is pretty good going. What's that 80% I'll live with 80%. The one that I lost was one that. You know, when you get a pitch. And your instinct is always to want to win.

[00:08:16] That's just inbuilt. But it was a job I couldn't figure out. Whether it was going to be tricky. And I'm not going to say more about it than that because I don't, I, you know, I don't want those prospective clients, if they happen to listen, to the podcast. You know, obviously they've decided to use somebody else or to go somewhere cheaper.

[00:08:36] Actually, I was too expensive. The price we put in was too much. Um, and they were lovely people. Absolutely brilliant. And I would have loved working with them. But the job was such that it would have meant cancelling, some other bits to do it. A couple of, um, Extended stays and a few of the bits and pieces.

[00:08:53] And I think in the end, I though I lost it. And of course you never, ever, ever. I want to lose work, my suspicion is the time that it would have taken. We'll drop a couple of portraits shoots in there. We'll stand, you know, we'll, we'll learn about the same kind of revenue for probably a lot less work in the end.

[00:09:11] So hello, 80%. So I've lost one, one for. Uh, I'm going to live with that. That's pretty good.

[00:09:17] Ah, I've almost, almost completely finished, ripping out. I say a ripping out. It makes it sound like a gutted, the place. Uh, reorganizing the studio. Uh, for the Elinchrom kit that we now have, because of course, I've got to take out all of the existing adapters. Change out all of the, um, any of the sort of third party kits.

[00:09:38] So we've sold all of the Profoto equipment back to, uh, the Pro Center in London. Got a good price rate. So that's makes me very happy. Sarah drove that into London and deliver that safely to those guys. So thank you to them. Ashley for having a brilliant service. They took it in on a Friday morning, checked it all over. Uh, and paid us on Friday afternoon. Um, which was really useful.

[00:09:57] I sold it as a job lot in the end. Because it was easier rather than trying to split it up. A few people had shown interest in bits and pieces. But, you know, it's just, sometimes it's just easy. I took a slightly lower price. And offset that against the fact it was an awful lot less. Uh, an awful lot less worry and effort on our part.

[00:10:18] So Sarah drove that in, but of course I've got a ton of adapters. Softboxes kit that is sort of, I dunno, got ox or aperture, different manufacturers that were all based around Profoto in of course now I've got to change all of that over, put new adapters on. So that, um, I can use the as the light source.

[00:10:38] And on top of that, all of the charges are very different. All USB C, and they're great. I wasn't certain how I was going to react to having. USB C charges everywhere. Uh, but I bought a couple of very long cables. for them and, they're 60watt. I mean, they're pretty meaty these things. I'm going to have to remember not to leave them plugged in.

[00:10:56] Cause I don't know quite, I got to get a measurement on them because I don't know if they're left, plugged in whether they're still generating or absorbing that kind of power because they're digital transformers. So they must be absorbing some power. But they're great. And you can run the lights off them continuously, or you can unplug them.

[00:11:13] And of course their batteries. Uh, but more on the, on the telecom side in a bit. Uh, another thing that happened is that a friend of ours, who's a wine collector. Everyone should have a wine collector as a friend. I delivered on, uh, where was it? Beginning of the week. Must have been Saturday. He delivered six more. Of the wine crates, the wooden wine boxes that he gets his really valuable, very beautiful wine delivered in, and they are amazing for storage, but also great as props. So, um, that was really, really nice. To see him and also to get these crates.

[00:11:47] So it's helped me organize. Uh, stuff in the studio. Uh, also, I, I saw some video there's some behind the scenes footage of one of our workshops. And there's a pan around and it's brilliant. It's vibrant and it's fun. But I looked at just the ount of stuff we've got in the studio. And made the decision there and then that we needed to get some of it out of there.

[00:12:08] So I've been redistributing things that don't get used quite so often as other things that then are scattered around the studio, probably never to be found again, I'll be scratching my head one day thinking now where's that particular softbox well, that particular modifier where's the beauty dish con the things that I don't use very much. Where are they? Uh, and I've got to go on a hunt in the attic. Uh, to find them. Uh, what else?

[00:12:31] We've written three or I've written three magazine articles, one for NPhoto magazine. One for Digital Photographer, magazine, Digital Photography. Uh, magazine and one for Professional Photo magazine says three in one week. I had to turn. That was quite lively. A lot of writing, a lot of scratching my head about the different things. Eh, love writing.

[00:12:52] I'm loving, writing more and more and more. I've surprised myself. I think I've certainly, I would surprise, surprise my English teacher. If only he knew the effect that ultimately many, many years. Uh, down the line, he had had a lot of fun that, so please do look those guys up that's NPhoto, which is the unofficial Nick on magazine. Uh, that's also assay, technically I've written four. I'm just thinking I've also written a piece on print and its place in this ever. Digital and file based industry and why actually a lot of us still use it. Uh, that article. Is part of a whole debate in the BIPP magazine, in The Photographer. Uh, magazine, but look up Professional Photo it's online look, up NPHoto, and also an article isn't out yet, which is about the bit I've looked after is about switching digital backgrounds. Uh, in Digital Photography magazine.

[00:13:46] We've had two one-on-one coaching sessions or master classes, which is always a blast because you get to spend the entire day just figuring out stuff with one person, a couple of models on each different things, whether it's off-camera flash or whether it's dedicated to daylight or both.

[00:14:03] Of course, when it's only one person. You can do whatever you want.

[00:14:06] Uh, we ran one of our workshops in Oxford, which is the, uh, walking around the streets, looking for interesting places to photograph workshop. I said a name for it. Uh, streets. It's not really, I don't like calling it street photography because street photography is a thing.

[00:14:21] And it's not that it's finding places, finding light, figuring out how to create imagery and how to invent shots when all you've got is the space you're in the face in front of you and the camera in your hands. And I love working like that. In fact, today I sit to sound away in, so on the way in for the shoot I'm doing that, I was doing some headshots for a Harley Street, um, clinician.

[00:14:43] She's a psychologist in London. And I was doing some headshots in Harley street. And so Sarah and I packed up. Uh, the two, two of the Elinchrom lights into the rucksacks, couple of, uh, small, soft boxes. Camera gear. A couple of stands in case he wanted a white background and plowed our way into London.

[00:15:02] And I was laughing with Sarah as we hold this stuff. Through the station and into a cab. Is I lay you a bet. We don't use any of it. I'm just going to use one camera and a big grin. And that is it. And sure enough that's exactly what happened. So in spite of me taking all of this kit in all we did was just have an absolute blast with one person laughing our way through it. Taking pictures I'm using daylight is in the light for the windows in her Harley street, uh, consulting room. Out in the street itself. Uh, on the steps and things like that.

[00:15:36] And it was just brilliant. And that's exactly what the, the workshop in Oxford was about. It's about where, when you find yourself and who you find yourself there with, what do you do?

[00:15:45] Uh, another thing I've done this past couple of weeks is had a presentation to the Village. Uh, Society.

[00:15:51] Yes, Hunnam has a Village Society. You couldn't make this stuff up. It's like Midsummer murders is brilliant. A room full of, uh, retirees, mostly one or two of my clients as well. That's quite a few of my clients were in there. Uh, all sorts of people came. A busy room in our local library. And on top of that, my mum came now, my mum is a legend. Uh, she's an absolute power of nature is my mother. Uh, but it's the first time I've done one of these presentations or with my mum in the room.

[00:16:21] I'm not going to tell you the whole story, but there is one bit of it where I show a photograph of my mom and dad actually. And it's a photograph that Dorling Kindersley wanted to use and they wanted to use it on a book called Sex And The Older Couple. Uh, of course I never, ever, ever. Let them. That, that image was never going anywhere near, uh, the cover of a book.

[00:16:43] Uh, but it's the first time I think my mum has ever seen me do that routine. And it's, it's really, uh, it's just me laughing about photography and imagery in telling stories. And it's just one of those stories. And of course, it's my mum and dad who I think the world of, and they're the people that gave me. Well, they gave me everything. And so much of the confidence, I guess. And the drive to do something. Whatever it is in life to do it and do it well. Comes to my mum and dad's having a moment.

[00:17:09] The audience was a real privilege. Uh, because she now lives here in the village with us, but it is a little bit weird. I'm doing a presentation that I've done over and over and over it though, at least that particular story over and over and over. Uh, my mom's in the audience. She didn't look too surprised. Uh, I don't know.

[00:17:26] I don't know how she felt about that. Particularly. It's a shot of course of my dad who died 10 years ago. Um, this year. Uh, we've also, uh, we're working with a couple of people. We filmed a new video.

[00:17:37] So we're working hard on creating new content for mastering portrait photography, not just the podcast. But the training materials and the videos. And so we've spiked that we've gotten, we're getting some more people involved. We filmed one new video. We had to took two filming days to do it. Absolutely exhausted. I was so tired at the end of it.

[00:17:57] Maybe that's why I've just found myself asleep at the desk. Um, and we started to work on our social media and all sorts of other bits and pieces. Just trying to get on to get things out there. Uh, it's hard when your primary objective, you know, if you've ever seen Little Shop Of Horrors and there's the, there's the, what's the, I dunno what it's called, but it's the, it's the monster plant. And he says, feed me, Seymour, feed me now. And they were running a photography business is exactly like that.

[00:18:29] We have one client. And that's the bank account because you have to keep running. It doesn't matter how many other things you have in the pipeline. Or things you want to do or ideas you'd like to explore or portfolio images you'd like to retouch in the end is a huge, great plant. Just going feed me Seymour, feed me now. I was laughing with Sarah today. Everything we do in, you know, all we have to have is one phone call that says, can I get five days of paid work from you?

[00:18:56] And you drop everything and go do it because you have to. And that's the reality of this kind of business. You don't turn down work or at least, I mean, maybe that maybe some of you who are listening are in a privileged position. Where you can and you do. I'm not in that position. When work comes in, we take it.

[00:19:13] We do a good job of it. And we get it back out to the client and then we sit and go, right? Where was I? Here I am recording that podcast. Uh, what's the Dune Part II actually with our daughter. I don't know if anyone's seen it is brilliant. I've no idea what was going on. It was excellent. He was. An absolute mystery to me.

[00:19:33] Um, over the past week, couple of weeks I'd spent watching. Uh, Dune part one. Uh, trying to understand, because of course I never watch a film properly. I sit with a film on my second or third monitor on my iPad while I'm retouching or writing for a magazine or something. It's in the background. It burbles in a background.

[00:19:52] So usually I can't watch anything with too much of a plot. Uh, but Dune part one, well, I kind of passed by, it was really pretty. I think I understood some of it. There appear to be some telekinesis kind of stuff and some mind reading, he kind of stuff. Lots of sand. Uh, and then I went to the cinema to watch Dune part two.

[00:20:12] Now, what I will say is it's worth the watch. Brilliant. Big screen. Theater 7.1, Lucas, whatever THX, whatever it is, sound. Huge bucket of popcorn. A large thing of diet Pepsi and on top of everything else. Uh, class a beer. And then I realize after about two hours, That I've got another three quarters of an hour to go because it's a long film and I've got the bladder. Of a 55 year old bloke because that's how old I am. This, all of this came to a bit of a head. Now I stayed put in my seat, but honestly, by the time we got to the end of the movie, I was sweating. I was sweating beyond sweating as the first pixel of the first credit. Appeared at the bottom of the screen. I made a run for it.

[00:20:59] Well, I'll tell you what I was still peeing. When pretty much the cinema was closing. People came and went. I think people got married, had children celebrated anniversaries in the time. I was like that scene. I've Austin Powers. I've never been so pleased to get inside the gents. So I'm sorry if that's a bit lewd, but you know what I mean? Uh, when you're in that sort of, oh my God, I've got to go now. Uh, but it was brilliant. The film, at least the first three quarters of it. I paid a lot of attention to, I think I was getting a little bit distracted by the end. There's a lesson, a beautiful people. If, if you're going to watch a really long film, Don't drink too much. Anyway, it was great. Uh, now what I need to do is watch Dune part one again. In the context of having seen what happens now, I'm that guy anyway, a very often, if a film is or a series or. Uh, you know, a box set or something is stressful. Drama. You know, tension, those kinds of things. I will hop onto, uh, something like, uh, I MDB or Wiki and do a plot spoiler because I don't need to stress.

[00:22:01] I do the same with books. If I'm watching, if I'm reading a book that I think is a bit stressy. Then I'll go to the back couple of pages and read them, just went out what happens and then I can enjoy the plot knowing what's coming. Don't ask. I just don't like the stress. I don't need it in my life.

[00:22:14] I have enough stress in my life. I'm a photographer. Life is stressful enough. Without me adding extra stress by watching something that, uh, I don't know what the ending is going to be.

[00:22:26] All right.

[00:22:26] Uh, in the middle of all of this, this is a message from our sponsors. Well, not really sponsors. I'm not paid, by anybody, but I have had a few things sent my way to review and have some fun with, uh, and the first of those is the Smoke Ninja.

[00:22:41] So this has come from PMI company called PMI. I will put the links to all of this in the show notes, but PMI very kindly sent me a piece of kit I'd already bought from them on the CA. On the Kickstarter. Campaign it's the Smoke Ninja, which is a tiny EDBD. You can't believe how much stuff comes out of it. Fogger.

[00:23:00] It's absolutely incredible. So this thing we've had this for a while, talked about it before, but I've, uh, I now have two of them. Excellent. Great fun. But it's all to do with a competition they're running and I'll give you the URL now. So it's, if you go to PMI smokeninja dash portrait dash contest.

[00:23:22] So. HTTPS colon slash slash usual stuff. P M I gear all one word.com/pages/smoke. Ninja will one word. Hyphen portrait hyphen contest. Now they have a contest and I'm just bringing it up now on my screens. And there's $10,000. They say total prize pool. There's a prize for the best solar portrait. There's a prize for the best wedding portrait.

[00:23:47] There's a prize for the best family portrait. There's a most creative award and there's the most viral award. Everything has to be done. Uh, or rather everything, everything you do for the competition has to use either the Smoke Ninja or its bigger brother. The Smoke Genie. Uh, you have to do some behind the scenes footage of it.

[00:24:06] Send up your final picture and the behind the scenes footage to prove you were actually using their equipment to do it. I think as well as it giving some social media content, you have to put, you have to upload it to there. Their portal, as well as putting it on your own social media feeds. So it's a great competition and the prize is absolutely stunning.

[00:24:26] Uh, each prize has $500, $500 us dollars. Um, The cash, uh, but also has, uh, some stuff from, I don't know how to pronounce this is Yoon. Um, some stuff from Small rig and you also get the smoke genie pro kit. If you're a prize winner.

[00:24:45] And the smoke genie. Uh, is like, oh, I miss the Smoke Ninja, but on steroids. Now we've been having a blast with the Smoke Ninja recently.

[00:24:54] It's a really good bit of kit. The only thing we've had to learn how to do here is to disable all of the smoke sensors. So that's actually been a little bit of a head scratch. Is figuring out how to turn off the smoke detectors in the studio before we use it. Because the last thing I need is the fire brigade turning up to find me sort of with a family or a teenager, flinging smoke around and laughing my head off.

[00:25:15] Uh, I'm not sure that we'll go down that well. Uh, but that's the, the competition and I in return for them sending me, uh, the Smoke Ninja. I've also got to enter the competition as well, but if you fancy it, so it's PMI gear.com/pages/smoke, ninja portrait contest. And I'll put that. Uh, in the show notes that, so it's worth a worth a look.

[00:25:37] And I can honestly hand on heart say that the PMI. Uh, Smoke Ninja is well, it's just, I would call it the smoke Genius, not the smoke Genie or the Smoke Ninja

[00:25:47] . I think the thing is absolutely fab. And even the other day, when we were filming the video we've created is actually I ran the fogger as a hazer.

[00:25:56] So just so I had a little bit of haze in the air so that when we put the lighting across the studio for all of the pieces to camera, it just adds atmosphere. Uh, it picks out little bits of light and it just softens those backgrounds. It's. It's it's only when you start watching how a film. Directors and directors of photography and lighting engineers use this stuff.

[00:26:16] You kind of think, oh, okay. That's something that's entirely applicable. In our world to photographic stills, photographic world too. So. Head over to them. Have a look at that competition. If you're interested. Uh, you might just, you might just find some inspiration for some angles on photography. Maybe you haven't thought about.

[00:26:32] Uh, the next one is Datacolor also is it's been a couple of weeks of stuff arriving.

[00:26:38] I think I mentioned this in the previous podcast, but Datacolor sent us the Spyder Checkr, the spider, sorry, the Spyder Checkr Photo, the Spyder Checkr Video and also. Uh, thing of genius, the Spyder Cube. Now this is one of those gadgets. So. The color check is I've used a Datacolor. Spyder Checkr Photo or the older version of that. For probably, I don't know, six years, seven years, maybe even longer at the beginning of every one of the shoots off site, because obviously once you've set it up for your studio, I don't need to recalibrate this.

[00:27:10] I've changed the lens or a camera on my lighting, which of course I'm doing right now. I don't need to recalibrate, but every time I go out into location, We take a safe shot with the Spyder Checkr Photo as it is now called. And I'd be doing that for a very long time, so that I've always got a reference point for my white balance and for my color. So the color spectrum under the lighting that we're using. well the Spyder cube is sort of the next level genius.

[00:27:36] It gives you not just your white point and black point. There's a hole in it. What. Uh, brilliant idea. There's a hole in it with no lights you get. So that should be exactly the same darkness is the nostrils. It's just dark. Uh, but it's also got white and gray and a mirroball on the top or a little Chrome. Uh, marble, it looks like a little Chrome sphere. And that, of course, if you were lighting, it gives you your white point because it shows you your specular highlight.

[00:28:00] The thing is great. It's absolutely brilliant. And of course, as we've just done right now, we are, re-engineering all of our lighting. So I now have from Elinchrom, four Fives and two Threes, and I am loving it, but not just because the light that these, these bad boys are giving is stunning. But on top of that, we've used the Datacolor Spyder Checkr Photo to calibrate all of the new gear in our studio.

[00:28:27] So have profiles in Light Room for the new Allyn crumbs. And although it gives you a very flat finish, which is not my look. It gives you a very, very accurate starting point. So I just thought I'd put that in there. So thanks to Datacolor for sending me that kit. Um, if you have the opportunity head over to that Datacolor with no 'u', by the way, it's a American English, or I suppose these days international English. Uh, as opposed to the British or English, English, C O L O U R.

[00:28:54] It's not that it's da as you, but I'm sure you know, it C O L O R a Datacolor. It's worth going to have a look. The thing's not that expensive. It's less than a hundred pounds. It's only about 40 quid for the spider cube. Uh, and then the spider checker photo inspire the checker video. We're all in that sort of 90 quit. Mark, I think anyway, it's very kind to them to send it over and, uh, I will put out some, uh, befores and afters on some of our feeds as to just how good it is.

[00:29:20] And of course, having had. All of the new Elinchrom lighting and the Elinchrom theme is going to run for weeks. So we'll leave that. I won't talk any more about that on this particular episode, but rest assured the four Fives and two Threes. I am having a blast. It's so nice. To have stunning light back in the studio.

[00:29:40] Absolutely loving it

[00:29:42]

[00:29:42] anyway, onto today's little, sort of the actual bit, the rest of it. I'll tell you what the diary of a working pro is getting bigger. Uh, um, I need to fix that. I need to do something about that, but at the moment, it's just because the episodes are so far apart, a lot has happened since the last one. So this, the theme of this particular episode, and I was puzzling over this. Uh, or rather what triggered it was a series of conversations and the reviews from our Oxford. Workshop and I kinda been chewing on what is it that makes a successful. Photography business.

[00:30:23] What is it? What really is it I'm still working on? I don't have an answer. I doubt there is an answer. But what I have observed is there are building blocks. You need. And sort of you stack them up. I think. And on the top of it is you as a S as a successful photographer or a successful. Photography business, but you build it on certain pillars. And the four I've kind of identified, and this is based on S on feedback and it's based on observations. That I've made as well. You need, I think the following four things. At the very least you need the following four things.

[00:31:04] Anyway, you need energy. Optimism enthusiasm. And confidence. Now you'll notice in there. I haven't said camera craft or. And I for an image or I dunno, technical knowledge, or I, I've not said any of those things, you do need those things. By the way, it's not that you don't. But underneath that. To learn to be able to absorb ideas, to be able to push through. The fear and doubt that is inevitably part of this world.

[00:31:35] You need energy, optimism, enthusiasm, and confidence. And these are things. That I'm very blessed. To have I'm lucky in that my parents gave me those things and on the whole I've normally got, I'm going to say I've normally got three of the four. It's any one moment. There are days when I have no energy, but I'll be optimistic that I'm going to get it, get it there the other day.

[00:31:56] There'll be other days whenever turn of energy, but it's being in channeled entirely in pessimism. Um, there are days when I'm not enthusiastic, but it doesn't stop me thinking tomorrow will be better. And there are days when I'm, I have no confidence at all. But I'm still energetic and optimistic and enthusiastic about I, what about what I do now?

[00:32:16] I could probably do a podcast on each of those things. And maybe in the future, I will maybe I'll interview. Some photographers and talk about these various aspects, but why, why have I brought those out when I could have said. You need to understand cropping. You need to understand your color wheel.

[00:32:34] You need to understand how to process digital images. You need to understand how to use your camera when all of these things are undoubtedly. True. But if you don't have the energy and if you don't have the opt or more importantly than enthusiasm, I think you'll never get around to learning those skills.

[00:32:52] They just will never arrive.

[00:32:54] Before you even start. You have to have energy, optimism, enthusiasm, and confidence. They are the building blocks. They're the attitudes. Maybe that's what I should have called to maybe attitudes there, what you need. I think. And I've never met. Uh, top flight photographer, successful photographer. Now by top flight, I don't necessarily mean award-winning images.

[00:33:16] I mean, people who've been successful in the industry. Some photographers are successful because their business just. Fly. Some people are successful because they are amazing on stage. Some people are successful because they images. Or well, simply glorious. There are lots of reasons why a photographer may or may not. Be successful.

[00:33:37] So when I say a top flight photographer, I mean, someone who's known for some aspects, some skill, some quality. In industry and every single one of them that I've ever met. Shows energy, optimism, enthusiasm, and confidence.

[00:33:53] So let's have a think about what each of these. Uh, attitudes sort of are. So energy and having energy doesn't mean you're bolshy or pushy, or like a bull in a China shop. It doesn't mean that it just means. That, when it comes down to it, when you pick up the camera, there's something about what you're doing. That drives you, that keeps you going because there are going to be days when you really aren't feeling it. And it's your energy. That you need to draw on.

[00:34:22] Now for me, I'm kind of lucky. In the, when the client walks into the room, they give me the energy that I need. Somehow, no matter how flat I am, how tired I am, how fed up. I am sometimes. When the client appears, they give me energy. That energy drives everything. Sometimes I'll be honest.

[00:34:43] My own insecurity gives me. Energy when I'm having one of those days and I'm not feeling it. I don't often get to the point where I'm like, you know what, I'm done it, it does happen. People have to talk me out of it.

[00:34:56] But sometimes my own insecurity is all of the energy I need. But always when a client walks in, that triggers something in me and off I go.

[00:35:06] Optimism. Optimism is I suppose an odd one. I'm not sure I've ever seen anyone else write down optimism. Um, certainly in the reviews, no one's ever said optimism is not a word.

[00:35:16] I think the associate. With any of these conversations normally, but here's why. Here's why I use the word and I don't mean in optimism. I don't mean unrealistic. So I don't mean that you late. I don't know. You think you're going to always make a silk purse out of a sow's ear? To use the expression. I just mean. It's that thing of, well, let's give it a go.

[00:35:42] What's the worst that can happen. You know, I'm a photographer, not a brain surgeon. So the worst damage I can do is to take a crappy picture. That's essentially it. Now, if you're doing a wedding, okay. That's a little bit more pressure, but if I go, if I get it wrong, I'm going to make someone look fatter or older. Or thinner or. I don't know, less attractive than they think they should be. Those basically are the limits of the damage I can do with a camera.

[00:36:10] Let's say drop it on someone. I suppose I could drop the camera from a great height and it would cause damage. Um, so having optimism is almost baked in why wouldn't I have optimism? Let's take a picture and see what it looks like. But I have met a lot of photographers who don't exhibit that they're nervous of trying things that. They think might fail and I think it will make. They think it will diminish. They're standing in front of their client, whereas I'm, I think the other way round. Is that I think the client loves it when we try things.

[00:36:42] And I'm very open about stuff I will say to the client, look, I don't know if this is going to work, but you know, let's give it a go. And if it does work, I'm going to show you, I'm going to. Claim credit for it, and I'm going to enter it into awards. If it doesn't work, you're never ever going to see the image.

[00:36:58] And that's basically it. Um, optimism is about the idea that you can. And that today, what do you know what I will. Uh, enthusiasm, enthusiasm runs through me most of the time. And it's a, it's a derivative of energy. Rarely, I suppose I could have fused. Those two words, but I think you can be enthusiastic without being energetic and vice versa. He can be energetic in your pessimism if you want to be.

[00:37:24] So enthusiasm has a real place for me and enthusiasm. I found when I'm in, in the company of a photographer who is enthusiastic about what they do, who is full of positivity about what they do. It's it's captivating and you kind of get drawn along on that ride. Now I don't mean naivety. I don't mean. That. You're enthusiastic to the degree that we can know what could happen.

[00:37:51] I'm not saying that. Similarly with optimism, you know? I'm just saying that if you're enthusiastic about what you're, what you do it carries now, does that mean all of your pictures have to be happy, bubbly pictures, new, not at all. But it's much easier to take enigmatic, gentle, moody pictures. When you're being enthusiastic about it than when you're not trust me on that. Uh, so enthusiasm is what it is.

[00:38:16] And I think I've every successful photographer I've ever met is enthusiastic about what they do now. Occasionally you time it and you talk to them and they're like, they're not being very enthusiastic or optimistic for that matter. But on the whole, you feel that they would be the rest of the time.

[00:38:32] And then there's confidence. And now confidence does not mean. Arrogance.

[00:38:37] And it certainly doesn't mean. That I don't have, or the photographers I've met don't have insecurities or imposter syndrome or all of those words they do. They really do. But something in them. Says that it's going to be all right again. Allied to optimism, having the confidence to say, I know what I'm doing. To ground yourself with the camera in front of your client and say, it's fine.

[00:39:04] I know what I'm doing. And I know I can do this. Or having the confidence to take. Feedback critical or otherwise to take. feedback from your peer group or from your client. It takes confidence and it takes. To an extent, a thick skin. I think I might've missed an attribute. I think sensitivity might be an attribute that I should add to this.

[00:39:26] Let me think about that. I'll come back to you on that. one, but having the confidence. To say, yeah, I can learn that. Or having the confidence to take. Feedback in a way. That you turn it into a forward facing energy. Oh on the Peleton tonight. Honestly, I have done an hours exercise. That's like nearly a thousand calories burned, which is why. He likes snoring.

[00:39:48] I've lit. Honestly, I'm not kidding. I woke up at my desk. Uh, with the microphone over my head. Uh, waiting to record. Um, and that's because I've done an hour and it's been a long week. I submitted an article last night, or this morning at three o'clock in the morning. I submitted one of the articles much as I love writing.

[00:40:04] Uh, sometimes the inspiration doesn't come until the wee small hours. As my Scott's friends. Uh, I would say, um, anyway, during the exercise class. That was on tonight.

[00:40:16] One of the instructors said, there's this thing called? Yes. And now I've never heard of this as a thing before. Yes. And not. Yes, but, or no, but, or no. Yes. And. And that's having a confidence to take feedback in a positive way and move forwards with it. There's a scale in and of itself giving everyone knows that giving feedback in a positive way. Is a skill, but I don't know how many people think that. Taking feedback is a skill.

[00:40:49] It's a practiced. Skill to know how to take feedback and. Extract or distill what's useful. Actually is a lot of confidence. And I come back to the same thing. Don't get me wrong. Of course there are days when I'm absolutely terrified. There are days. When I can't feel it, there are days when my confidence is not for whatever reason, you know, it, I'm not at all saying you disassociate. From your normal character.

[00:41:20] And my normal character is I'm very, very confident in what I do. And I'm confident in my ability to learn stuff. I'm a quick learn. I can certainly do that. And I'm very good at the yes. And. But it doesn't change the insecurity. When you show an image and somebody doesn't like it, there's still that burning sensation. That you get when somebody points out something

[00:41:44] , if you go to any art gallery, any and have a look at people, enjoying the pictures. Isn't it curious how some people will head towards one artist and others will head towards another artist. But they don't always like the same artists. And that's similar to photographers and feedback. So having the confidence to give feedback and take feedback is a thing.

[00:42:06] Having the confidence to stand in front of a client and say, Genoa, I can take this picture. Don't worry. You're fine. Giving confidence to your client through those actions. Well, that's the thing I think. So these are your building blocks.

[00:42:20] You've got energy. Optimism, enthusiasm and confidence. And I also think. You have sensitivity in there. You're going to have to leave that one with me. I thought of that while I was talking. Why does that happen? Why is it just as I think I've got my podcast nailed. I've got my things I want to talk about. During the actual recording.

[00:42:38] I think of one item thought about. I think sensitivity might well be in there. If it is, I'll bring that up in another. Another podcast because having empathy and sympathy, when you're a portrait photographer, I don't know if that matters when you're out there doing landscaping, but this is the mastering portrait photography podcast.

[00:42:56] And so I guess that's, pertinent.

[00:43:00] So you need those things

[00:43:02] . Of course, you also need practice. You need perseverance and hard work. You need creativity and your craft. They don't go away. But in my experience, Those things are built. . On your energy, your optimism, your enthusiasm, and your confidence without those. You'll do no work. You won't have what it takes to pick up your camera and develop and push forwards and change and evolve. And that's another thing, , having those four things.

[00:43:31] I'm going to go back to the four. I think. Having those four things gives you what you need to be adaptable and pliable. It gives you what you need to develop and change. And trust me in this world. Particularly now AI has arrived on the scene. You're going to have to adapt and evolve to be competitive in this market.

[00:43:51] Not just as a business. But visually too, because what's out there in terms of the visual arts is changing at a pace. We have never experienced. It's changing at a pace. When I did my PhD in AI 25 years ago, nearly 30 years ago. That could not have envisaged where we were going to end up. We talked about this stuff back then as a fantasy and here it is. You know, type a few key words into half a dozen of the different image generators. And just see what comes back,

[00:44:22] but on that happy note, On that happiness.

[00:44:24] I hope that's. I. I'm quite curious about this episode. I hope that's useful. I might write this one up as a, an actual article kind of thing. Uh, thank you for listening. To the end. Um, please do go across to PMI Gear. To Datacolor and to Elinchrom, all excellence suppliers of the stuff we use here at our studio. Uh, we stuff I use with enthusiasm, energy, optimism, and confidence. Now, it just sounds really corny.

[00:44:50] I'm so sorry. Uh, but please do go ahead and look up the competition. Uh, it's a really cool one. I will be entering mostly because it gives me a chance. We've got someone coming in on Sunday. Uh, to, uh, create some, uh, very fogged work. Can't wait for that, but thank you for listening to the end of this podcast.

[00:45:09] If you've enjoyed it, please do subscribe wherever it is. That, uh, you consume your podcasts. Thank you to the people that left us reviews last week. That's been quite a few. It's been really rather lovely. Um, if you do feel like leaving us a review, please, do we read them all wherever we can find them?

[00:45:24] The most obvious place of course is iTunes. I represents about 60% of the world listening to podcasts at the moment. I believe anyway. Uh, so please leave us a review and a rating up there. If it's a review where you think I should change things, uh, then please do email me. Don't write that in a review.

[00:45:42] Nobody wants to read that. No matter how confident I am, it stops me being optimistic. Uh, so please do email me. It's Paul at paulwilkinsonphotography.co.uk dot co.uk. That's Paul. Uh, Paul Wilkinson photography.co.uk. Uh, also head across to the spiritual home of this podcast and mastering portrait photography podcast.

[00:46:02] And of course that home is mastering portrait photography.com, where there's a whole heap of articles and ideas, all dedicated to the business, the craft, the art, the creativity, and well. Frankly, the enjoyment of portrait photography. We're about to hit that with some reorg. I talk about that in the coming weeks.

[00:46:22] Um, and some new content, uh, we changed in the way that's all working while I'm in the process of putting together thoughts on how we're going to change that. Uh, hence the fact we're now filming videos, uh, on a more regular basis. It's all quite exciting. There's a ton of stuff going on. Hopefully I won't be asleep at my desk with too much of it because frankly that's a big waste of time. But until next time stay awake and whatever else. Be kind to yourself.

[00:46:48] Take care.