Professional_Photographer_2011-08.pdf

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WWW.PROFESSIONALPHOTOGRAPHER.CO.UK
PROFESSIONAL SINCE 1982
INSPIRING • INFORMATIVE • HONEST • ESSENTIAL
AUGUST 2011 £4.20
Washington protesters
by Neil Kirk.
IN THIS ISSUE:
THE POLITICS
PLUS:
POWER
OF STREET
HIT THE
PORTRAITS,
PHOTOGRAPHY
TIM PAGE
UPDATED,
PROFILED &
& THE MASTER
WHERE IS
OF STREET
PHOTOGRAPHY
FASHION
GOING?
STREETS
SPEAKS OUT
IT’S THE DAWN OF A NEW AGE IN REPORTAGE
& PHOTOJOURNALISM
AND WE ARE ON THE FRONTLINE
“The only way
to support a
revolution is to
make your own.”
Abbie Hoffman
PLATON’S
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welcome
august
I first became aware of professional photography as a small child through the
pages of TheSundayTimesMagazineand the record covers piled high in our
family living room. They showed me another world, one that was dangerous,
exotic and challenging. I immediately knew that this was a world in which
I wanted to be involved and be a part of. I didn’t know what a professional
photographer was, but I knew that I had to find out.
By 1985 I was part of it, working for an international fashion magazine with
the great photographers of the time. My knowledge of the industry was gained
first-hand from the photographers themselves. In those days there were few
books that you could buy to discover the truth of what professional
photography was all about. Therefore, you had no option other than
to go straight to the source if you wanted to learn. Slowly but surely
I found out what pro photography was all about – how to light a shoot, work with models,
find a good lab, obtain (and keep) clients and understand the politics of the business.
My teachers were Jeanloup Sieff, William Klein, Richard Avedon, Herb Ritts,
Matthew Rolston, David Bailey and Steve Pyke, among many others.
Who could fail to learn from such masters?
So when I came to edit this magazine I decided to apply the same logic
to the way in which we brought you information – get the best
photographers you can and let them speak directly without pulling
any punches. Now it is time for me to move on to another project
because, as we all know, no client is forever. Before I go, however,
I hope you agree that we have put together a particularly
thought-provoking issue for you to consider.
We are in a time of economic hardship and creative
challenges are coming at professional photographers from
every direction. To me it is an exciting new landscape
filled with possibilities. To some it is a confusing
landscape filled with obstacles. All I know is that
creativity is creativity, and that is key in all that we do.
Formats, cameras, platforms – everything has
changed during the 27 years in which I have been
involved with photography. Everything except
the fact that the image is king! And that
has to be worth remembering.Thanks for
supporting the magazine under my editorship,
you have been a wonderful audience.
Grant Scott, Editor
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NEW PHOTOGRAPHY
8Portfolio
The best of your work posted on to our online portfolio.
55Exposure
We look at the latest book to pay homage to
Blow-Up, the 1966 film that launched a thousand
photographic careers.
contents
august
NEED TO KNOW
25BeingThere
In his final BeingThere,Grant Scott looks back on
his two years as Editor of PP.
30Dispatches
This month Clive Booth shares his experience of
being commissioned to shoot HD DSLR video
and reflects on how convergence is affecting the
photographic industry.
35TheDenchDiary
This month our award-winning and sometime
working pro Peter Dench receives a tempting offer
to direct a gallery and sees how the other half lives,
on assignment at Ascot Park Polo Club.
44TheWorldofConvergence
Film maker John Campbell’s news-packed take on
the world of convergence includes the latest films
made on HD DSLR cameras and the ones to watch.
47Frontline
We talk to Adrian Evans, director of campaigning
agency Panos Pictures, about the future of
photojournalism as his organisation celebrates
its 25th anniversary.
53GuesstheLighting
Ever seen a great image and wanted to know how
it was lit? Ted Sabarese explains all and this month
turns his attention to an Alex Prager shoot.
66WhereisPhotographyGoing?
PPEditor Grant Scott looks at the direction in which
the industry is heading for pro photographers and
offers his own ideas about what the future holds.
84TakeItOutside
Photojournalist Pete Jenkins outlines your rights
when shooting on the street and smashes
a few myths about what you can and can’t do.
SiegfriedHansen’simagesappearinourstreetphotographyspecialinwhichweinterviewfiveoftheworld’smost
inspiringexponentsoftheart.Hearwhathehastosayabouthisworkinthefeaturestartingonpage68.
INTERVIEWS WITH...
56NeilKirkisonthePhone
Grant Scott speaks to the fashion photographer who,
despite defining street fashion photography for three
decades, is embracing the changing landscape of
editorial photography.
68HittheStreets
Street photography is making a comeback, so we’ve
brought together five of the world’s most exciting
street photographers to discuss their work.
From London-based Sicilian Mimi Mollica to
Magnum master Richard Kalvar we discover what
drives them to go in search of life’s small dramas.
23Diary
Our pick of this month’s most exciting photographic
exhibitions around the UK includes portraits of the
Beatles by Michael Peto and an exhibition of new
acquisitions at Tate Modern in London.
94StopPress...
The latest essential news, gossip and kit from the
pro world.
KEEP IN TOUCH
28Podcast
Every issue we record a podcast debating the issues
affecting professional photographers. Check out our
free photographic discussion for the masses.
42Subscribe
Take a look at our latest subscription deals to
ensure you never miss an issue. You can save 35%
when you take advantage of our latest offer.
88AbsolutePower
For his new book, the renowned portrait
photographer Platon photographed over 100 of
the world’s leaders. The result is a mesmerising
study of the face of power.
106Legend
Peter Silverton turns his attention to fearless
war photographer Tim Page, who helped to inspire
a character in ApocalypseNow.
NEWS & REVIEWS
14Click
This month’s line-up of the best news, dreams,
themes and photographic schemes.
5
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