1. PROFESSIONAL PHOTOGRAPHER JULY 2011 ● MAKING MONEY FROM BOOKS ● HOW TO BECOME A BLOG STAR ● OLYMPUS XZ-1 NEW YORK PORTFOLIO ●
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IN THIS ISSUE: PLUS:
WE FIND OUT ROBERT WYATT
HOW TO BECOME ON SHOOTING
A BLOG STAR, REAL WOMEN &
HOW TO MAKE AN EXCLUSIVE
MONEY OLYMPUS XZ-1
FROM BOOKS, PORTFOLIO
SUCCESS IS IN THE DETAIL
HOW WOMEN
Times Style twins
by Robert Wyatt
REPORT FROM
COMBAT ZONES
AND HOW
PETER DENCH
& CLIVE BOOTH
GOT ON
SHOOTING THE
ROYAL WEDDING
“I would say to any artist:
Don’t be repressed in your
work, dare to experiment,
consider any urge, if in a
new direction all the better.”
Edward Weston

3. welcome
july
Ask any pro photographer what they hope to
achieve with their careers and, apart from
the obvious fast cars, fast girls (or boys,
of course) and vast wealth, the two
achievements that say to your peers you
have really made it are having
a monograph of your work published and
having your images exhibited.
This month we take a long, hard look at the
world of publishing, both online and in
traditional format. What’s the Jackanory?
is the hugely popular blog that has made
photographer Andrew Hetherington a web star. You can find out how on
Page 57 in So You Wanna Be a Rock & Blog Star. Despite the rapid
growth of online platforms there are still people out there perfecting the
traditional crafts to create items of beauty and quality. One company
following this path are 21st Editions; you can find out more about them and
the books they produce on Page 66 in Old School Rules. Bookbinders of
the world, we salute you!
There is nothing a photographer likes more than owning photography
books but have you ever considered them to be an investment?
Peter Silverton was shocked at some of the prices being asked for certain
tomes and wanted to find out why. Check out his findings on Page 60 in
How Much is Your Bookshelf Worth?
Robert Wyatt is yet to have a book of his work published but his latest
project based on the naked form of real women is bound to get noticed.
THIS IMAGE: KIMBERLEY LANGSTONE
You can see his work and hear about his inspirations on Page 48 in Keeping
EDITOR’S IMAGE: MATT HALSTEAD
it Real.
Which just leaves me enough space to recommend you read about two of
our regular columnists, Dench and Booth, going head to head to cover the
Royal Wedding on Page 80 in Pete and Clive Live. Two different ways of
approaching the same subject; that’s what we like here at PP, an open church
where everyone gets a say. Until next month.
Grant Scott, Editor

5. NEW PHOTOGRAPHY
contents
july
8 Portfolio
The best of your work posted on to our online portfolio.
47 Exposure
An image that caught our eye by one of this
summer’s crop of photography graduates.
NEED TO KNOW
24 Being There
PP Editor Grant Scott recalls a career-defining
shoot in Turin at the secret home of the enigmatic
and eccentric Carlo Mollino.
28 Dispatches
This month Clive Booth does a shoot with butcher to
the stars and food hero Jack O’Shea.
32 The Dench Diary
In his regular column, our award-winning and
sometime pro Peter Dench shares his experiences
of beauty contests and the LA porn industry.
38 The World of Convergence
Film maker John Campbell’s regular news-packed
take on the world of convergence.
40 Frontline
We ask Choi Liu, art buyer at M&C Saatchi, about
her approach to commissioning photography and
how she keeps abreast of new work.
45 Guess the Lighting
Ever seen a great image and wanted to know how
it was lit? Ted Sabarese explains all.
60 How Much is your Bookshelf Above: This image of French film siren Brigitte Bardot by Cornel Lucas is on display this summer at a show
honouring the British film photographer. See the Click section, starting on page 14, for more details.
Worth?
Peter Silverton examines the market for collecting
photography books and discovers what makes for a
good investment. INTERVIEWS WITH... 23 Diary
Our pick of this month’s most exciting photographic
66 Old School Rules 48 Keeping it Real exhibitions around the UK and beyond.
21st Editions is a fine art book publisher that firmly We talk to Robert Wyatt, one of Britain’s leading
values traditional craftsmanship and quality. fashion photographers, about his work and the 95 Stop Press...
Julia Molony talks to its founders about why they creative collaboration with his wife. The latest essential news, gossip and kit from the
produce such unique photography books. pro world.
57 So You Wanna Be a Rock
70 The Man Who Knew How & Blog Star
In a Being There special, PP Editor Grant Scott
pays tribute to photographer John Hedgecoe, who
New York based photographer Andrew Hetherington
tells us how his blog has become essential reading.
KEEP IN TOUCH
guided generations with his bestselling books. 26 Podcast
74 Bringing it All Back Home Check out our free photographic discussion for the
80 Pete & Clive Live Alison Baskerville explains what it’s like to work in masses. Every edition we record a podcast debating
When it came to the wedding of the year, PP the Ministry of Defence Combat Camera Team. the issues affecting professional photographers.
regulars Peter Dench and Clive Booth sprang into
action on behalf of editorial clients. Here they share 36 Subscribe
their experiences of shooting the Royal Wedding. NEWS & REVIEWS Check out our latest subscription offers so that you
never miss an issue.
CORNEL LUCAS
106 Legend 14 Click
Peter Silverton dips into the career of American This month’s line-up of the best news, dreams, 43 Feedback
photographer Larry Sultan. themes and photographic schemes. Your thoughts, your opinions, your page.
www.professionalphotographer.co.uk 5

7. friends
july
Robert Wyatt Andrew Hetherington Alison Baskerville Jake Chessum
Photographer Photographer Photographer Photographer
As one of Britain’s leading fashion Editorial photographer Andrew Alison joined the RAF Police at the Croydon-born Jake Chessum started
photographers, Robert is used to Hetherington was born in Ireland age of 21 and served in Northern his photographic career working for
shooting women who conform to but now lives in New York where Ireland and Iraq, where she bought magazines such as The Face and
society’s view of perfection for he shoots for magazines such as her first camera. Twelve years and ELLE. Now based in New York he
clients such as British Vogue and the Details, GQ, Esquire and Marie six medals later she left the forces travels extensively shooting for
fashion brand Prada. For his most Claire. His passion for photography, and got an MA in photojournalism. clients such as New York magazine.
recent project, however, he chose to as well as his wit, are evident in his She is now serving with the British In his image-based blog, The Daily
photograph a series of real women, blog, What’s the Jackanory?, which Army’s Combat Camera Team in Chessum, he shows us how he views
which he discusses in the interview is read widely by the international Afghanistan, from where she spoke the world – through a unique and
with Julia Molony, starting on page photographic community. to us. On page 74 Alison explains graphically skilled eye. We asked
48. He also tells us about the In our interview on page 57 he the realities of shooting in a war him to create a portfolio with the
successful collaboration with his explains how he has created this zone and what it’s like to be the first Olympus XZ-1 and you can see the
stylist wife Lucy. well-loved website. and only woman in her team. results on page 86.
GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES
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www.professionalphotographer.co.uk 7

8. PORTFOLIO
ADAM ROBERTSON, CRAIG FLEMING,
UK UK
PIOTR STRYJEWSKI,
UK
8 www.professionalphotographer.co.uk

9. Each month we share the best of
the latest postings from our
online portfolio with our magazine
readers, so for your chance to
appear in Professional Photographer,
go online and start uploading
your best images to
www.professionalphotographer.co.uk.
If you want to see more of
any photographer’s work, go to
their online profile to access their REKHA GARTON,
website details. UK
NESTA YEUNG,
HONG KONG
www.professionalphotographer.co.uk 9

10. PORTFOLI PAUL THURLOW,
UK
ALEKSANDR TIKHANSKIY,
UK
ADOLF PANONSKIJ,
BOSNIA-HERZEGOVINA
ORR NIR, MARKO MESTROVIC,
ISRAEL AUSTRIA
10 www.professionalphotographer.co.uk

11. JOHN SCULLY,
IRELAND
PIETER VANDEUR,
BELGIUM
JOHN JACKSON,
USA
www.professionalphotographer.co.uk 11

12. PORTFOLI
ALENA JASZCZENKO,
UK
JAMES SKILLING,
UK
MARTYN NORSWORTHY,
UK
DARRAN ARMSTRONG,
UK
ALENA JASZCZENKO,
UK
12 www.professionalphotographer.co.uk

13. Th

14. click Girls on film
Vintage glamour seems to be all
the rage this month, as Chris
Beetles Fine Photographs shows
pictures by British film
photographer Cornel Lucas.
Born in 1920, he worked at the
RAF School of Photography
during the Second World War
the latest
photographic news,
dreams, themes
and schemes.
edited by Eleanor O’Kane
In full swing
We featured Brian Duffy in our Best of British
list last month. As part of the so-called Black
Trinity with Terence Donovan and David Bailey,
Duffy led a life as exciting as his celebrity
subjects and famously destroyed many of his
negatives in 1979. The first full retrospective
of his work is being held this summer,
encompassing his portraits and fashion
and also assisted Cecil Beaton. photography as well as iconic commercial
A sitting with Marlene Dietrich commissions such as the Pirelli calendars and
proved to be a baptism of fire the album sleeve for Bowie’s Aladdin Sane.
and led to a successful career as Duffy, 8 July-28 August, Idea Generation
the photographer of choice for Gallery, 11 Chance Street, London, E2 7JB.
the British film industry. www.ideageneration.co.uk
In 1998 he became the first stills
photographer to be awarded a
Bafta, for his services to the film The programme for Visa pour l’Image,
industry. The exhibition runs the prestigious photojournalism
until 27 August.
festival, has been announced. It will
Cornel Lucas, Chris Beetles
take place in Perpignan in south-west
Fine Photographs,
France from 27 August-11 September
3-5 Swallow Street,
London W1B 4DE.
and exhibitors include our very own
© CORNEL LUCAS
www.chrisbeetlesfine
columnist and sometime working pro
photographs.com Peter Dench.
Diana Dors, 1954.
www.visapourlimage.com
Ray of light Coco Chanel, 1930.
A man of many talents, Man Ray was both a Surrealist
artist and photographic pioneer who shot hundreds of
© 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL
© 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL
portraits at his studio in Paris, including those of artist
friends and members of his creative circle. His archive
of more than 12,000 negatives is housed at the Centre
Pompidou in Paris. A new book, Man Ray Portraits,
from German publisher Schirmer/Mosel features 500
of his most significant portraits. The work is testimony
to 20th-century French cultural society as well as
Man Ray’s position within it.
Man Ray Portraits
Paris, Hollywood, Paris
1921-1976, published by
Schirmer/Mosel, £55,
ISBN: 978-3-8296-0503-8.
Lee Miller, 1929.
www.schirmer-mosel.com
14 www.professionalphotographer.co.uk

15. DUFFY
Pirelli Calendar, 1973.

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17. Hooray for Hollywood labelling them ‘copyright free’ in order
to ensure maximum exposure. As a
Vintage American glamour comes to the result, many leading photographers’
National Portrait Gallery in a new names were forgotten. John Kobal began
exhibition, Glamour of the Gods: collecting film photography in the
Hollywood Portraits. Icons of the silver 1950s, seeking to give recognition to
screen such as Louise Brooks, Clark the photographers behind the lens.
Gable and James Dean will be featured This collection of almost 70 images not
alongside stills from films such as Rebel only puts the stars in the spotlight but
© JOHN KOBAL FOUNDATION, 2011
Without a Cause and Swing Time. Most of also highlights some important film
the images are from the John Kobal studio photographers, such as Davis
Foundation. At the time the pictures in Boulton and Ruth Harriet Louise.
this exhibition were being taken, the Glamour of the Gods: Hollywood
Hollywood studios would distribute Portraits, 7 July-23 October, National
publicity images as widely as possible, Portrait Gallery. www.npg.org.
Steve Strange.
Louise Brooks, 1929 by
Eugene Robert Richee.
Never gonna give you up
Don your leather blouson and knock back a Bacardi
and Coke because the 1980s are back! North-west
London gallery artisan is showing Don’t you (forget
about me!), subtitled ‘A snapshot of the 80’s by Chris
Duffy’, a retrospective of images that sum up the
decade of power dressing and New Romantics.
Chris is the son of Brian Duffy and started his career
as third assistant to the legendary British
CHRIS DUFFY © DUFFY ARCHIVE
photographer. His images of the pop stars of the era
remind us that, despite its lack of taste, the decade
was one of groundbreaking fashion and music.
Don’t you (forget about me!), 8 July-6 August,
artisan, 80 Harlesden Road, London, NW10
2BE. www.artisan80.com
www.professionalphotographer.co.uk 17

18. Bearing witness
Think of Hungary and photography might not automatically spring to mind but the
central European country is the homeland of legends such as Robert Capa, Brassaï
and André Kertész. A new exhibition at the Royal Academy in London celebrates the
wealth of photography that Hungary has given birth to with works by Brassaï, Capa,
Kertész, László Moholy-Nagy and Martin Munkácsi. These photographers forged new
careers abroad and in doing so influenced the path of modern photography,
from Capa’s fearless war photojournalism to Munkácsi’s dynamic fashion images for
Harper’s Bazaar. With more than 200 photographs ranging from 1914
© HUNGARIAN MUSEUM OF PHOTOGRAPHY
to 1989, the exhibition will also feature works by lesser-known
names who remained in their homeland, contributing to the
country’s rich photographic heritage. We have 5
Eyewitness: Hungarian Photography in the 20th pairs of tickets
Century – Brassaï, Capa, Kertész, Moholy-Nagy, to the exhibition
Munkácsi, 30 June-2 October, The Royal (worth £18 a pair)
Academy. www.royalacademy.org to give away.
To enter our competition visit
www.professional
photographer.co.uk/
eyewitness
Self-portrait,
October 18 1953,
New York.
Bank Manager at the
Baths, Budapest, 1938,
by Károly Escher.
QUOTE OF THE MONTH
I used to call myself a war
photographer. Now I consider myself
as an antiwar photographer.
James Nachtwey
MAGNOLIA PICTURES.
Secrets and lives
If you’ve ever had ambitions to work at the New York A display of the work of secret street photographer Vivian Maier is one of
Times, a new US documentary might make you glad the highlights of London Street Photography Festival 2011, which takes
you didn’t. Page One: Inside the New York Times place throughout July. The Chicago nanny’s staggering collection of work
© VIVIAN MAIER / MALOOF
is a compelling film that takes a candid look at the was discovered only after her death, a legacy of more than 100,000
pressures of working on one of the world’s greatest negatives which are the only clue to the extraordinary life she led.
newspapers at a time when new media and Wikileaks Vivian Maier: A Life Uncovered, 1-24 July, German Gymnasium, Pancras
threaten to undermine traditional journalism. Road, NW1 2TB. www.londonstreetphotographyfestival.org
www.magpictures.com/pageone
18 www.professionalphotographer.co.uk

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21. SIMON NORFOLK FROM BURKE + NORFOLK PHOTOGRAPHS FROM
THE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING
Yards supplying
construction Images from Seacoal, by Chris Killip.
materials
in the Nawabadi
Guzargah district
of Kabul. Distant shores
Chris Killip is a British photographer and professor of visual and
Landholders
and labourers. environmental studies at Harvard University, where he has taught
since 1991. In 1982 he began photographing the seacoalers of
Lynemouth beach in Northumberland, who made a living from the
waste coal that washed ashore and who stayed in a camp nearby.
JOHN BURKE FROM BURKE + NORFOLK PHOTOGRAPHS FROM
In 1983-84 Killip documented the community and lived among them.
Steidl has published 124 of his images in a book that takes a
THE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING
compassionate look at a community facing a hard way of life.
Seacoal, by Chris Killip, published by Steidl, £32,
ISBN: 978-3-86930-256-0. www.steidlville.com
Retracing paths
SEACOAL, BY CHRIS KILLIP, PUBLISHED BY STEIDL
Last month we featured Simon Norfolk in our Best of British list for
his unceasing exploration of war and how it affects our lives and
landscapes. For one of his latest projects he journeyed to Afghanistan
in the footsteps of 19th-century Irish war photographer John Burke,
who chronicled the Second Anglo-Afghan War from 1878 to 1880.
The book, BURKE + NORFOLK Photographs from the War in
Afghanistan, features Burke’s original images as well as Norfolk’s
modern-day pictures of Kabul and Helmand. The result is
a striking work and artistic collaboration across the centuries.
BURKE + NORFOLK Photographs from the War in Afghanistan, by John
Burke and Simon Norfolk, published by Dewi Lewis Publishing, £40,
ISBN: 978-1-907893-11-7. www.dewilewispublishing.com
Websites we’re watching
This month we’ve been checking out The Photography Post, which brings together
the latest happenings in all areas of photography from fashion to reportage.
There’s even a jobs section if you feel like jacking it all in and heading to the States.
http://thephotographypost.com
www.professionalphotographer.co.uk 21

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23. We have done the hard work for you this month and chosen our essential
three photographic exhibitions on show now or coming up soon. For a full list
of exhibitions and events visit www.professionalphotographer.co.uk
Mick Jagger: Young in the ’60s
Mick Jagger,
National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 1967.
020 7806 0055; www.npg.org.uk
Until 27 November; free admission
Defining images from the early years of Mick Jagger and the Rolling
Stones will be on display in the Bookshop Gallery throughout this
summer and autumn. The National Portrait Gallery has built up a vast
collection of images of the rock ’n’ roll band over the past 40 years,
starting with a gift from Cecil Beaton in 1972 of his portrait of Jagger
taken in Morocco in 1967. The display includes images from this
collection, as well as new acquisitions, including portraits of the singer
by Gered Mankowitz, who became the band’s official photographer,
aged 18. The exhibition coincides with the release of Mick Jagger:
The Photobook by Thames & Hudson, a collection of more than 70
COLIN JONES
images spanning 50 years of Jagger’s career. Mick Jagger: Young in the
’60s is a must-see for any fan of the singer or the Rolling Stones.
The Face of the Artist: Photographs by John
Hedgecoe
Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, NR4 7TJ
016 0359 3199; www.scva.ac.uk
21 June to 4 December; Admission £4, concessions £2
Sainsbury Centre for Visual Arts will be displaying a
major collection of portraits by John Hedgecoe this year.
The acclaimed British photographer, teacher and writer
of books on photography is perhaps best known for his
portraits of artists, leading figures and for his profile
shot of the Queen taken in June 1967, which still appears
on British postage stamps today. The display coincides
JOHN HEDGECOE
with Manchester Art Gallery’s touring exhibition,
Artist Francis A World Observed: Dorothy Bohm’s Images. Turn to
Bacon, 1969. page 70 for a Being There Special about Hedgecoe.
Kate Moss by the Greatest Photographers
La Galerie de l’Instant, 46 Rue de Poitou, 75003 Paris
(Fr) 1 44 54 94 09; www.lagaleriedelinstant.com
Until 14 September 2011; free admission
Since the early 1990s Kate Moss has captured and fascinated
the minds of the public. She has become one of the world’s
most photographed models and the muse of many artists,
photographers and fashion designers. First photographed by
Corinne Day and Mario Sorrenti, the early ‘waif ’ images
depicted a young, innocent Moss. However, her popularisation
of the ‘heroin chic’ look caused worldwide controversy. In the
mid-1990s, photographers such as Paolo Roversi, Peter
Lindbergh and Ellen von Unwerth revealed a more womanly
side to the model. This exhibition showcases images taken over
Moss’s 20-year career which reveal her versatility in front of
MARY McCARTNEY
the camera. The display at this Parisian gallery features images
of Moss by 15 photographers, from Bert Stern and Bettina
Rheims to Patrick Demarchelier and Albert Watson. Kate Moss in red dress, 2004.
FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE
PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk

24. A restless spirit
A commission to shoot his first interiors story led PP Editor Grant Scott into the world
of a deceased Italian genius and eccentric, as well as on a journey into the unknown.
Until I was commissioned mystical traditions. Few knew of its existence and I travelled out to Turin on a Ryanair flight from
by the art director of Elle when Fulvio managed to gain access after years Stansted on a Friday evening with a journalist
Decoration magazine to of trying he found a series of rooms that had been from the magazine, armed with a bag of cameras,
travel to Turin to shoot left to stagnate ever since Mollino’s death. In the film and the smallest Gitzo tripod I had. I was
an interiors story I had main bedroom, in a highly decorated box covered travelling light. When we arrived in Turin the
never heard of Carlo in pictures of butterflies, lay thousands of weather was cold and drizzly, and our hotel was
Mollino and, for that Polaroid images created by him through the 1960s functional but depressingly faded. It was not a
matter, I had never shot and up until his death. They were all of women good start. The following morning the sun hardly
an interiors story. The discovery of Mollino in various states of dress or undress carefully rose as we set off across town to Mollino’s
and my first shoot for Elle Decoration, styled by Mollino. In his fantasy they were the apartment to start our two-day shoot. I was
however, were to help shape my career over women who would keep him company in the relying on available light, hoping for crisp, cold,
the coming years. after-life; in reality they were local women of north Italian light but what I had was no light.
The art director at Elle Decoration was aware the night brought to him by his chauffeur to his My tripod and slow exposures on fast film would
of my own previous existence as an art director, villa to be photographed. have to be my saviour.
my love of design, Italy and obsession with Today Fulvio still keeps the Mollino torch Fulvio was waiting, full of good cheer, outside
buying obscure 20th-century furniture, and this burning, having turned the apartment into an the villa containing the apartment. A slight,
combination, added to the fact that I could shoot appointment-only museum and by archiving eccentric man with an Italian academic air, his
portraits, had evidently made me first choice to Mollino’s images and publishing them in a series passion for the world of Mollino was immediate
shoot an eight-page story around the mysterious of books. Fulvio had spent years restoring the as he ushered us into the library-quiet interior.
Mollino and his even more mysterious home. apartment to its former glories and I was to be the It was impossible to ignore the atmosphere – the
Carlo Mollino was born in 1905 in Turin, the first photographer to be allowed to enter and air crackled with something I could not put my
son of an engineer. As he grew up, he became photograph it. This job had now gone from being finger on. It felt welcoming, yet imposing, daring
expert at a wide range of disciplines, including a commission to being an honour. you to enter. Little did I know what lay ahead.
photography, skiing (he wrote landmark manuals
on how to do both), furniture design, interior
design, product design, fashion, architecture, “I was to be the first photographer to be allowed to enter [the apartment]
motor racing (he designed, built and raced his and photograph it. This job had now gone from being a commission to
own car), women and the occult. He was a master
of the outrageous and the anarchic, believing that being an honour.” Grant Scott
new ways were the only ones worth following,
and his family wealth allowed him to pursue this After a quick tour we were ready to start
unique path. He once said: “Everything is shooting. What little light there was created a
permissible as long as it is fantastic.” His life was wonderfully atmospheric air to the rooms and I
filled with success and innovation, and he worked couldn’t wait to get started. Fulvio and the
right up to his death in 1973. journalist went off to a local café were it would be
Okay, I hear you say, that’s interesting but warm (the apartment had no heating) to discuss
where is all this going? Well, in the early 1980s Mollino in depth and I started to look around the
a fellow Italian named Fulvio Ferrari (great name main living area looking for angles and areas to
and a great man) discovered that Carlo Mollino start shooting. In one corner of the lounge stood
had lived a secret life in a secret home with a Mollino’s original radiogram and a few of his
secret love of a particular type of photography records, all of which were in Italian. I turned it
and woman. Perched on the edge of the river Po in on, picked a record from the dusty covers and
the centre of Turin sits a rented 19th-century dropped it on to the platter; I lowered the arm
apartment in which Mollino had created and the room was filled immediately with the rich
a mausoleum for himself based on the beliefs of sound of some Italian baritone singing about
the ancient Egyptian Pharaohs and various I do not know what, but it sounded fantastic and
24 www.professionalphotographer.co.uk

25. “Why did the tripod break and the Polaroid not work? Your guess is as good as mine but on
the way back the journalist asked if I believed in spiritual things like ghosts.” Grant Scott
I was transported in this strange space to the time Fulvio Ferrari
in which both had been created. and his daughter.
I started to take some light readings and settled
on a position from which to shoot my first image.
I loaded a couple of film backs, settled on a lens
and fitted my Hasselblad body to the tripod head.
Immediately the central column tightening screw
collapsed, sending the head platform down to the
column ring. I threw my fingers under the body
and saved it from jarring, but crushed my fingers
in the process. I instantly thought that it had been
my fault and that the central column had not been
tightened correctly. Carefully I took everything
apart, only to find the central column tightener
had just fallen apart (I have since discussed this
with the guys from Gitzo and they couldn’t
understand how it had happened either and it has
never happened to me since with any
manufacturer’s tripod, including Gitzo).
The tripod was wrecked, I only had one with me
and the lack of light meant that without it there
was no shoot. I couldn’t leave the villa as I didn’t
have a key to get back in. I needed a tripod repair
plan and quickly. Having rifled through the
kitchen drawers I found a roll of heavy duty
plaster tape which would have to save the day.
I fixed the central column, guessing a multi-use
height, and wrapped metres of tape around it to
keep it in place. It was not a great fix but it was
okay and with some care and imagination I
started shooting and compiling the narrative of
my interiors shoot, covering details, rooms and
connecting spaces. The images came together
quickly and apart from having to stop to change
the records on the radiogram I was ‘in the zone’
working almost without thought, as each image
seemed to suggest the next one with little input
from me. It was a shoot with a rhythm. delightfully eccentric as her father, with wild Why did the tripod break and the Polaroid not
I even experimented with a torn piece of black sticky-out hair) settled themselves by the marble work? Your guess is as good as mine but on the
card placed over the lens in a filter holder to fireplace where I had asked them to stand for way back the journalist asked if I believed in
further emphasise the other-worldliness of this their portrait. I took a light reading, set the spiritual things like ghosts. I said I was not sure
strange place. It was a great place to take pictures; camera and shot and pulled a Polaroid. I waited but that I was open to things I didn’t understand.
the atmosphere was strange but right. By the early and then peeled off the backing. Nothing. “That’s good,” she said, “because I think there was
afternoon I had finished what had meant to be a I rechecked my light reading and shot another something very strange about that place we just
two-day shoot and when Fulvio and the journalist Polaroid. Nothing. I repeated this procedure three photographed, I never felt comfortable there.”
returned I was ready to shoot the portrait of more times with no resulting Polaroid. This had The magazine was delighted with the images.
Fulvio, pack up and go, leaving me the Sunday never happened to me before (and never has The feature ran across eight pages and they had
free to explore Turin. Fulvio had other ideas; he again) and I could only imagine that the pack was such a positive response that a new career opened
wanted his portrait taken with his daughter the corrupted. I had one more pack left so I opened it for me as an interiors photographer with
next day, after we had had lunch with his family up and reloaded the Polaroid back, rechecked the Elle Decoration and their competitors. It was
in Mollino’s villa. His enthusiasm and kindness readings once more and shot another Polaroid. a signature shoot for me, and was exhibited and
were too much to refuse, so we agreed to return. Nothing, just another blank Polaroid. Again I appeared in books on Mollino for years after
The Sunday was a little brighter, but not by repeated the procedure, once more with no result. that cold weekend in Turin where everything went
GRANT SCOTT
much. My taped-together tripod was going to There was nothing for it; I was going to have to wrong, but somehow turned out okay. PP
have to perform one more time. After a delightful trust the light meter, load some film and go for it,
lunch Fulvio and his daughter (who was as which is exactly what I did. www.grantscott.com
www.professionalphotographer.co.uk 25

26. podcast
ON YOUR
WAVELENGTH
Every month we record a free-to-download podcast in which we discuss, debate and talk
around a subject featured in the magazine. We post them on our website and you can subscribe
for free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online.
THIS MONTH’S PODCAST May 2011 Issue photographer approach the project in the
July 2011 Issue CONVERGENCE AND THE FUTURE same way as a commission or adopt a different
HOW MUCH IS YOUR BOOKSHELF WORTH? OF PHOTOGRAPHY tack? They look at photographers who
PP Editor Grant Scott and deputy editor The team discuss the impact of HD DSLR have got it right in the past and discuss whether
Eleanor O’Kane are joined by regular columnist film making on the world of professional there are too many introspective projects being
and photojournalist Peter Dench to talk about photography. With many photographers now produced by photography students.
collecting photography books. They examine being asked to shoot video, the team focus
why some books have not only held their price on areas that pose problems for some stills February 2011 Issue
but dramatically increased in value while others photographers, such as narrative, sound and the THE BUSINESS SPECIAL
have been relegated to the dusty shelf of editing process. They also look at how stills The regular podcast team get down to business
obscurity. Long-time photo book collector Grant photographers are reacting to this new world. as they discuss the world of tax, finance and
Scott explains his passion and the team discuss marketing. They ponder whether possessing
how to spot a good investment as well as looking April 2011 Issue business and creative skills go hand in hand,
at what makes a classic photo book. GETTING YOUR WORK EXHIBITED discuss potential areas where seeking
The regular PP podcast team discuss the professional advice could reap rewards and
AND THOSE YOU MAY HAVE MISSED… world of exhibitions. As curator and exhibitor debate whether or not current photography
June 2011 Issue respectively, Grant and Peter share their students are aware of the importance of
THE BEST OF BRITISH PHOTOGRAPHY experiences and look at the wider benefits of business skills when choosing a career as
The regular podcast team gather round to discuss making an exhibition of yourself. a professional photographer.
the Best of British list that we published in the
June issue. The team look at some of the great March 2011 Issue
names of British photography through the THE PERSONAL PROJECT SPECIAL You can subscribe for free and download the
decades, stand up for their own personal The team grapple with the importance of podcasts from iTunes by typing professional
favourites and ask why some periods have seen creating personal projects for sustaining and photographer into the search tab or listen via
a proliferation of great British photographers. developing a photographer’s career. Should a www.professionalphotographer.co.uk. PP
26 www.professionalphotographer.co.uk

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28. dispatches Clive Booth tales from the frontline of professional photography
Superstar butcher? Admittedly the two
words in the same sentence seem like a
contradiction in terms; that is until you meet
Jack O’Shea: 38 years old, 6ft, slim, long,
reddish-blond hair, pale skin, blue eyes with
a soft Tipperary accent, charm and wit
combined with humour and mischief. Add to
this a Paul Smith jacket and shirt, ripped
Diesels and scuffed, brown Oliver Sweeneys
and he’s got a certain kind of cool.
Never more so than when he talks about his
This month:
profession and passion for meat. He speaks
with confidence and conviction, and is not shy to
disagree and speak his mind (especially when it
Animal carcasses and comes to vegetarians!).
An eighth-generation butcher from Tipperary,
glinting knives get Clive’s Ireland, his roots in the meat industry can be
traced back as far as 1790. He left his father’s
creative juices flowing business to open a store, first in Brussels, then
Knightsbridge before moving to the 40ft meat
when he works on a shoot counter in the food hall at Selfridges. He was
with a food hero. named Butcher of the Year in The Independent
Food and Drink Awards in 2009 and his client list
is a who’s who of British and European culinary
excellence, including Heston Blumenthal, Mark
Hix, Richard Corrigan and Antonio Carluccio.
He has a generous helping of A-list custom from,
among others, the Beckhams and rock luminary
CLIVE BOOTH
Superstar butcher Jack O’Shea takes a seat centre
stage. Left: A freshly butchered Porterhouse steak.
28 www.professionalphotographer.co.uk

29. “The most exciting aspect of this collaboration was that Jack had given me total freedom to do
whatever I liked; to put his trust in my judgment to both style and shoot him in a way that I felt
would best represent him and project this image to a wider market.” Clive Booth
www.professionalphotographer.co.uk 29

30. dispatches
Robert Plant, and has even got Simon Cowell’s
vote. I first met Jack after shooting food and
“...early March allowed only for a
portraits for Heston Blumenthal last year. He is a limited amount of daylight so we
friend of Heston and his development chef, James
Petrie, who is also a friend of mine. He saw the
opted for continuous light
pictures and something in the spontaneity,
looseness and freedom appealed to him, so we
instead, one 2.5k, two 1.2k and
started a conversation well over 12 months before one 650w HMIs, along with
we shot a single frame together.
The most exciting aspect of this collaboration
frames, silks, flags, stands,
was that Jack had given me total freedom to do
whatever I liked; to put his trust in my judgment
plinths and clamps.” Clive Booth
to both style and shoot him in a way that I felt
would best represent him and project this image most comfortable in? Black shirt? Then you’ll 1m plinth with the two butcher’s blocks, and three
to a wider market. We had a loose excuse to do need a couple of brand new ones before the shoot lights with lots of frost and silks. Michael sets up
a test shoot based on photographing cuts of meat and better make sure they’re pressed. “I’m having the 27in iMac and Capture One Pro tethered to a
but my real interest was in Jack and seeing how a hair cut... not too short?” No! “Which jacket?” Canon EOS-1Ds MkIII while I build the Zacuto
far we could push the conventions, and make Have you got something dark with a funky lining? Cross Fire and Z-Finder around the Canon
what I saw in my head translate into pictures and “Any jewellery or accessories and which belt?”... EOS-1D MkIV This wasn’t just going to be a test
.
in turn talk to an audience. This sometimes went on late into the evening for Jack as I had decided to shoot both stills and
Jack agreed to cover the costs and I agreed to along with a healthy banter and much laughter. video, and make the most of our time together.
shoot for no fee on condition I had my favourite Wardrobe sorted, so what props? “I have two very By 11am we are set and I want an establishing
studio, IRIS, and team, Billy Waters assisting and worn, solid-oak butcher’s blocks, saw, machete, shot. The plinth and blocks are moved and we
Michael Williams second assistant, digital tech sword and dagger!” (A cleaver, 20in butcher’s plonk Jack on an antique chair stolen from the
and post-production. Initially I wanted to shoot in knife and what looks, at least to me, like it could studio reception. Jack, a man comfortable in his
natural light as the studio has six large windows actually be a dagger) “plus two lamb carcasses own skin, saunters over and takes a seat; the
along with skylights, but early March allowed and several very large pieces of Angus cow.” backdrop of hung carcasses, along with a 20in
only for a limited amount of daylight so we opted It’s 8am on Sunday 6 March, shoot day: Billy blade in one hand and butcher’s steel (blade
for continuous light instead, one 2.5k, two 1.2k and I decide to create a simple set against the cove sharpener) in the other, hint at his profession
and one 650w HMIs, along with frames, silks, of the studio using two double wind-up stands while the dark blue jacket, shirt and jeans say he
flags, stands, plinths and clamps. and a scaffolding tube, on to which we would use is something other than the norm. We play with
For several days prior to shooting, Jack and I meat hooks to hang the carcasses. Jack appears the light, 2.5k HMI key light with heavy frost,
had been exchanging phone calls: “Should I bring with a BMW full of meat. As we start to load the 1.2k HMI rim light, and a 650w HMI to paint the
CLIVE BOOTH
my aprons?” No! Let’s keep it simple, besides already sagging goalpost it’s clear we need more background, moving, frosting and flagging until
that’s predictable, I’d like it to look as if you’ve and Jack dispatches a car to Selfridges while Billy finally I feel happy – and then, using the 85mm
just walked in off the street... what do you feel starts to build the rest of the set: a simple white f/1.2, I start to shoot a portrait. With Jack’s
30 www.professionalphotographer.co.uk

31. Above: Jack O’Shea or Harvey Keitel? Opposite page, even more attitude to the picture as it quivers and stopping and starting as I run through 24mm,
clockwise from top left: Fillet on the bone; Jack
glints under the HMIs. 35mm, 50mm, 85mm, 180mm. Michael feverishly
regularly tastes and smells the meat; shooting into the
key light; 20in blade and steel. He unfastens his jacket and casually slips it on downloads the stills in Capture One Pro which are
a hanger alongside the carcasses. Chair gone, immediately profiled; the look is very slightly
plinth and blocks in place, I move in to work desaturated with the meat remaining deep red.
half-smile and blade glinting, I’m not sure around him, shooting into the key light with Billy At times the pictures are gruesome and yet overall
whether I’m photographing a butcher or a serial reflecting fill as Jack chooses a piece of meat. the feel is exactly as we had intended, loose and
killer; either way it looks cool and I continue to It’s single-sourced Angus beef from his home in casual, reportage food. As Jack methodically
shoot. Happy with the stills I move to the 1D Ireland and he’s involved in every aspect of the extracts cut after cut of meat I extract cut after cut
MkIV on the Zacuto and the Manfrotto video journey, from genetics, conception and feeding of HD DSLR footage. Shooting film and stills
tripod, getting Jack to wander in and out of shot. regime through to the slaughter and hanging poses no real problem as I exchange 1Ds MkIII
He takes no directing as he nonchalantly moves which can take from three to four weeks, with for 1D MkIV working mainly handheld
from behind the camera to inspect the meat, then daily checks culminating in the butchery and throughout. While I really love shooting the stills,
sits and pretends to play the drums with his blade cooking advice. As a consequence the meat is it’s the moving imagery that wins the day and for
and steel. To emphasise the star quality I move different in appearance to anything I’ve ever seen, a client like Jack O’Shea a 60-second film ident,
out wide and include the lighting stands, cables, with its hard, blackish crust and deep-yellow fat. cleverly cut to a cool soundtrack, will talk to his
Magliner trolley and monitor, making full use of As Jack rolls up his sleeves and uses the steel to market in a way that a still image never could. PP
the usually unseen studio paraphernalia to give sharpen the huge knife, we all take a step back.
additional kudos to Jack seated centre stage. The butcher’s equivalent of Edward Scissorhands, To see the 60-second film go to
I decide to shoot another portrait from a higher he takes apart the beef carcass explaining the www.clivebooth.co.uk/jackosheafilm
angle and ask him to take a confrontational stance anatomical details as he saws, cuts and chops his and for more pictures see
surrounded by carcasses. He looks directly into way through muscle, fat and bone. He sniffs, www.clivebooth.co.uk/jackosheastills
camera, hair swept behind his ears, and I can’t tastes and at times caresses the meat with oily,
decide if I’m shooting Jack or Harvey Keitel’s powdery, bone-crusted fingers and when he has
Mr White in Reservoir Dogs (“You shoot me in finished, six gigantic deep-scarlet and fat-marbled
a dream, you better wake up and apologise.”) Porterhouse steaks are glistening on the block. GO ONLINE FOR MORE DISPATCHES
“Can you lose the blade, Jack?” He does so right For the next six hours we repeat this process FROM CLIVE BOOTH
in the neck of a lamb carcass which in turn adds time after time shooting from different angles, www.professionalphotographer.co.uk
www.professionalphotographer.co.uk 31