Turning Pro 2012 winter

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On
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Presentation
Get your foot
in the door
What should you
be shooting?
Perfect portfolios –
10 ways to wow!
Eight ways to get your
first assignment
Moving
pictures
Making money from
movies & gear guide
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Turning Pro 
Welcome to the Winter 2012 
issue of Turning Pro
Possessing the tenacity to thrive in a market which is saturated with gifted photographers 
competing within the same sphere is no easy feat. Aspiring professionals have their work 
cut out for them, this we know, with new challenges, fi nancial constraints and customers 
demanding more for their money than ever before. It’s even fair to say that being a one 
man (or woman) band has never meant or stood for more in the business sense. However, 
the key word here which separates the wheat from the chaff is opportunity. 
In this issue of Turning Pro we turn the negatives of the imaging world on their head and tap into 
exciting new trends including the glamorous world of boudoir and movie making, which demonstrate 
the stunning work that can result from leaving your professional comfort zone. Flourishing pros reveal 
their winning formulas in addition to trialling brand new gear, and we offer a comprehensive guide to 
presentation for a multitude of clients with diverse requirements. 
Aside from this meaty menu of top advice, marketing musts and alternative career options within 
photography, we also felt it important to focus on new success stories from fresh talent, while 
documenting the truths that those going solo will need to consider. And while going back to basics 
with ‘how to get your foot in the door’ may seem obvious, our fi ckle industry is constantly evolving 
with numerous pathways into the fi eld. A brilliant thing, but what do clients seek from you, the 
professionals, these days? We give you the answers. 
If you enjoyed the summer issue of Turning Pro, this edition is the next beacon of light to empower 
you and your livelihood. Seize those prime opportunities and the luminous art that is photography – 
but don’t do it until you’ve read TP!
Lorna Dockerill
Features Editor, Turning Pro
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CONTRIBUTORS
Paul Sanders
Kevin M
ullins
P46
Crash Taylor
P82
M
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P94
Nigel H
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Boo M
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Craig Flem
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Karl Sh aw
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Julian C
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New B
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Mov
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P8 P25
P119P113
P81P64
P12
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Foot in the Door
9 Specialist magazines | 10 Local wedding market 
12 Local newspapers | 14 The picture agency 
15 Event photography | 18 Model agencies 
20 Teaching photography | 22 Alternative career paths 
My First Year
26 Alex Rickard | 28 Marisa Taylor 
30 Milly Colley | 32 Bob Owen | 34 Charlotte Stone 
36 Care Johnson | 38 Bernie Ramsay 
Business
44 The cost of doing business | 46 How to create a brand 
52 Accounting start up needs | 56 Professional associations, 
what can they offer? | 60 PPOTY competition 
New Business
65 Boudoir – behind the scenes, the history of boudoir 
and the Banana Studios refi t | 72 Bumps and births 
76 Photo workshops, old hat or a new route to riches?
Movie Magic
82 Crash Taylor – convergence with your camera 
85 DSLRs | 86 Lenses | 87 Lights | 89 Monitors 
90 Sound | 91 Support | 92 Rigs
Presentation
94 Newspaper picture editor | 96 Specialist magazine 
editor | 98 Photographer’s agents | 100 PR agency 
102 Business owner | 104 Specialist picture library 
106 Sports agency | 108 Family portrait 
University, the Real Story 
114 Is the debt worth it to be a professional photographer? 
We ask students about their experience 
Inspiration 
120 Big interview – Nigel Harniman 
127 Working pro – Tanya Ahmed 
 
 Prese ntation
Buyer’s Guid e
P43
P135
P93
Gear 
136 Tamron 24-70mm | 141 Nikon D600
148 Elinchrom D-Lite | 157 Lupo Lights 
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Stop 
buggering 
about!
part from newspaper journalists, politicians and children’s 
TV presenters, starting a career in photography must be 
one of the most daunting prospects out there right now. 
Never has there been such competition for the audience, 
never has there been such confusion for the consumer… 
but never has there been such an opportunity for the 
quality photographer. 
I believe we are in a period of evolution where natural selection is really 
going to start to hit home, where the professional photographers out there 
who have something truly unique, who know their craft inside out, who are 
fully versed in the multimedia bowl of spaghetti we are living in can start 
to stick their heads above the parapet to gain a distinct advantage. Not 
only this, it is also those who are technically literate, those who can grasp 
the nettle of the constant upgrading and are riding a super information 
highway with no junctions who will prevail and have a long term future. 
However, having said all of this, there is one constant, one age-old 
tradition that will never change, no matter what genre of photography, 
what type of camera you use or what lighting system you shoot with, and 
that is: quality. Never more so is it the time for photography tutors and 
lecturers, magazine editors and those who have influence over people 
making the decision to start a career in photography to start being brutally 
honest with those they have a care for. We all have to start telling people 
the truth about their abilities and about this industry we work in – it is our 
responsibility, our duty. There are too many courses, too many students, too 
many freelancers, too many dreamers – and too few jobs. 
Another issue that has come to light is the quality of teaching we 
are seeing in our colleges and universities. I had a conversation just the 
other day with a good friend who has taken up lecturing to photography 
students, who just a few short months in is almost ready to chuck the 
towel in due to the general ignorance and incompetence 
he has seen from fellow faculty staff. The old phrase 
that ‘those who can’t, teach’ is total crap in my mind, 
but this conversation didn’t fill me with any form 
of hope. These poor students are shelling out a 
shocking £27,000 to have some half-arsed, out 
of date twat fill their heads and hearts with 
complete bollocks that was out of date 10 
years ago. How on God’s green earth 
has this been allowed to happen? This 
has got to change, and I hope that 
with the massive hike in fees, not 
only will there be a cull in number 
of students, but the same econo-
scalpel will do its work to the university courses too. What we will end 
up with is quality over quantity. Don’t get me wrong, I am all for higher 
education that isn’t financially elitist, but it should be fit for purpose and 
purposeful. Otherwise, what’s the point?
Another area I want to touch on is the propensity for this American 
disease of a heightened sense of self-ability and automatic right. In 
essence, people who can’t be arsed. I see this at my local stables, of all 
places. The owners of the yard are having a dickens of a job getting 
trainees and youngsters to stay - I think about a couple of weeks is all 
they have managed. The problem is that if the job is a bit harder than first 
thought, so they just give up. The perception and the reality, it would seem, 
are oceans apart. 
In our sphere, I came across this a little while ago with a female 
photographer who wanted to contribute to one of my magazines. In her 
eyes, the raunchy subject matter was assumed all that was needed to get 
published. Sod the image quality, lighting and style. I went through her 
images and struggled to get one small feature, which she was none-too-
happy about. At first I gently critiqued, made suggestions and was generally 
a complete wuss. It was not until I got fed up and slapped her with a whole 
can of whoop-ass, and told her what she really needed to completely 
commit, work her ass off and stop buggering about that anything 
happened. Now she’s living her dream in London as a working pro! I’m not 
taking much credit for that, after all this is a results-driven business, but my 
verbal ‘hand grenade’ helped.
Which brings me back to the honesty thing. In the long run, it is so 
much easier for everyone concerned that we are super-honest about not 
only the reasons for wanting to go professional, but that we actually have 
the photographic ability, business acumen and stick-ability (that’s what 
my Grandma called it!) to see it through. As you 
will read from multiple accounts in this issue, a 
common theme is that this business is bloody 
hard work, takes 110 per cent commitment 
and leaves little time for nights out with 
your pals or seeing the kids. If you are not 
utterly dedicated, constantly seeking 
improvement and ahead of the curve, 
YOU WILL FAIL. But, get it right 
and you have the most rewarding, 
satisfying and mind-expanding job 
in the world. So, no pressure then! 
A
You know you want to be a photographer 
but you’re not too sure where to start out. 
Industry figures give you all the advice you 
need to get that initial boost
Foot in 
the Door
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rom ducking under crashing waves for that once in a lifetime 
action shot to translating hip music artists in print, niche 
magazines mean pliable skills and fl atly refusing to give 
your work away for free. Steve England from the UK’s surf 
magazine, Carve, describes what photographers need to do to catch 
his eye. 
“Getting your fi rst shots published in specialist magazines is not 
as hard as you think. Sure they may have staff photographers on the 
payroll, but a good editor is always looking for a different angle, a 
fresh perspective and a jump on the competition. What you have to 
remember is that magazines these days compete with the internet, 
social media, brands and even retailers for the publics’ attention. 
As your job became an endless fi ght to rise above the work of the 
millions of amateur photographers all Instagramming away, the 
magazines’ job became just that times four. But you can break 
through. Our last two covers have come from fi rst time contributors 
to our magazine.
“Remember anyone can now take the standard stock action 
shots, so you have to be creative. Composition, timing and being in 
the right place at the right time all come into play. On the dos and 
don’ts side, keep your work offl ine, no one wants a second hand 
shot. Do not send shots on spec to rival magazines, work with one 
and develop a relationship. Ask what the editor is looking for and 
listen to any advice. Remember editors have seen and heard pretty 
much everything, and are inevitably on a deadline, so be concise and 
polite. Never ever give your work away for just a credit (someone 
somewhere is making money off your work and they will play on your 
enthusiasm). Try and deliver the full package; action, lifestyle and a 
unique story. If it doesn’t work, listen to the feedback and ask if there 
is anything else the editor would like. Editors want ideas, they want 
different views, new angles and enthusiasm. In short they want to 
see your work.”
The question mark which looms when considering how to encourage specialist titles 
to stand up and take notice needn’t be there. LORNA DOCKERILL chats to an NME 
photographer and surf magazine editor for the lowdown
Specialist Magazines
Tom Oxley, a 32-year-old music photographer based in London, has 
worked with the likes of Adele, Noel Gallagher and The Prodigy, 
and has shot for NME and Q Magazine
for the past 10 years. TP 
grills him about scoring work with specialist magazines. 
How did you get into music photography for specialist industry magazines? 
What was the fi rst step? I’ve always been into music. Always. It’s one of my 
favourite things ever and I can’t imagine being without it. You go out and do 
your own things connected to music, gigs, mini portrait sessions, then target 
who you want to work for. There is no point contacting people if your style is 
completely different though.
How diffi cult was it to specialise in music photography? What were the 
biggest challenges and how did you overcome them? It’s not diffi cult to 
specialise. If music is something you enjoy, then it should be a breeze! The 
challenges are breaking in there and gaining not only potential clients’ trust 
and respect, but also the band. No one is going to send you off to hang out 
with artist x, if you’re not up to it both professionally and socially. You need 
to know how to act around certain people.
How long did it take you to be able to work in such a niche market?
It’s rarely an overnight thing. You have to keep on plugging away. 
What piece of advice do you wish you’d been given when you fi rst started 
out as a music photographer for NME? It’s a funny one really, advice is 
always good, but at the same time, you need to be able to fi nd out how to 
do it your own way – even if that means making a mistake along the way 
too. So much random stuff can happen that it’s impossible to prepare 
sometimes. The best bit of advice is to be as professional as possible 
in all circumstances, and to fulfi l the brief at all costs. 
What are the biggest errors a new photographer can make in the music 
photography business when trying to land themselves work? Maybe getting 
a bit ‘too involved’ in the show business side. Pitching work that isn’t correct 
to the wrong person.
What steps can you take to make yourself stand out from the crowd as a 
music magazine photographer? To be yourself; it’s an age old cliché that is 
just so true. No one can be you, and you can’t be anyone else. Know what 
you’re good at and try to nail it better than anyone else.
What tips can you give on how to present your work to magazines? 
Don’t present loads. Be brutal in your edit, but do show variety. No one has 
time to look at ‘my friend’s band... again’. Just get the best shots in there. 
www.tomoxley.com 
F
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M
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rofessional wedding photographers face 
competition at every turn, so newbies to 
the industry have their work cut out for 
them when it comes to treading what 
can be treacherous terrain without a game plan. 
Mick Cookson has photographed more than 200 
weddings in Manchester, Cheshire, the Lake 
District, York and Sheffield. He offers some words 
of wisdom for those just starting out.
Look and style
“Firstly your technique has to be spot on. Come 
rain, shine, hell and high water, and wind, you 
have to be consistent with your technique, 
comfortable in your abilities and know your 
cameras and ancillary kit inside out.
“And that’s the easy bit! Next you have to create 
your ‘look’ and style. You need to find that look 
that sets you apart from the majority of wedding 
photographers – whether you use a certain lens, 
a specific post-production technique, shoot 
16:9 widescreen, specific film stock emulation – 
whatever. Make your mark, and more importantly 
believe in your style. There are hundreds of 
wedding photographers out there whose work all 
looks the same. Yes it does, because they all use 
the same cameras, lenses and post-production 
software, and they don’t try to be unique, to push 
the boundaries a little. Analyse what you see the 
competition doing, and ask yourself how you can 
produce better, different, more stylish, modern, 
contemporary and unique work – or yours will just 
look like theirs. Then it comes down to personality 
and price. Remember, everyone is a photographer 
these days. From iPhone-using aunties, to ‘Uncle 
Bob’ laden down with a 5D Mark III and 10 lenses, 
every wedding has dozens of them. You don’t 
need to compete. You need to be better.
How can you win business?
“Once you’re near expert in your photographic 
technique and post-production workflow, now 
comes the hard bit: finding work. Inevitably as 
a new photographer, brides (and it is the bride 
who makes the decisions on the whole) will be 
wary of your experience. It’s alright shooting a 
mate’s wedding as a wedding present, or for £300 
to cover your costs, but you need to make your 
clients feel at ease and confident in your abilities 
– not an easy thing to do when starting out. 
I made so many mistakes in the early 
years, it’s embarrassing! You need 
to be professional at all times, and 
maintain that air of professionalism 
– reflected in your attitude, the 
way you dress at meetings, your 
organisation (you are organised, 
right?). Clients won’t book you 
if you look a bit uneasy, or just 
shoot weddings for a bit of cash 
to fund your hobby or supplement 
your income. Remember a more 
experienced pro photographer will 
have much more variety of venues, 
seasons, techniques in their folio 
than you. 
You need to think it through and be 
focused. Social media is a big pond to immerse 
yourself into, no Facebook page or Twitter account 
and you’re as good as dead and buried. Use 
the social networking sites to tell people about 
yourself, your introductory offers. Start a blog and 
add to it constantly – no matter how busy you are, 
it needs feeding. Every wedding photographer 
is doing this and you need to as well – but better 
than your competition…
How should you pitch to 
your first clients? 
“This is a tricky one. You can be honest from the 
word go and tell them your experience and how 
many weddings you’ve actually photographed, 
or been a ‘second shooter’ at, or what courses 
P
One of the hardest nuts to crack, the local wedding 
market poses a challenge for only the most determined 
photographers. Pro MICK COOKSON lets slip his insider 
knowledge to Lorna Dockerill
The Local 
Wedding 
Market 
FO
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you’ve been on and hope they’re still interested. 
Or, you can show some excellent work in your folio 
albums and keep your fingers crossed that they 
don’t ask blunt, awkward questions. Questions like 
‘so how many weddings have you shot? Can we 
see some full weddings in albums so we can see 
how you work for the whole day? Are you insured 
for Public Liability and Professional Indemnity? 
What equipment do you use and what backup 
equipment do you carry?’ I photograph quite a few 
enthusiast photographers’ weddings, and they are 
generally more interested in the gear and backup 
equipment than the album content (almost always 
the groom this time). If you are not asked anything 
tricky, and the clients seem to like you and your 
work, then price the wedding shoot accordingly. 
Work out how long you’d spend on the project 
and the travelling, and work a good hourly rate. 
No point in charging £300 if it takes 40 hours to 
complete the wedding package.
What should new photographers 
never do if they want to break the 
local wedding market? 
“New photographers should never dissect their 
pricing system to the clients, explaining how 
much things actually cost – and then go on to 
boast that their prints are ‘only £3 each’, whereas 
everyone else’s are £10, for example. There’s a 
reason for this price differential, and one day, 
having packed ‘the day job’ in, you’ll probably 
need to charge £10+ for your prints. Remember, 
you’re selling the image, not the paper/canvas it’s 
printed on! Drop the bar too low and you’ll never 
be able to raise it again. Also, don’t badmouth 
other wedding professionals – in any category.
You don’t know who the client has already met 
with, has booked or is about to book. Keep your 
opinions and prejudices to yourself. Yes, you are 
an artist but don’t behave like one, and be a team 
member if asked. Videographers are actually quite 
nice people once you make the effort (Only kidding 
you HD guys and gals!) The wedding industry, as 
saturated as it can be, is a very fickle market full 
of egos and tittle-tattle. Moan about a certain 
florist, venue or car company and the word 
spreads instantly.”
Mick Cookson
Contemporary documentary 
wedding photographer Mick 
Cookson has photographed more 
than 200 weddings in locations including 
Manchester, Cheshire and the Lake District. 
At the age of 15 Mick was hooked by 
photography and later enjoyed a career in 
directing and producing TV commercials.
www.mickcooksonphotography.co.uk 
READ MORE 
FROM MICK
Learn more expert advice 
from Mick by visiting 
www.professional 
photographer.co.uk and 
reading the extended 
version of this 
article. 
Š
Newspapers – 
How To Get Published
Do you call or email the picture desk? Do you go straight to the picture editor or work your 
past the PA? Who better to ask than the ex-Picture Editor of The Times, PAUL SANDERS
et’s start with the hard bit: newspapers 
have little or no budget for photography 
from outside sources. They nearly all 
have deals with big agencies and their 
own (contracted) photographers to supply 
images. The key word on most picture desks – 
especially regional and local press – is: FREE! 
That’s one hard part dealt with; the second is 
volume. While at The Times I had to look at over 
17,000 pictures every single day. I’d spend about 
two seconds looking at each image for nearly 10 
hours per day! If you work into that the sports 
images, around another 3500, and the 6000 badly 
cropped and edited celebrity images, you can see 
how enormous a task it is to get an image printed.
But if you’re serious about getting your work 
used by the publications you are aiming at, read 
them and study the style of images as although 
similar they will have subtle differences. Look at 
the way they use images against adverts; how 
does the text work with the photography? These 
things are really important to the way you shoot. 
I can’t emphasise this enough – read the papers 
you are submitting to, it will help you.
Edit your images, and choose perhaps the best 
six. Crop the images and do the very minimum in 
Photoshop; adjust the contrast, brightness, etc. 
and do only a tiny amount of sharpening. Also, 
whatever you do, don’t clone things in or out – 
you’ll never get used again if you ‘cheat’.
You must also write a proper caption. It needs 
to include: who is in the image, spelling their 
name correctly with their job title, where they are 
from and age if the subject is a child. Where they 
are, what they are doing and why it is important. 
It is also good to include the date the image was 
taken, and if you want paying you should include 
your contact number. Include also the contact 
details for the people you have photographed so 
the reporter can phone them for the story. Check 
your spelling and do not write it all in capitals.
Now the scary bit: you have to phone the 
picture desk! You need the email address for 
submitting pictures. Don’t call and ask to speak 
to the picture editor, he’ll probably swear at you 
for wasting his time or will just not pick up the 
phone. Whoever you speak to, ask their name 
to give you a point of contact – it doesn’t matter 
if it’s the desk PA or one of the researchers. 
Be polite, say you’re sending a set of images 
speculatively, tell them your name and ask if they 
have someone who checks the emails or if they 
are automatically sent into the picture system. 
After this say goodbye to your new friend on the 
desk and hang up.
Send the pictures in two or three separate 
emails, using a naming convention for your 
images such as your initials then subject and 
a number, i.e. PSDUCKS01.jpg. This will make 
it easier for the picture desk to find your images. 
Believe me, I used to see thousands of images 
called img01 or photo01.jpg. Nothing would piss 
me off more than photographers calling saying 
they’d named their images like that.
Once the images have gone, give it half an 
hour and call the desk back. Try to speak to the 
person you spoke to earlier. They probably won’t 
remember you; don’t be offended, they have far 
more important things happening. Be brief; tell 
them the image names and when you sent them. 
They will fob you off by saying they can see them 
– they won’t look unless you’re a regular supplier. 
Now, sit back and relax, you’ve done your 
best. Wake up early the next morning, run to the 
newsagent – it’ll keep you fit – and, hopefully, 
you’ll be greeted by your image splashed across 
page one. The reality is that your image won’t 
have made it. This is where you take it on the chin 
and start again, same drill all over again. To get 
work published you have to be persistent and 
keep kicking at the door. Eventually you’ll get the 
break. When you do, take a ride into town and 
see other people looking at your picture in the 
newspaper, it’s a very cool feeling!
Once your picture has been printed you need to 
call the picture desk again. Try to get hold of the 
person you spoke to the day before; be happy, be 
excited. Ask how you bill for the image and how 
much to invoice for – it won’t be much, but unless 
you marked the image with a fixed fee you’ll get 
the paper’s space rate. Now wait for up to 90 days 
for the money!
After you’ve been published is a good time to 
try to show your portfolio to the picture editor, but 
it is a hard task to get in to see them.
When calling a newspaper, remember that 
you’ll get a better reception on the phone if you 
don’t call at the busy part of the day. Evening 
newspapers are busy in the morning and morning 
newspapers get very busy in the evening. Find 
out when the deadlines are and try to have your 
work on the system well ahead of the deadline, 
otherwise you won’t get your pictures used at all.
Send pictures on a Sunday for Monday 
publication. Monday papers are a bit special and 
need to get the nation’s commuters back to work 
with a smile, so there is always space for a good 
picture story on a Monday morning.
Finally, don’t forget online; all newspapers 
have websites which require filling. Find out who 
organises the pictures for the website and try to 
speak to them as they have more space available 
to use sets of images. Good luck!
www.paulsanders.biz
L
Crop the images and do the very 
minimum in Photoshop, and do 
only a tiny amount of sharpening. 
Also, whatever you do, don’t clone 
things in or out – you’ll never get 
used again if you ‘cheat’. 
– Paul Sanders
Š
The Picture Agency
How can you stand head and shoulders above your peers when it comes to working with 
picture agencies? TP’s LORNA DOCKERILL chatted to the Nature Picture Library for tips on 
how to get your foot in the door
ubmitting work to picture agencies is a 
smart step for those hunting a quality 
body to represent them. Image libraries 
can take the stress out of payment worries 
with rights managed collections and fixed licence 
fees for each picture, but strict criteria needs to 
be followed in order to get your foot in the door to 
become an associated photographer. TP spoke to 
the Managing Director of the prestigious Nature 
Picture Library, Helen Gilks, about the company’s 
musts for budding new photographers. 
“The first thing
a potential photographer 
should do is look at our website to view the kind 
of pictures we look for. We seek interesting, 
top quality popular subjects, or a fresh take on 
something that we haven’t already got. Elephants 
and tigers and other large charismatic animals 
sell again and again, although one of our largest 
selling images was a mosquito biting a human. 
But images don’t have to be of rare animals – 
garden wildlife and subjects you are familiar with 
work well and you should welcome what is close 
to home. If you’re heading off on holiday for two 
or three weeks you probably will not achieve as 
much of a good picture as professionals who 
are out there for months working. Knowledge 
of your subject is important and many of our 
photographers have a background in zoology or 
work with scientists. 
“What will make a photographer stand out are 
stories behind images, where they are working in 
depth. Show a collection on a theme with around 
10 or 12 images to show how you’ve worked your 
subject. We look for images which illustrate 
things for editorial clients. Be sure to offer 
portrait and landscape images so clients can use 
them as covers and include space under subjects 
for copy or editorial. 
“We need submissions of no more than 100 
images which are well edited. You should also 
say what your interests are because editors 
are looking for a fit and photographers who 
are working on ‘stories’. Don’t miss out names 
of species; if you send in a picture of a flower 
without the name, we won’t take it because we 
won’t be able to sell it – it’s too much work – so 
accurate captioning is very important. Send 
medium resolution images and then if we’re 
interested we’ll ask for the high res. 
“Finally, find a niche and have an idea of 
what the library has already and think about 
what you have to offer. One of the biggest 
mistakes photographers make is not being 
able to edit properly, especially with digital 
– stand back from your work and ask for 
feedback from others.”
The Nature 
Picture Library, based 
in Bristol, represents more 
than 300 nature and wildlife 
photographers, providing the 
best images of the natural world 
for editorial, promotional and 
merchandising use. The online 
source holds the key to more 
than 300,000 
photographs. 
S
Helen Gilks
Helen Gilks is owner and manager 
of the Nature Picture Library and 
Bluegreen Pictures. Previously, 
Helen was manager of the Wildlife 
Photographer of the Year competition 
organised by BBC Wildlife magazine and 
The Natural History Museum in London. 
www.naturepl.com 
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Event photography
CHRIS FREAR lives and works in rural Scotland. In all weathers he shoots whatever 
opportunities come his way, including events such as agricultural shows
s a rural photographer I cover a 
multitude of events, from the traditional 
press call to the horse and agricultural 
shows, and everything in between. 
When I’m working at an event I have to think not 
only about the composition of the shot, but is it 
actually worth taking? If it is then where can I sell 
it – to the subject, a newspaper or a magazine? 
Can I sell it more than once by taking slightly 
different shots, enabling me to sell the image 
in differing markets to maximise my income? 
These are all things to take into consideration. 
Nothing shreaks “Ego!” to the average event 
attendee like the photographer with two cameras 
hanging from his neck and a super zoom on a 
monopod. When I attend an event I take a small 
camera bag; there is no need to lug around a 
heavy bag with multiple lenses and bodies that 
I probably won’t use. I’d just end up tired and 
unable to work well.
Travelling light also makes people less 
concerned about your presence, by blending in 
you’ll find people more willing to help you, or 
pose for a photo. Looking like an amateur has its 
advantages. If you need to get close to a subject 
and your zoom won’t reach, then use your legs, 
that’s what they were designed for. It’s also 
import to know what lens to use. Ditch the arty 
shots as you’re not there to satisfy your artistic 
side. You need to produce respectable shots of 
people or animals looking their best that owners 
or attendees will want to buy later.
Know your equipment and what it can and 
can’t do. An example I see both amateur and 
professionals alike repeat time and time again is 
to photograph horses up close and head on with 
a wide-angle lens. The lens will make the horse 
look small headed and knocked kneed because of 
the optics. An owner isn’t going to buy an image 
of his/her animal looking anything other than 
perfect. A wise move is some form of weather 
protection too – even if it’s just a shower cap.
Where you can, make your images stand out 
by taking them from a different perspective; bend 
your knees, use a ladder, anything to get your 
DSLR away from the average 5ft 6in eye level. 
Don’t forget candid people shots; spin around 
occasionally and look at the crowd, sometimes 
a candid shot of the crowd can be a seller.
Carry a box of business cards on every 
assignment, this way you’ll be talking face to face 
with potential clients. By talking to a customer 
directly you can find out what they are looking for 
in an image. They are basically telling you what 
they are willing to purchase. The more you follow 
this advice the more you increase your potential 
for sales, and best of all it’s free!
Insurance – particularly public liability – is 
just common sense, not only to replace any 
damaged equipment, but to protect yourself just 
in case. Events, especially in the countryside 
where animals are involved, can be quite dynamic 
and fast moving. If you put your bag down and 
someone trips over it and breaks a bone, you’ll 
be sued! Protect yourself. Best of all, be careful 
where you leave things. 
Don’t be run off; I’ve had event photographers 
try and run me off events because they weren’t 
getting the sales. The problem was that this 
individual wasn’t known locally, I was and people 
in my area knew me and my work. Seeing me at 
an event, they preferred to wait and see my web 
gallery before ordering from him.
Get a programme; it may seem 
a schoolboy piece of advice, but at 
least you’ll be able to plan where 
you think the most dramatic, most 
saleable events will be. It may 
even be worth taking a small ad 
in it so people know where to find 
the images – it may also help the 
next time the event is run with the 
organisers. You’ll also be able to caption your 
images correctly for the events – a Dictaphone 
can aid your memory of course.
Lastly, get a t-shirt to wear with your name and 
contact details – perhaps even with a QR code 
printed on it – it looks professional, official and 
is free advertising.
Event photography is certainly hard work, 
especially when working with children, animals 
and the changeable British weather, but it’s also 
fulfilling if you’re willing both professionally and 
financially to put in the hours.
A
Chris Frear
A freelance editorial 
photographer, Chris specialises in 
environmental portraits of people 
at work. Based in south west 
Scotland he has an extensive archive of rural 
imagery covering a variety of country life and 
wildlife for national agricultural magazines. 
www.chrisfrear.photium.com
When I attend an event 
I take a small camera 
bag; there is no need to 
lug around a heavy bag 
with multiple lenses and 
bodies that I probably 
won’t use. I’d just end 
up tired and
unable to 
work well. — Chris Frear
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Model Agencies
ays spent photographing cheekbones 
you can slice cheese on, pouts to 
rival Angelina Jolie’s and legs to die 
for sounds like every photographer’s 
dream. However, how to actually land yourself 
a regular job photographing agency models is 
the question on aspiring professionals’ lips. 
Craig Fleming has been a portrait 
photographer for the last eight years and 
regularly shoots model portfolios. He reels 
off must-know advice to TP for those keen to 
corner the market.
“When I turned pro, although I did a few 
weddings and portraits, I knew I actually 
wanted to do celebrity portraiture. So I fi gured 
the best way to that was to start shooting 
models so that I could get my head around all 
the different lighting techniques. Initially I was 
just testing with pretty amateur models and 
better looking males, but within a few weeks 
I’d approached a model agency in Sheffi eld for 
whom I started shooting model books on a paid 
basis. I did put a lot of hard work into it though, 
perfecting lighting and retouching to give the 
models something that just stood out against 
the other photographers in Sheffi eld. 
“New photographers often make the mistake 
of producing images to please the model who 
is, after all, paying you. So they go overboard 
with retouching, but an agent needs a fair 
representation of the model to show their 
clients. If a model turns up to do a cosmetic 
dental shoot based on the premise that you’ve 
perfected her teeth in Photoshop, and as soon 
as she opens her mouth it looks like boot hill, 
then you’ve got three unhappy people: model, 
agent and client. 
Another thing people do is the clichéd 
poses straight out of the model’s handbook of 
1982. Keep it simple, light sympathetically and 
retouch to a minimum. The models need stylish 
shots, not fashionable ones; fashion can look 
ridiculous in 12 months, whereas style always 
remains stylish. 
“Also, good communication is one of the 
best things, so talk to the agents and get to 
know them. Learn who their clients are so you 
can tailor a model’s book to suit. If the agent 
supplies a lot of commercial models for online 
shops for example, shoot in that style. One 
comment models often come back with is “I got 
so much work off the back of that shoot we did, 
the clients loved that image in my book,” and 
it’s good to get that kind of feedback. 
“You won’t retire rich solely from shooting 
tests for model agencies – it’s more of 
a stepping stone on to other things such as 
well-paid commercial work – but agencies
are good for keeping that cashfl ow going. 
And by maintaining a good relationship with 
them, agents will put you forward for jobs now 
and again. 
What piece of advice do I wish I’d been given 
when I fi rst started out? Don’t date models.”
 
D
CRAIG FLEMING tells Lorna Dockerill how you can fi nd 
yourself working for top model agencies
Premier Model Management is 
a well-respected model agency with fi ve 
divisions; Women, Men, Future Faces, 
Premier Division (for high-end editorial 
and runway models) and Premier Special 
bookings. TP asked Booker, Natalia 
Macdonald, how to get started at an agency 
like Premier. 
“The best route in for new photographers 
with Premier is to start ‘testing’. This is where 
we work with a photographer and they shoot 
our new models or girls who require new 
images. Neither parties tend to get paid but in 
return the photographer and model can use 
the images for their portfolios. I deal with 
a lot of testing at Premier and for me the 
thing that can set you apart is a good website. 
Simple, clean images with some styling are 
what attracts me! I tend to look through a 
photographer’s website and like to see that 
their work fl ows well and that a defi nite style 
is present. It is also important for us that 
photographers can pick good make-up artists 
and stylists. 
“The best thing to do is set up a test. Give 
the agency a call and fi nd out if they have new 
girls for testing. Email the brief across, make 
sure you detail the team and their websites 
and attach a mood board. Keep it simple – 
I turn down many tests due to crazy mood 
boards. Remember the images are only of use 
to us if we can use them in the girls’ books, 
and the girls are recognisable! Moodboards 
as a PDF tend to work best.”Š
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About Premier Model Management
Established in 1981, Premier has helped build the 
careers of supermodels such as Naomi Campbell, 
Christy Turlington, Cindy Crawford and Claudia 
Schiffer. In 2011 the company featured in Channel 4 
documentary The Model Agency. 
www.premiermodelmanagement.com 
Craig Fleming
Craig is an editorial, fashion and portrait 
photographer based in the Maldives... err, 
Sheffield. He loves working in a studio and 
on location experimenting with lighting, and he also 
writes regular features for our sister title, Professional 
Photographer. www.craig-fleming.com
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Formal Education: 
eaching photography as an educational subject has thrown up a 
varied number of opinions among readers recently; if you have the 
industry knowledge do you really need a PGCE, or is a teaching 
course necessary, despite the large amount of course fees?
Turning Pro explored the paths you may or may not want to take to 
become a teacher in the subject of photography, what people want from 
you and what you need to get there.
WHAT YOU MIGHT NEED TO BECOME 
A PHOTOGRAPHY TEACHER
BE ACADEMIC
Some institutions may require a doctoral degree or PGCE to allow you to 
teach, others may be happy with a Master’s or BA degree in fine arts or 
photography. Importance is also given to the amount of experience you 
have, in both teaching and proving yourself as a reputable photographer, 
so make sure both of those areas are worked on equally.
BUILD YOUR PORTFOLIO
The more impressive your personal portfolio is, the more likely you are to 
gain a position at one of the top art and photography schools. Get as much 
work experience teaching in schools or as a classroom assistant, as well as 
having a good portfolio of your own photographic work.
APPLY YOUR KNOWLEDGE
You need to be able to apply the knowledge you have about photography 
into valuable lessons for your students. Think of creative ways to pass on 
your knowledge to ensure you have what it takes to keep the attention of 
a class.
INJECT COLOUR AND FLAVOUR
Teaching for many years can become stale after a while, so think of new 
ways in which you could apply your lessons differently, which will help in 
the long run as well as in your interview. 
T
Think you know enough to teach photography? A PGCE might be in order 
Job requirement for a photography 
teacher in a school:
The ability to teach ‘A’ Level or Level 3 
courses is desirable…
…and that’s it! The only other interest the 
school had was in any relevant 
work experience.
THE VERDICT
So let’s weigh up the evidence; if you would 
like to be better prepared for teaching lessons 
in schools or colleges then a PGCE sounds 
like the right way forward. It should be coupled 
with a very strong photography portfolio and an 
open creative mind.
Jason Tanner
Jason Tanner is a photojournalist currently based in the UK. A photographer since 2001, 
his professional career began in 2005 covering news, sport and commercial photography 
for agencies and publications in the UK. His extensive experience of travel in some 55 
countries
led him to relocate to Bangkok in early 2008 focusing his efforts on coverage of 
international humanitarian issues. www.jasontanner.photoshelter.com
PGCE? Check. Necessary? Perhaps not
Photographer and former teacher, Jason Tanner, studied a PGCE and 
advises those considering studying the course to think long and hard 
about it. “Most of the people I knew and met teaching at FE (college) 
level either did not have a PGCE or require a PGCE. In fact most 
preferred industry experience, as long as the prospective candidate was 
happy with pursuing a QTS (teacher’s) status during their employment 
with that college. The only benefit to having a PGCE is that it teaches 
you about how to ‘properly’ prepare lesson plans. To be honest, within 
six months of leaving my PGCE course, most of what I’d learnt was 
irrelevant, the school had its own policies and procedures and that’s all 
that mattered to them,” says Jason.
Jason’s advice would be: “Scour the teaching websites and 
approach them with a good portfolio of work and industry knowledge 
because that’s what they’ll be interested in – the ability to engage with 
16-19 years olds and offer them examples of what and how you are 
teaching them can be applied at industry/commerce level.
Newspaper 
cut-out: An 
example of 
what the 
employers 
want
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Why did you decide to move from doing photography to teaching 
it? I kind of fell into teaching a few years ago when I was invited by The 
British Council to train photojournalism students to cover a fashion week 
in Tashkent, Uzbekistan. Recently I have been invited by various NGOs 
to mentor and teach multi-faith young people aged 16-18 years old. It 
was a rewarding experience, because I got to pass on my knowledge and 
inspire the students to develop independent points-of-view. 
In 2006 I co-founded Sojournposse, which is a collective of visual 
journalists. We’ve produced storytelling workshops at London Design 
Festival since 2009, so the brush with academia started there.
I am currently teaching photography workshops at City 
Academy, a well-known performance arts school in 
London. I believe the best way to learn is to enjoy the 
craft and get better at it while doing it.
Where did you train? The university and school 
of hard knocks. I took darkroom photography 
lessons when I did my graphic design degree. It was 
compulsory for anyone wanting to be art directors then. 
My professional photography career started when I bought 
a Nikon DSLR while working in travel publications. I asked my 
editors to send me out to photograph press events. I ended up 
covering assignments in Europe and the Far East, and eventually 
photographed for a few travel industry magazines. 
One of the best ways to improve at photography is to be thrown 
into the deep end and learn on the job. Later I trained in documentary 
filmmaking at Kensington and Chelsea College.
What do you like about the job? Teaching is inspiring. I love the 
fact that I got to meet people from various walks of life who want to be 
better at seeing the world. I don’t think teaching is easier than any other 
profession; you have to plan meticulously and be able to break down the 
photography processes so that they make sense to your students. When 
I work, I am so used to being fast on my feet to get the shots I needed, 
but when teaching I have to consider the pace of my students. They also 
ask me basic questions that I have forgotten! So it keeps me in check all 
the time.
Why do you think that people want to avoid doing a photography 
degree and do you agree with this? Higher education is pretty 
expensive at the moment. Unfortunately the lack of substantial revenues 
from photojournalism also deters people from pursuing it professionally. 
It’s a shame because good image-making is not something we can 
afford to compromise. I’m a bit worried photography will become an elite 
profession to those who can only afford it. I hope with short, practical 
workshops like City Academy, people will have the access to discover 
photography and inspire them to consider advanced training. Many good 
photographers I know did their photography educations at MA level, and 
they produced fabulous intelligent projects.
What would your be advice for anyone wanting to 
teach photography? Get as much experience in teaching 
and get teaching qualifications if needed. It’s better when 
you enjoy it because it is hard work at times. I write my 
own notes for students, so there is a lot of research and 
reading going on. You have to be committed to it, but it’s 
good fun.
How do you balance your teaching and your photography?
I teach in the evenings and weekends at the moment. So that goes well 
with my photography work.
If someone wanted to teach photography what would prospective 
employers be looking for and what is expected of you?
At least a few years experience in the field, a good portfolio of work and 
enthusiasm and don’t be shy to propose your ideas to organisations. 
Create a workshop that you want to attend yourself.
PGCE? Nope. Necessary? Not for me!
Turning Pro spoke with Zarina Holmes — working pro and photography teacher — 
to find out why she wanted to teach her trade and how she climbed to the top.
ZARINA’S 
USEFUL LINKS:
www.sojournposse.com
www.city-academy.com/
photography-classes
zarinaholmes.org
Zarina Holmes
Zarina Holmes is a documentary photographer and video 
journalist who has worked for news, publishing and 
advertising. She also teaches multi-media reporting, visual 
communications and photography. She was Creative Editor and 
Staff Photographer at BMI Publishing, Commissioning Photo Editor and 
photojournalist for Onboard Hospitality magazine. 
It’s also a good idea to check job 
adverts and see whether the places 
you would like to teach ask for 
anything more than experience in the 
industry; do they specifically ask for 
a PGCE or will they provide you with 
teacher training? This can depend 
on what level you are looking to teach 
and where.
Like Zarina you could go the 
alternative route and perhaps try 
starting up your own photography 
classes and use that for your portfolio 
and CV. It may turn out to be so 
successful that you don’t need to 
teach in an institution as you will have 
already established your own group.
Š
 
Alternative 
Photography 
Careers
o you’re just starting out in the photography industry and trying to 
pigeonhole your style but haven’t quite found it. You’re not really 
a landscape photographer and the thought of fashion and studios 
simply frightens you, so what options are out there? By thinking 
outside the box you can craft yourself a neat little career in specialist areas 
which are calling out for photography talent. With these opportunities you 
could be helping to fight crime, document history, change the future as well 
as travel the world and beyond. 
Medical Photography
A rewarding career where you’ll be helping to make changes in the medical 
industry, you’ll be providing something that will be of benefit to each and 
every one of us when we face difficulties with our health. Classed by the 
NHS as Medical Illustrators, medical photographers produce accurate 
images which record injuries and diseases, to help with the progression of 
operations and other procedures. 
What skills you need:
+ Grasp of photographic principles and specific techniques used 
 in the medical setting
+ Basic knowledge of anatomy, physiology and the origins of 
 manifestations of diseases
+ An interest in science and medicine
+ Ability to communicate medical terminology
+ Knowledge
of confidentiality laws and copyright
S
If you’re the type of person who is 
happiest going against the grain, colouring 
outside the lines and wandering off the 
beaten track then read up on some of our 
alternative photography careers and see 
what floats your boat
Karl Southerton, Medical Photographer for the Western 
Eye Hospital, London.
Karl is a medical photographer for the Western Eye 
Hospital in London, but he wasn’t always immersed in 
such a field. “My initial background was in commercial 
photography so I had little knowledge of medical 
photography, but was curious as to what it would 
entail. I began applying for posts and was shortlisted 
for a few but due to my lack of experience was unsuccessful. After 
carrying out work experience at Moorfields Eye Hospital they offered 
me a job. Throughout my twenty years as a medical photographer – 
and the vast majority of those years being involved in ophthalmology 
– I have seen a change in my role. When I first started out the 
emphasis was on photography knowledge and how I harnessed 
this when taking medical imaging. Now that digital has replaced 
film, potential employers are looking for people who have a science 
background and then train them to use specialist equipment.”
www.jobs.nhs.uk 
Rick D’Elia, freelance NGO photographer 
Rick has 23 years’ experience in the field and has 
worked with the likes of AmeriCares, Int’l Relief, 
Phoenix Children’s Hospital and BBC Online.
“When I photograph clinics, schools, camps and 
other projects I feel like I’m somehow a part of the team 
that is making a difference. It’s my calling to figure out how to make 
their lives come through in photographs, so that I can give a voice to 
those people in the photographs,” says Rick. 
“Being on an assignment in Post-Genocide Rwanda with 
AmeriCares lit the fire for my passion to document the work of 
organisations making a difference. I spent only a week documenting 
the field clinic, working closely with the medical crew, but it was 
real, visceral and profound. All of my experience has taught me 
that, more often, opportunities come from connections through 
volunteering rather than walking through the front door of an NGO’s 
world headquarters with a portfolio under your arm. It is also 
enormously important to be easy to work with in the field. This 
does not mean that you give up your vision and unique brand 
of creativity, or that you don’t make meaningful and interesting 
photographs. Cultural and language barriers can provide many 
challenges to your patience, but at the end of the day the path to 
success in the field is reaching deep for that patience as you explain 
what you hope to accomplish.” 
www.deliaphotographic.com 
NGO Photography
When you come across charity shops or those adverts telling the stories 
of people in crisis or long-term challenge, you’re seeing the work of NGO 
photographers who capture images that help make a difference. From 
war-torn countries to disaster-stricken homes, these photojournalists find 
out the truth. Non-Governmental Organisations include Oxfam, Save the 
Children and Amnesty International, just to name a few. 
Skills and characteristics needed:
+ A background in photojournalism 
+ Ability to catch a viewer’s attention instantaneously 
 with your message
+ Originality in your work 
+ Good communication skills to let your subjects 
know what you’re trying to achieve
+ Being easy to work with in the field
RICK’S 
TOP TIP: 
“Remember the basic 
tools of photographing 
people: eyes, expression, 
emotion, action, 
interaction and setting. 
These are key to NGO 
photography.”
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Science Photography
Science, an umbrella word, encompasses many different sectors. If at 
school you were always itching to get to science class you would know 
how exciting this area is. It’s capturing the world right in front of our 
eyes and documenting how it is developing for others to see in years to 
come. Science photographers record experiments and illustrate scientific 
information through a wide variety of areas from underwater discoveries 
to the earth above. Your imagery will educate, inform and question, 
transporting our minds to unimaginable depths. 
Skills and characteristics needed: 
+ A keen interest and experience in science
+ A thorough grasp of photography, including non-standard techniques
+ Dedication and care to your work
+ Close attention to detail and a meticulous approach to image- and 
data recording
+ Strong interest in science and a sound knowledge of physics and optics
+ To be a team player
Mark Sowa, Supervisor of NASA’s Imagery Acquisition 
Group at the Lydon B. Johnson Space Centre, Texas. 
Space man Mark Sowa gets to photograph exciting space exploration 
equipment as his nine to five job. “NASA photographers capture 
a broad range of images. We provide professional photography 
and lighting for shots of everything from facilities to people, flight 
vehicles and engineering tests. The photographers fly backseat in 
NASA’s T-38 jets capturing air to air images of other NASA aircraft 
and aboard H-65 helicopters for aerial photography. In addition to 
photography, we capture HD video, high-speed digital motion picture 
and time lapses. 
“The imagery we capture serves two 
purposes. One is to use imagery as 
a form of data collection and a record of 
research and development at NASA. 
The second purpose is to inspire and 
share with the public the work that 
NASA does. All of the still images and 
videos we capture record the efforts of 
humankind’s efforts in space exploration. 
Two thousand years from now, these images 
will be the official record of this generation’s greatest 
endeavor in space exploration. The staff always have in the back of 
their minds that what they see through their viewfinder is what will be 
seen by historians for generations to come. 
“When hiring photographers for NASA, we always get a lot of 
applicants well trained in the arts, but very few who have a solid 
science, engineering or mathematics foundation as well. For NASA 
a lot of our photographers fly aboard aircraft and have an interest in 
aviation and space flight.”
www.nasa.gov or eol.jsc.nasa.gov
MARK’S 
TOP TIP: 
“Look at other interests 
you can combine with 
your photography. By 
getting the education and 
training in both, you 
will stand out 
among other 
photographers.”
Tim Walker, Video and Imaging Manger at 
Gloucestershire Constabulary: 
Tim uses his camera to fight crime on a daily basis, like a real-life 
superhero. “The photographs we take are often technical images of 
recovered footwear marks captured for comparison and identification. 
However, most of the images passing through our unit are taken by 
other force staff. We will prepare them for court presentation and 
perhaps add annotations. 
“Other areas of the force that take imagery include Scene of Crime 
Officers, Chemical Development, Collision Investigation and the 
Serious and Organised Crime Unit. Staff at these units master many 
disciplines of which photography is just one. In the case of Chemical 
Development Officers and Scene of Crime Officers successful 
applicants will most likely have a degree in forensics or science.” 
www.police-jobs.co.uk
Police Photography
Do you want to fight for the law, capture the criminals on camera or 
go right into the scene of the incident to find out the truth? As 
a photographer within the police force, dependent on which division 
you join, you’ll be providing a service that brings criminals to justice 
and helps to discover evidence of unforeseen circumstances.
Skills and characteristics needed: 
+ Experience in photography and the science behind it using
different equipment
+ Active listening skills, being able to give your full attention
+ Critical thinking, using logic and reasoning to address a situation
+ Have a social perspective and the ability to be aware of 
others’ reactions 
+ Be able to make important decisions
BO
B 
O
W
EN
My First 
Year
Starting out is 
always a tricky 
situation, so we’ve 
spoken to seven first 
year photographers 
about their experience 
to make you feel 
at ease
How did you first get into photography?
I have taken pictures throughout my life 
and always been known as ‘the one with the 
camera.’ I spent 10 years working as a picture 
editor on magazines and national newspapers 
organising all the photo shoots – I knew how I 
wanted the finished product to look and knew a 
good picture when I saw one but never knew how to 
achieve it myself. A couple of years ago a friend introduced 
me to a photography forum in the US called Clickinmoms. I did several 
online workshops with them and my love of photography grew from there.
How did you become interested in photographing children?
I have worked for a number of years with pre-school children and my 
photography business combines my love of photography with my love of 
working with children. Younger children tend to be very natural in front 
of the camera (once they realise they don’t have to say ‘cheese’) and after 
a while they almost forget the camera is there.
How did you start your business?
As I became more confident in my photography, I started posting my pictures 
on Facebook. Friends saw them and asked me to take pictures of their 
children and in turn their friends asked me. I started to build up a reputation 
and portfolio and when people I didn’t know started asking me to take 
pictures of their children I knew I needed to start charging. My business 
is naturally evolving through word of mouth.
Can you describe a typical day?
I like to find out about children before I meet them so I talk to 
their parents beforehand. Once I know a little about 
their personality and what they like doing, 
I suggest some suitable locations for the 
shoot. If children are relaxed and enjoying 
themselves I am more likely to get the 
pictures I want.
 When we arrive at the location I look 
for the best light as well as background. 
At a recent shoot the best light happened 
to be in a stable. Once children have some 
direction on where to stand the shoot tends 
 to flow naturally as children interact with their 
parents and myself. I don’t rush the shoots and will take a variety of different 
images for the parents to choose from. As soon as I come home from 
the shoot I will download the pictures and back up the Raw files. 
I spend non-shoot days editing, marketing, managing client orders 
and correspondence as well as blogging my images.
What is the key to running a successful photography business?
You need to be passionate about what you shoot and you need a good eye 
to stand out from the crowd. Photography is as much about business as it 
is taking pictures, in fact taking pictures is only a small part of my business. 
I am constantly learning what works and what doesn’t and trying to improve 
every aspect of my business. 
CONS
When you have your 
own business it is very hard 
to switch off, stop thinking 
about work and relax. I work 
every weekend and a lot of 
evenings, I even dream 
about photography!
With her eye in the imaging 
world, ALEX RICKARD put 
her money where her mouth 
is and set up a children’s 
lifestyle business where this 
time she got to call the shots 
and capture angelic subjects
PROS
 I feel so lucky to be doing 
a job I absolutely love. There is 
nothing more rewarding than a 
parent writing to tell me how much 
they love the pictures of their child 
and that I have captured their 
personality. I know how fast 
children grow up and change 
and I love preserving 
precious moments in 
their lives.
Adorable 
Portrayals
What would you do differently?
I would be more confident, I am my own worst critic! I have learnt that 
if something is not working, have the confidence to change it. 
What advice would you give someone thinking of setting up a 
photography business?
Make sure you know where your business is heading and write a business 
plan. Before you make a new purchase really think about whether you 
need it, and whether it will add value to your business. The internet is 
a great source of information and support, other photographers are 
generally willing to share tips and advice.
What’s next? What are you doing to prepare for the future?
I have so many plans; top of my list is improving my product range and 
investing in more frame and album samples. I would also like to do more 
training and possibly a mentorship program. My dream is to have a 
viewing gallery for client viewings, possibly in a barn or even 
a summerhouse in my garden!
M
Y
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EA
R
AL
EX
 R
IC
KA
RD
Top tips 
Shoot what you enjoy and what 
comes naturally and don’t try to 
be someone else. Also, blog the 
type of pictures you want to shoot 
again; often clients are attracted 
by a particular picture on my site 
and want to reproduce something 
similar for their child.
Gear
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Alex is a portrait and wedding photographer based 
in Ardingly, West Sussex, and specialises in children’s 
photography. Alex was a picture editor on magazines and 
newspapers for 10 years before her love of photography 
grew into her profession. 
www.alexrickardphotography.com 
Š
M
AR
IS
A 
TA
YL
O
R
It’s early October and Marisa Taylor is on maternity leave – she is due to give 
birth to her third child, her third boy, in two days. But Marisa isn’t really on 
maternity leave, she’s in her studio in Midsomer Norton, near Bath, tending 
to a few jobs. Some would argue that she should be at home, cup of tea in 
hand, feet up, resting up in preparation for the inevitable onslaught of 
childbirth, sleepless nights and dirty nappies.
“My first two were a week late, so I’m not expecting this one to arrive any 
time soon,” she jokes. In the four years since she quit her job in IT and started 
her photography business, the 39-year-old has learnt how to combine being 
a mother with being an entrepreneur and, it seems, old habits die hard.
As her fledgling business has gradually found its feet and matured, so too 
has her young family and, along with her husband Andrew, she now cares 
for her two sons Cameron, six, and Lachlan, four, in between work. For many, 
motherhood and a career are two elements of life which all-too-often come into 
conflict. But pragmatically, Marisa thinks her role as a Mum has actually helped 
her in her role as a photographer. 
“A lot of people like the fact that I’m a Mum as it means I can empathise with 
them,” says Marisa. “It means that if a baby comes into the studio and is sick all 
down his T-shirt I don’t panic, because I have been there before and I know that 
it is just one of those things.
“But even things like I know what young children are watching on telly at 
the moment helps, because I can talk to them and put them at ease.”
She says she has always had confidence in her own ability as a photographer 
but admits the biggest challenge to her when she first started was adapting 
from the nine to five nature of her previous job to the long hours and weekend 
shifts associated with photography.
Despite regularly working
60-hour weeks, Marisa uses her time wisely – she 
works at weekends when the children can be looked after by Dad, but is sure 
to finish work during the week at about 3pm so she can do the school pick-
up. After the boys are tucked up in bed, Marisa continues to manage her 
time well and may reach for the computer to do some editing or catch up on 
some important paperwork. Initially working from home and doing shoots 
on location, Marisa now operates from a studio as part of the Barrett and Coe 
photography franchise.
“Working without a studio at first helped in a way because of course the costs 
were less but eventually I was glad to get my own studio, where I think I could 
control things more and ultimately get better pictures,” she says.
“But being part of Barrett and Coe really helped initially because apart from 
all of the business they send your way, there is a lot of support there. Being a 
photographer can at times be quite a lonely profession so it’s nice to have a bit 
of a network.”
With a young family to care for, setting 
up as a photographer was quite a risk 
for MARISA TAYLOR. But she tells Will 
Roberts how it is a decision she has 
never regretted
A Leading 
Lady
Marisa admits that at first there were genuine concerns about her new 
career path. “When I left my old job they always said there would be a place 
for me if I wanted to move back, which I always thought was a good thing 
to know,” she says.
“But then the company got taken over and moved to Manchester so 
I thought ‘this is it now, I really am by myself’. There is always uncertainty 
because you don’t know how much you are going to bring in each month 
and you obviously have bills to pay. But if things are ever quiet I take that 
as a sign that I need to get out there and do a bit more marketing to bring 
some more business in.
“It is tough and I put in a lot of work every week, but it is easily the best 
thing I have ever done.”
And while she won’t be behind her Canon 5D Mark III for the next few 
months, Marisa still plans to play a major part in the day-to-day running of 
her business. She has taken on a photographer to cover for her at shoots and 
when she returns, has hopes to keep the extra member of staff on to allow 
for expansion.
M
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Top tips
Marisa says people should not be put off by the uncertainty surrounding 
launching yourself as a professional photographer. She says: “There are a 
lot of people who have a job and are in that safety zone and 
are scared to go for it by trying to start their own business.
“It is certainly worthwhile but you shouldn’t underestimate just how 
much hard work and time it takes to make things work. Anyone going into 
it thinking they would have this comfortable little business where they 
choose the hours would find things very tough.”
Marisa Taylor 
Mother and portrait photographer Marisa Taylor 
lives in Midsomer Norton, near Bath, and is part of the 
Barrett and Coe franchise, a company which works with 
a network of approved photographers.
www.barrettandcoeportraits.co.uk
Š
LO
UI
SE
 H
AY
W
O
O
D-
SC
HI
EF
ER
 
How did you first get into photography?
I’ve always been drawn to photography but it wasn’t until recent years that it 
became an obsession. When I was growing up my Dad had an analogue Leica 
III which he’d bought on his travels and I was fascinated by its beauty and 
magic. However, back then although I was intrigued by photography, I lacked 
the confidence to experiment with the medium which is inherent to being 
a successful photographer.
How did you become interested in fashion and portrait photography?
Fashion photography inspires me so much and offers creative freedom. 
Femininity has always been a focus in my work and I began by capturing 
my closest friends in precious unguarded moments and fashion followed 
naturally. Mario Testino once said fashion is the most basic and fundamental 
form of human expression and I find this truth alluring. His words are forever 
etched in my mind. I have a fixation with documenting the fragility and 
transiency of youth and this lends itself well to fashion photography.
How did you start your business?
I made the decision to pursue photography as a career about a year ago, 
but my life had been leading up to it for years before. I had been studying 
photography, devouring photography books, connecting with and talking 
to anyone who would listen about photography – mainly my tutors and 
working professionals – absorbing and learning all I could. During that time 
I planted the seeds of my business and it grew naturally over time. I feel 
this is important as it allowed me to grow with it. Being involved with an 
online fashion magazine and also a national newspaper supporting young 
women starting their careers also helped build up my business as it created 
opportunities and opened doors I could never have imagined.
Can you describe a typical day?
Each day is different but that’s what makes me thrive and keeps my creativity 
flowing. I love that one day I could be working on a concept that I might not 
have even thought conceivable the day before. It brings you into a world 
where with motivation and the right team, almost anything is possible. I am 
involved with the whole process from concept to shooting and completion 
which means alongside the fun of idea generation, social media and 
blogging there’s also a lot of admin involved and I’m often filing, invoicing 
and record keeping.
What is the key to running a successful photography business?
Hard work, determination, persistence and above all, passion. Don’t 
follow trends but rather find your niche; you really have to narrow down 
what is important to you and work at that and I can’t stress this enough. 
Follow your heart and if you are passionate about what you do and how 
you work it’s likely others will be too. This road takes time though so find 
your own path and be patient. Trust your instincts too. I often think your 
The fashion industry is fiercely 
competitive, so how do you 
ensure you have what it takes 
in your first year of business? 
MILLY COLLEY shares key 
advice with Jessica Bracey 
She’s in 
Fashion
M
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Top tips
Shoot more and worry less. Of course nerves will always be there, but 
as long as you love and care about your job don’t let nerves prevent 
you from trying things. Don’t doubt your ability or worry about whether 
you’re good enough to do a particular job. If you’ve been hired then that 
person, company or organisation believes in you. It takes time to realise 
that, but once you do it changes the way you work, your body relaxes 
and frees up your mind.
Spend less time planning and more time doing or shooting. You’ll find 
that ideas develop naturally. Obviously a certain amount of prep is 
important, but once you’re in the moment shooting an extraordinary 
feeling takes over and you can end up taking photos that you wouldn’t 
ever have imagined.
Your style will develop naturally. Don’t force it. In fact I would advise 
not even to think about such things. Then it will creep up on you and 
take you by surprise in the way that love does. In the best possible way.
Gear
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Milly Colley is a London-based photographer specialising in 
fashion, fine art and femininity. Published internationally she has 
worked with the likes of Topshop, Gucci Group, American Airlines, The 
Mail on Sunday and Vice. A retro girl at heart her style is soft, dreamy and 
whimsical. www.millycolley.com
natural instincts are the most powerful tools