Mster photo

f2 JulyAug 2016.indd 14 07/06/2016 15:32
were briefed by our clien to look
and which would be displayed on
the ceiling/wall in the bar area. The
idea was to create one complete
artwork that would become an
Fujifilm’s ImageHunter product
manager Peter Hayward suggested to CC Imaging that
this RIP software, designed specifically for use with
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when it was wet (“a little fishy”), and
working off a scaffold. For the
record the choice of adhesive was
Erfurt Mav ready mixed paste and
the mounting of the 24 prints was
achieved in jus two days.
“The result is breathtaking,”
For more information see:
Nick: www.inside-outbranding.com
Fujfilm telling your
stories in the national
photo press: every month
specially commissioned
interviews and features
on new work, exhibitions,
books and specialist
imaging services has been
put in the press spotlight
by Fujifilm.
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The lie of the land
A group of recent graduates from the University of Westminster mounted an ambitious joint
exhibition in London in June, made possible by support from Fujifilm and the Bayeux pro lab.
If only Michelangelo could have used Fujifilm
Wallpaper on the Sistine Chapel…
WHEN A NEW restaurant
commissioned a motorthemed
display for its bar area
photographer Nick Turley turned to
CC Imaging and Fujifilm’s Wa lpaper
Media for help.
Michelangelo may have
established the trend for ceiling art
with his celebrated treatment of the
Sistine Chapel, bu the principle of
creating rich visual entertainment
above the heads of visitors is sti l
going strong some five hundred
years later - albeit in a 21st century
format.
While the newly-opened
Waterwheel restaurant in Howden,
Yorkshire might not share the
same sweeping dimensions as
the Vatican, this upmarket new
venue nonetheless boasts a
sumptuous interior that’s the
setting for a remarkable overhead
artwork, designed and created by
photographer Nick Turley.
“There’s a motoring theme
running throughou the whole
restaurant,” says Nick, “and we
nature of the job and who might
suggest a suitable media to print
on. “The first step was to measure
a l the bays very carefu ly,” says
Nick, “and then to produce scale
drawings. Then I had to produce a
visual design and make any changes
they asked for. At this stage I could
go ahead and produce the finished
artwork files, a l at the correct sizes.”
“I chose to work with CC
Imaging in Leeds because it was
a lab I knew we l and I was aware
of thei reputation for high quality
printing and attention to detail.
They advised that Fujifilm Wa lpaper
would be the perfect media to use.”
Halifax-based Nick provided
comprehensive printing
instructions and sizes to CC
Imaging. Mark Senior, the
company’s joint MD says, “This was
a first for us but we knew we had
the facilities to cope and we felt
confident that Fujifilm’s Wallpaper
media would be up to the job.
“In fact, the only issues we
Mark Senior of CC Imaging with output
on Fujifilm’s Wa lpaper Media
faced were ensuring we go the
measurements spot on and also of
handling the non-standard sizes
and overlaps.
“The images were created in
Fujifilm ImageHunter software
and printed on an Epson Stylus Pro
11880 64" inkjet printer. The whole
process was rea ly straightforward.
The ink went down rea ly we l, with
no smudging or banding, and,
importantly, the colours from roll to
ro l also matched perfectly.”
Great care was taken to ensure
tha the colours would be resistant
to fading. “We did some tests
where we coated the paper with a
cellulose spray,” says Mark, “but it
quickly became apparent tha the
media was actually really durable
and it wasn’t required. It was also
quite lightweight despite coming in
ro ls that were 42 inches wide, and
our fear that it might be difficult
to hang was unfounded. In short,
Fujifilm has go the product exactly
right.”
Mark also appreciated the fact
that, like genuine wa lpaper, the
Fujifilm product had the right sme l
at putting together a selection of
photographs tha tapped into this
Fujifilm ImageHunter
Software
it was pasted up a the restaurant
by two professional paper hangers
integral part of the decoration.”
large and wide format printers, might be perfect for this particular
The spaces to fi l on the ceiling
comments Nick. “Photographs of
came in a range of different sizes
printing job. Senior product specialist Mark Wade then guided the
the ceiling look amazing, bu they
and Nick needed to find a pro lab
lab through the set up. ImageHunter delivers easy resizing, tiling and
that could understand the unusual
cropping with an accurate preview and also offers the ability to divide
an image into borderless strips - perfect for a project of this kind.
Download a trial version at: http://www.fujifilm.eu/esp
don’t do justice to the actual ‘wow’
effect.”
MPA’s stand at The Photography Show welcome many new members,
while talks by members including Steve Howdle and Stephanie Thornton
(below) helped aspiring and established photographers alike.
Meet Fujfilm at the Awards: www.mpaawards.co.uk
or email photoimaging@fuji.co.uk, web www.fujifilm.eu/uk/
12 months complimentary
access to The Photography
Academy; complimentary
WPPI membership; and
Master Photography magazine
(as a digital download until you
become a full UK member and
get the printed edition).
Says Clare Louise: “The
MPA helped me enormously
in my ambition to become a
fine art photographer. I was
just one of those people who
one day picked up a camera
and decided to be a photographer.
But then I realised I
needed help and MPA was
always there for me.”
Notes Paul: “I sometimes
get asked ‘Why bother with
qualifications?’ but the very
process of gaining them
brings out the very best in
you – and that, in turn, improves
your business success.
Most successful photographers
have a specialism of some
kind. It might be high fashion
weddings, for example.
I think it is important to be
well-known for what you do
– and a robust and respected
qualifications programme
leads you down that road.”
Á
MPA and Fujifilm
“Fujifilm have always
believed in us” says Clare
Louise. “They are consistently
supportive, proactive
and even visionary. The UK
team, with Jon Cohen and
Peter Wigington, are never
fazed when it comes to
testing a brand new idea. It
is very refreshing to be able
to work with ‘big thinkers’
who share our passion
for constantly encouraging
professional photographers
to raise their standards.”
And the future?
“We will continue to
help MPA members push
that technical and creative
envelope – and of course
mentor them with all the
necessary commercial expertise
they require to run
profitable businesses”, says
Paul Wilkinson. “But we
also will be pushing hard
to encourage more talented,
aspirational photographers
of both sexes, and all age
groups, to qualify and
become both mentors and
judges.”
C
14 July/August 2016 ƒ2 Cameracraft
reative photographers constantly
strive to produce thought
provoking work and expose it to
as wide an audience as possible – and
exhibitions often prove a key catalyst in
that mission.
The ‘Topography of Modern Life’
show exhibited at London’s 71a Ga lery
in Shoreditch in June showcased the
work of a selection of photographers
who are a l recent first class graduates
from the University of Westminster.
The exhibition was set up with the
support of Fujifilm and Bayeux and
one of the students showing his work,
is Gage Solaguren, also happens to
be its curator and a digital imaging
technician at the lab. “The exhibition
explores the temporality and meanings
of place and home and the factors that
shape the topography that surround
us,” he explains. “Every student came
up with their own approach, and
subjects covered include a look at a
post industrial town in northern England
through to a personal examination of a
childhood home and an examination of
the housing crisis through the form of
the ubiquitous house brick.”
The association with Bayeux arose
natura ly since through the course of
their studies a l of the students had
taken advantage of the discounts that
the lab offers students and many had
their work printed and mounted there
for their final degree shows.
“Bayeux has always been involved
with students,” says Gage, “helping
them with exhibitions and providing
them with professional advice on how
to proceed once they’ve graduated. I’ve
Top left: by Jasper Jones. Top right: by
Leticia Batty. Brick by James Berrington.
Above: by Gage Solaguren, seen below
checking prints at Bayeux.
worked at the lab for the last 12 years
and the audience we targeted is a mix
of professionals within the photographic
world, photographers, and curators, and
also the professional academics within
the politics of the housing market.”
Meanwhile, Fujifilm with its
long tradition of supporting industry
newcomers – in tandem with a
commercial relationship with Bayeux
stretching back several years – also
agreed to become a sponsor of the
show.
As a result of this most of the work
seen on the wa ls of the 71a Ga lery
CC Imaging: www.ccimaging.co.uk
fuji-wa lpapert.indd 2 25/04/2016 15:15
– ranging in size from 11 x 15" up to
giant 40 x 30" and 60 x 40" print sizes
– was produced on Fujifilm Crystal
Matt C-type paper, perfectly matching
the fine art approach of the individual
photographers.
While sponsorship enabled the
Topography of Modern Life show to
come together, there was sti l a need for
a prestige venue within which to display
it, and the 71a Ga lery was an obvious
choice. Not only was it big enough to
a low a l of the work to be exhibited
together and not split over a number
of floors, but the ga lery staff was
supportive and encouraging, supplying
information, contacts and publicity.
The ga lery is also part of an
innovative scheme known as ‘First
Thursday’ – over 150 ga leries in east
London, coordinated by the Whitechapel
Ga lery and Time Out London, have a
regular schedule of free events, talks,
private views and late openings on
the first Thursday of each month. “We
decided to hold our opening evening
on the First Thursday in June to take
advantage of the large number of
visitors that ga leries attract on that that
evening,” says Gage. “It can get very
busy: the 71a Ga lery has had over 400
visitors on an opening night for previous
exhibitions.”
More Information:
www.topographyofmodernlife.com
www.whitechapelga lery.org/first-thursdays
For more information on Fujifilm Crystal Archive papers
or to request a sample print please ca l Peter Wigington
on 01234 572138, email photoimaging@fuji.co.uk or visit
www.fujifilm.eu/uk/products/photofinishing/photographic-paper/
‘Psst – tell me a joke and I’ll
take your picture and make a
real exhibition of you’
ife as a stand-up comedian is
no laughing matter. There’s
Lendless amounts of travelling;
hours of hanging around
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backstage just waiting to go on;
the fear of encountering a difficult
audience and too many late nights
to mention, but still this is a career
that those involved would never
swap.
In this ‘another night, another
town’ environment Steve Best
appreciates more than most just
how unique this business is, and
over the twenty years he’s been
treading the boards he’s built up
a special camaraderie with his
fellow performers and a unique
understanding of what makes
them tick. “I realised some time London-based stand-up comedian Steve Best
ago that I was in a very privileged
position to be on the inside of started taking a camera along with him to his
this profession,” he says, “and at
that time I started to take a simple gigs and over the years has used his ‘inside track’
point and shoot camera along with
me so that I could take some snaps status to build up an outstanding collection of
of the people I met up with along
images of his fellow performers
the way.”
Steve’s interest quickly
morphed into a formula: he
For more information on Fujifilm Crystal Archive papers
would take un-posed pictures of
or to request a sample print please call Peter Wigington
on 01234 572138, email photoimaging@fuji.co.uk or visit
his subjects using available light,
www.fujifilm.eu/uk/products/photofinishing/photographic-paper/
whilst at the same time asking
Making the Prints
ALL OF THE PRINTS for Steve’s show were made by theprintspace,
which is located right in the centre of Shoreditch, London’s creative
hotbed. First opening its doors in 2007, the company has now grown to
become one of the UK’s leading providers of professional photo and fine
art printing services, offering printing, mounting and framing, both online
and in-house. A firm favourite with creative artists and photographers,
theprintspace’s award-winning service offers gallery-standard quality at
affordable prices, which is why Turner Prize-winning artists and National
Portrait Gallery award-winners consistently choose to work with them.
Another service recently launched by theprintspace is thehub, a new
online ordering system that allows users to store their images online for
easy reprints and to create customised branded online art stores where
they can sell prints of their work directly to the public.
“We’ve been working with Fujifilm ever since theprintspace first
opened,” says Dave Lucken, the company’s operations director. “After
extensively testing a wide range of products we discovered that Fujifilm
papers gave us the most consistent results and the most neutral prints,
especially when we were working with black and white images, which can
be very tricky to print on colour papers.
“Steve was introduced to us via Fujifilm and we saw straight away
that this project was a unique take on what you usually see at a comedy
show. It was a rare, almost backstage, viewpoint on how a comedian
might see their show, and we loved the work. The decision to print it all
out on Fujifilm’s DP II Matte media was a simple one: it really suited the
images and, in our opinion, it was going to be the best all-round paper in
terms of being able to cope with the different lighting levels that Steve
encountered in the course of shooting his images.”
www.theprintspace.co.uk
ADVERTISING FEATURE
2 • MASTER PHOTOGRAPHY SEPTEMBER/OCTOBER 2015
them to contribute a one-line joke
and a few unknown facts about
themselves. Although there had
never been the intention to turn
the series into a full-scale project,
eventually there was enough
material – pictures of around 450
comedians, ranging from famous
names such as Jo Brand, Sean Lock,
Lee Mack, Harry Hill and Sarah
Millican through to complete
unknowns who were just working
the circuit – to compile a book,
Comedy Snapshot.
Such was the positive reaction
to its appearance in 2014 that
it very quickly became obvious
that a second volume was called
for, and at this point Steve
decided that he needed to adopt
a more serious attitude to his
photography.
He began to look around for a
more advanced camera that would
still suit his candid approach and
found what he was looking for by
hanging out in Park Cameras and
trying the kit that was on sale.
The camera he fell for was the
Fujifilm X-Pro 1 plus 18mm and
35mm lenses: “It was the perfect
tool for me,” he says. “I loved its
retro styling and, although it was
The Stockport lab that’s booming
thanks to growing online orders
J
The future looked bleak for many prolabs as the digital revolution unfolded but those,
like DS Colour Labs, that survived are now enjoying a surge in business thanks to the
exponential growth of online ordering
onathan Porter, the forwardthinking
owner of DS Colour
Labs in Reddish, Stockport, is
candid when he talks abou the
cha lenges that faced this familyowned
business just a few years
ago. Set up by his grandfather
in the early 1950s, the company
operated out of a shop in Didsbury
and, like so many other prolabs,
was seeing its traditional core
services of processing and fast
printing for the pro market steadily
eroded by the advance of digital.
“There had been a huge decline
in business,” says Jonathan, “and
we were thinking to ourselves,
where do we go from here? We
were still in the original premises
that we had started out in over
fifty years earlier and it was small
and cramped with no room for
expansion. A tha time we weren’t
even sure that we had a future.”
The saviour of the business
was the dramatic growth of
online ordering, coupled with
the foresight and courage of a
managemen team that, four years
ago, made the decision to relocate
DS Colour Labs to a unit on an
industrial site that was ten times
the size, fitted out in bespoke
fashion to cater for the needs of
the business.
“We have Fujifilm to thank
for opening our eyes to what
online ordering could offer,” notes
Jonathan. “It was an amazing
opportunity and we were one
of the firs to get fu ly involved.
Previously wedding photographers
would only use us if they could
physica ly drop their films off. Even
special delivery wasn’t secure
enough to trust with unprocessed
wedding films. That mean that
our clientèle was very local, but
because you can send digital files
from anywhere we’re now getting
orders from all over the world.”
“The number of UK-based
photographers we deal with in
particular is flourishing, thanks to
our turnaround speed today. If it’s
ordered in time a standard print
order wi l go ou the same day and
if the client goes for the courier
service then it wi l be a next day
delivery, otherwise it’s Royal Mail
first class. Our clientèle loves
this kind of service, and because
everything we offer is produced in
house it means we’re in complete
control of everything.”
T
he move to much larger
premises opened the door
to expansion on a grand
scale, and one of the most recent
installations at DS Colour Labs is
a giant Laserlab printer, a major
investment that has moved
everything on to a new level.
Working with Fujicolor Crystal
Archive DP-II (silver halide based)
paper it can deliver prints up to
49.5x30ins on a range of surfaces,
such as glossy, lustre and pearl,
and it now means that the lab can
outpu the vast majority of the jobs
they receive on the same media,
ensuring greater consistency.
For information on Fujifilm Crystal Archive papers
or to request a sample print please call Peter Wigington
on 01234 572138, email photoimaging@fuji.co.uk or visit
www.fujifilm.eu/uk/products/photofinishing/photographic-paper
W
‘Being In-between’
est Yorkshire-based portrait
photographer Carolyn
Mendelsohn remembers only
too well that magical and potentially
awkward age between childhood and
becoming a young adult, and it’s proved
to be priceless experience for her latest
project/exhibition.
The moment that stands out for
Carolyn Mendelsohn as the epitome of
her personal ‘in-between’ years (loosely
defined as that age between ten to
twelve when children have moved on
from their ‘cute’ phase but have yet
to mature into young adults) was an
incident at home on a balmy summer’s
evening. She had plucked up the
courage to venture downstairs wearing
a pair of garish lime green shorts.
“I was only a sma l thing at the
time,” she reca ls, “but I was incredibly
self-conscious. The shorts weren’t
exactly subtle, and I remember walking
slowly downstairs to be met by my mum
commenting: ‘Oh my – your legs look so
chubby!’
“I ran upstairs mortified and didn’t
show my legs for years. Eventua ly a
friend commented on her confusion
about my attitude to my ‘chunky legs,’
and I realised I was worrying about
nothing. The truth was they were stick
thin. It was ridiculous, funny and a little
sad, that one throwaway comment
had created so much impact, but it got
‘We have Fujifilm to thank for opening our eyes to what online
ordering could offer’ – DS Colour Labs owner Jonathan Porter,
above with line-up of lab team and Fujfilm printers
How bigger prints on Fujicolor Crystal
Archive DP-II Paper brought DSCL into
the lay-flat photobook market
Previously the larger prints needed
to be produced using an inkjet
printer, which couldn’t match the
quality of silver halide and was
more expensive.
“We always push the message
abou the quality and longevity
of silver halide output,” says
Jonathan. “The prints look superb
and our professional audience is
very happy with them because
it provides a great message to
convey to their own clients. Our
only outpu these days to inkjet
printers is to fine art and canvas.”
The acquisition of the new
printer has also a lowed a new
A trio of true talent and prints to
last a hundred years
Putting something back
– Metro Mentorship
The Metro Image Mentorship
programme launched in 2005. The lab
set the platform up because it felt the
bridge between graduates completing
their education and the industry had
broken down. “There was no clear
communication between industry and
that of emerging photographers,” says
Professor Steve Macleod, above,
Metro’s creative director.
“We introduced a scheme that
supported graduates as they made the
transition from education to industry.
We enlisted many industry leaders to
advise and support the progress of each
mentee. The platform is fully funded and
resourced by Metro Imaging and is now
established in both academic and nonacademic
routes into the industry.”
www.metro.co.uk
lay flat photo book service to be
offered, and a year after the range
was introduced it’s proving to be
extremely popular.
“Despite‘CD-only’ packages
taking over in some quarters
there’s sti l a huge demand for high
quality photo books printed out on
silver halide paper,” says Jonathan.
“And for those photographers not
going for the fu l album approach
there are many other products that
they can offer, such as CD cases,
cards, boxes and folios. You can
get everything to match and it a l
looks extremely professional.”
Success has now created a bit
of a cha lenge for DS Colour Labs.
The company is already fi ling the
extra space that it’s taken on and
five internal walls have had to
be taken down to accommodate
the extra machinery that’s been
brought in. In the future even
bigger premises may need to be
sourced, but Jonathan is not in any
hurry to move the business quite
yet.
“We’ve got 6,000 square feet
here, so we’ve sti l got room to
grow a the moment,” he says.
“This is a very exciting time for
us and online services are most
certainly our future. The success of
the photo books shows how much
potential there could be there and
the outstanding quality of Fujifilm
media ensures that we’ve got great
products to offer to our customers.”
More information:
www.dscolourlabs.co.uk
20 • MASTER PHOTOGRAPHY MARCH/APRIL 2016
dscolour-fujiad-singlepage.indd 2 23/11/2015 00:49
Fujifilm Crystal Archive
Type II freshly processed
ADVERTISEMENT FEATURE
‘Inside me is still the gap-toothed small girl who
sat in the cupboard dreaming of Narnia’
– Carolyn Mendelsohn
Carolyn checks prints emerging from the system at CC Imaging in Leeds, right (photograph
by Louise Rayner. Below, Alice, December 1st 2015; right, Eve, April 1st 2015.
Photographs © Carolyn Mendelsohn – see www.carolynmendelsohnphoto.com
me thinking about the in-between age
where we’re a l so vulnerable.”
The more that Carolyn pondered
this largely ignored group, the more she
realised she had discovered an engaging
personal project, which has now turned
into an exhibition, ‘Being In-between.’
This was initially shown at the Artlink
Ga lery in Hu l and it’s moving on to the
famous Salts Mi l in Yorkshire where
it will be part of the Saltaire Arts Trail
that’s taking place from May 28-30.
“I can so relate to my subjects,”
she says, “and I give them space to be
who they are and to talk while I listen.
Girls of this age are bombarded with
advertising and marketing aimed at
‘tweens’, but it shouldn’t define them.
ADVERTISEMENT FEATURE
Alastair bangs the drum for Fujifilm Crystal Archive
IT WAS while touring as a drummer in a band
that Alastair Bartlett first realised he had a
genuine passion for photography. “Eventually
it overtook my obsession with music,” he says,
“and I decided to head to university to study it full
time.” While there Alastair won the mentorship
prize offered by Metro Imaging with ‘Here We
Are’ – a series of images captured around the
Cambridgeshire Fenlands (above). The award
provided a huge boost to his career and not only
validated the work he was producing but also
enabled him to benefit from a wide selection of
expert feedback and tangible material support.
“Winning the Metro Mentorship Prize was
an incredible feeling,” he says. “Photography can
be a lonely place and self-doubt can easily creep
in: awards and prizes are a great way to let you
know what you’re doing is both relevant and
appreciated.”
I wanted to take beautiful portraits
of these girls and give them the
opportunity to celebrate who they rea ly
are at this point in their lives.”
As part of the process Carolyn
invites each subject to bring their own
choice of clothes along to the sitting –
just to make them feel comfortable. She
also interviews each girl and asks them
pertinent questions – and for the Salts
Mill exhibition the audio incorporating
the girls’ voices was incorporated into a
‘soundscape’, created by composer and
choral trainer Graham Coatman.
The art of exhibition
presentation
Over the years Carolyn has become
acutely aware of the need to present
work effectively and for ‘In-Between’
she decided to have the pictures printed
slightly larger than life, and to mount
them unframed to Dibond (aluminium),
which made them rigid and more
robust. She also opted for a painterly
feel, achieved by using the Giclée
process and outputting the work on
Fujifilm Fine Art Photo Rag media,
a cotton 100% rag traditional fine art
paper featuring a special, smooth matt
coating.
“When I was invited to exhibit my
growing body of work at the Artlink
Ga lery I was delighted to receive
arts council funding to enable me to
mount the exhibition in the way I felt
would best suit the photographs,”
says Carolyn. “At this point I contacted
Chris Baxter, the creative director at
CC Imaging in Leeds, to discuss what
might be the best material to print
on. He recommended Photo Rag. The
test prints he produced for me were
simply breathtaking, so we went ahead
with the rest and the end result was
stunning, way beyond what I origina ly
hoped for.
Every portrait just looks so real,
which adds to the compe ling nature
of the show, and while the finish of the
prints is matt and non-reflective they are
a l rich in colour. The texture invites you
to reach out and touch them.
“Those who see the work are always
commenting about the print medium.
People love it, and there’s no doubt that
it brings out the best in the work. I’m
so grateful to have been introduced to
Fujifilm Fine Art Photo Rag.”
n
For information on Fujfilm Fine Art
Photo Rag Paper see:
http://tinyurl.com/jd6b8ax
Woodshedding it
in the Fenlands –
Alastair Bartlett
One of the big benefits of the mentorship for
Alastair was the fact that it introduced him to
pro lab standards and quality, and in particular it
opened his eyes to Fujifilm Fujifilm Crystal Archive
Paper, which perfectly complemented his imagery.
“The quality of Fujifilm Crystal Archive is
second to none,” asserts Alastair. “My work can
be very subtle and the vivid colours of this paper
rea ly help to bring out the different tones and
hues. I’m sti l blown away every time my work
is output on this paper. There’s just no way to
describe that exhilarating feeling when you see a
print for the first time. The fact that the paper is
so archivally stable is another big plus point for
me. People rea ly do look out for that reassurance,
and silver halide technology is one way of
guaranteeing this incredibly important factor.”
More information:
www.alastairbartlett.com
Fujifilm Crystal
Archive Fujitrans
MP MarApr 2016.indd 20 10/03/2016 20:36
Has a Fujifilm
product featured
in YOUR current
success? If so, we
want to know –
contact us now!
editor@iconpublications.com
MASTER PHOTOGRAPHY SEPTEMBER/OCTOBER 2016 • 11