Catherine, “What was the inspiring behind the collection of images called Sleeping Giants?
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Paul, “This project started as a birthday present for my father.  As a young man he was a miner at Pleasley pit north of Mansfield.  His birthday is in December and so I went to the pit, now a nature reserve, at dawn on a very cold but clear December morning.  What struck me first was the silence then how small it was.  I took the shots, printed and framed them and delivered them to him the following day.  His reaction to the framed images really surprised me.  He isn’t a man for showing emotion but he was shaken.  The original piece still hangs in pride of place above the fireplace.  The effect of the shoot on my father made me wonder, what about the other mines?  Are they still there?  Are they all as small?

I discovered that many of the mines around North Nottinghamshire had disappeared with the occasional marker where they stood.  I found some in the process of being demolished and managed to get close enough to shoot them.  Clipstone pit was only a stones throw away from where I went to school and was always a hive of activity, men going to and fro, trains leaving laden with coal.  Now it is silent, the only sound was the click of my shutter and the occasional back of my dog Milo (my constant companion).  Annesley had one headstock still remaining which stood amid red sand, almost a Martian landscape.

Why did I put them together as an exhibition?  There is only one mine left in North Nottinghamshire after Welbeck closed in May.  We need to mark their passing, mourn their loss!  There are children growing up who have never seen a working mine; who don’t realise where they came from, what their fathers and grandfathers did for a living.  These mines were giants, served by hordes of men.  Most of the size is below ground, out of sight hence the name Giants.  And Sleeping?  Well now they are in silence, some could be re-opened.  The loss of these mines really hit home when I was invited by UK Coal to visit Welbeck for the last shift.  Here, for the first time, I could see the men first hand rather than just the shell.  The men had a great sense of humour and were constantly joking with each other, almost a gallows humour.  I listened to one miner being interviewed who was going from walking to work for 23 years at the mine to travelling 70 miles each way to a new job the following day.”

Catherine, “What draws you to create such beautiful black and white images?”

Paul, “Firstly, thank you for the compliment.  Black and white photography isn’t as easy as it looks and for me it’s a constant learning process.  What draws me to this genre is its truthfulness.  You can’t hide behind colour.  Take for instance a red carnation.  Have you really studied it?  Really looked at the how it’s constructed?  Take away the “confusion of colour” and you see what is underneath, the underlying structure, the texture, the complicated patterns of the petals shown beautifully in shades of black and white.

My all time favourite photographer, Yousuf Kharsh, used this to great effect with his portrait work.  His portrait of Audrey Hepburn is for me the pinnacle of a great portrait.  Simply lit, shot in black and white – no jewellery, no coloured make up just natural beauty.”

Catherine, “You are about to open a photographic gallery, what would you like the gallery to do for photography and photographers?
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Paul, “There is a view that photography isn’t art.  Most galleries exhibit paintings and the odd photograph.  We want to take the opposite path by showing photographic art.  We want to give photographers the opportunity to see other photographer’s work, an opportunity to display their work in a public forum or just somewhere to hang out with other photographers and maybe learn something new – everyday you learn something new is a good day!  We also want to be involved with the local universities maybe through sponsorship or prizes.  In fact, for the opening show we will be exhibiting the work of two recent graduates from Nottingham Trent and Derby University.  For non-photographers, the only time they come into contact with photographers is when they have portrait shoots or their wedding and I want to expose them to the talented photographers that are out there.  For example, I would love them to see the work of Brett Harkness and Tamara Peel.  I want to convince the world that photographs have as much artistic value as an oil painting.”

Paul Storer’s Viewpoint on Fine Art and Commercial Photography“After spending thirty years constrained by the restriction, rigour and repetition of Corporate Information Technology I finally feel free to explore and express myself creatively. Black and white has been, and always will be, my first love.  It started, as any first love should, in my teen years when a group of school friends taught themselves to take and develop photographs in the school dark room.  We weren’t taught by a master photographer but by the freedom to make mistakes and the pretentiousness of youth.”

Paul Storer’s Viewpoint on Lifestyle Portrait and Wedding Photography

“I work exclusively digitally but the love of seeing and feeling the image appear as if by magic is still with me, the developing tray now been replaced by a printer.  The wealth of different papers available to the modern photographer allows me to search out the perfect surface, the perfect weight, the perfect feel of paper to complement the image and the subject.  Imagine, if you can, a portrait of a baby printed on a silk smooth paper or the granite feel of Peak District millstones on textured paper and tell me that an image is just a collection of pixels on a monitor.”

Occasionally, you have the chance to create stunning and beautiful images that go beyond the ordinary, the kind of thing that keeps us all inspired.  I had such an opportunity a few months back, when we did our first “Shoot the Dress”, in Dorset.

For me, being a photographer is not just about the ‘day-to-day’, it’s about inspiration, keeping your imagination alive and fresh and being passionate about what you do.  I say yes to opportunities when they come along, even when I feel that familiar stomach churning fear of doing something new, and perhaps failing.

So when Josie, one of last years brides, mentioned doing a “Shoot The Dress”, I leapt at the chance, and the shoot was booked for a late February Sunday afternoon.

Choosing the right location was key to this shoot.  As a Dorset born girl, I felt drawn to the sea & the coast.  One cold January day, we stopped for an hour in Lyme Regis, and I instantly felt inspired.  It offered beautiful pebbled beaches, colourful huts, amazing fossils & jagged rock faces, with tons of fishing paraphernalia scattered by the local fishing cottages.  The icing on the cake was the Cobb, the beautiful jetty meandering out to sea, famous for the filming of French Lieutenants Woman.  A photographers dream!

Weather would also play a key part in this shoot, and my hope was for skies full of drama & colour, with crashing waves & wind, rather than a calm sunny day.  We were not disappointed come shoot day!

It was a day with dark threatening clouds full of beautiful colour and tonal range which I knew would give the photographs a dynamic yet emotional edge, perfect for the shoot.  When we arrived, I felt a jangle of nerves and excitement, knowing the creative possibilities of this shoot were immense, and not wanting to let anyone down, least of all myself.

By around 4pm and with the light beginning to fade and a few drops of rain, I knew we needed to focus on the jetty shots.   As Josie made her way along the Cobb in her gown and heels, she looked completely stunning against the saturated colours of the rocks, with her veil floating behind her.  With not a soul in sight on the jetty, we took advantage of these precious minutes, to capture the dramatic beauty of the scene.

As we finished, we felt blown away by the sheer excitement of the afternoon’s work, and the anticipation of the unique imagery it would create.

There was only one way to end a day like this – enjoying a wonderful glass of wine in the pub with our clients, sharing the experiences of the day…..now I just need to convince a bride to climb the Brecon Beacons in her Jimmy Choos!

THE PHOTOGRAPHER

What was the turning point that triggered you to change career and become a photographer?

Working for my dads company in the marketing department for two years I really felt I needed to get out there and do it for myself. I was always a keen happy snapper and would always borrow the company’s DSLR on the weekends but not really knowing what I was doing with it.  After getting a Nikon D90 for Christmas I really wanted to learn what I was doing. I started a night course at my local college and caught the bug and here I am.

What has been fundamental for you in your path to become a photographer?

Just going for it! I could have easily stayed in my old job and slowly built my photography business. But going 130% means my business is going from strength to strength.

Where does your inspiration come from and how do you inspire yourself as a photographer?

I regularly read fashion magazines! I love taking inspiration from the fashion house adverts; they are edgy, out there and full of ideas that I apply to my work.

What is the most significant thing that is helping your development?

The Bespoke program run by CPT. I have found that my photography comes quite naturally but I struggle with the business side of things as I am new to all this. The guys at CPT are really helping to develop that side of me.

Who are your photographic heroes?

Patrick Demarchelier for his fashion and portrait work and Brent Striton (A senior staff photographer for the assignment division of Getty Images) for his travel photography.

What advice would you give to somebody about to explore becoming a photographer?

Get some good training and go for it, best thing I have ever done.

ON TOUR

The images you have captured are exceptional, as there is so much feeling within each image.  How do you prepare for a trip of this nature, which must be packed with emotion for you as a photographer?

To be honest you can’t prepare emotionally for a trip, you never know what a trip can throw at you.

How do you ensure you take the best care of those you photograph?

It was great, this time I went to Uganda. I got to meet the family of a boy that I have sponsored for the last year. It was so humbling they literally have nothing but still gave me a turkey to show their gratitude, yes a turkey it’s a big deal, that turkey would have fed the family for weeks.

What matters most to you when on tour?

Putting the camera down and getting involved with the people from the charity and the locals.

What is your ultimate goal, emotionally and photographically?

I want to bring the connection that I feel through the lenses and the eyes of the subject to the public/customer.

BUSINESS

What business advice would you give as you have built the business?

Don’t be afraid to put yourself out there and never undersell yourself to the people you know.

If you could change 2 things about the business what would they be?

To be able to do more travel photography and  to not have to do paperwork!!

In your view, what does every business need when developing?

Something I have found really helpful is doing a personal business plan. In this I asked myself questions like;

• Where do I see myself in 6months, 1 year and in 5 years?
• If my product was music, a car or food what type would it be?

I regularly look back at this and it helps me stay true to where I really want to be.

What is the best business tip you have heard and from whom?

“Firings will continue until morale improves.” Unknown

FUTURE – DREAMS AND AMBITIONS

What would you like the future to hold?

The sky is the limit! I am only 24 and I am learning so much. The main focus for me is to continue to build a successful lifestyle portraiture photography business. I am also planning 2 trips for 2010 to Jamaica in March and Vietnam late on in the year. So Watch this space.

I wanted to do the Bespoke Programme because I knew that if I wanted to build a successful portrait photography business, and gain substantial sales and profitability quickly, I would need the help of the best people in the business, people who had a proven formula. Annabel Williams’ CPT Bespoke Programme seemed to me to offer the best training. I couldn’t afford to take a drop in income so there was a bit of job juggling and plate spinning to be done whilst I developed my new business.

As a teenager I had this mad idea about being a fashion photographer but our enlightened school careers teacher suggested I should have a proper career, so I got a job as a junior production executive in an advertising agency. And I stayed in that industry for nearly 30 years.

However I still loved photography and by 2007 I wanted a new challenge for the future. The big problem was that I felt shy and embarrassed whenever I tried to take a portrait of someone, whether I knew them well or not. And that’s not a great place to be if you want to be a portrait photographer.

A one day course with Annabel in November 2008 gave me the confidence I needed to tackle portraits and my quality went up overnight, but I was clueless about the business side. I was giving my work away. I had no idea about framing, albums or how to structure a shoot to maximise sales.

I did my research and found out that many great photographers had been through the Bespoke Programme. I had a few doubts and lots of questions but I went to an Insight Day in January 2009.  I realised that the key to building a great portrait photography business was about chemistry and interaction with the subjects and how to shoot to sell. I realised that the technical stuff, which always worried me, wasn’t as important. I haven’t thrown away the manuals yet but I start every shoot with Annabel’s basic setup instructions and I concentrate on the chemistry and psychological aspects of the shoot instead.

To be honest the whole thing has been a roller coaster but a brilliant experience. I discovered emotions that I didn’t know I had. A snap of a 96 year old grandmother at my first wedding reduced me to tears. I ended up in tears many times as I discovered an emotional side that I didn’t know about. I call it love; love of what I am doing, and a genuine love for the people who are helping me on a voyage of discovery, but also a love for creating images that fire up the emotions of the people I photograph, their families and their friends.

So, nearing the end of Bespoke 31, what are my thoughts?

• I wanted to know how to make a living from portrait photography. I now have much more than that. The Bespoke Programme has helped me create a scalable and saleable business.

• £8500 isn’t a lot of money to get access to trade secrets and support that will give you a viable business within a small time frame. After ten months I have more than had had my money back and I’ve only just begun to scratch the surface. If I had tried to do it on my own it, it would have taken me five to seven years to reach the position I am in now.

• I know what to focus on and what to avoid.

• I have worked harder than I knew I could and much harder than I thought I needed to.

• I have a great team behind me. The whole AW team encourage me and guide me in the right direction. They don’t interfere too much but they are always there whenever I need them, and they know what I need to do. I have consulted Catherine Connor and Jane Breakell about every major decision and then followed their advice. Everything I have done this way has worked for me. But it’s better than that. After each campaign, we look at the results and then revise the tactics for the next one. They know what I’m going through; I’m still finding out.

• I learned stacks of things I didn’t know about consumer branding and marketing.

• I have learned how to retail, and I’m becoming quite good at it.

• I have realised that I must be a good photographer because people are prepared to pay a good price for my work.

So, is the Bespoke Programme for you?

If you want to build a career as a successful photographer that clients will want to tell their friends about and will want to rebook time and again, then the Bespoke Programme is your best option.

If I had found out about the Bespoke Programme five years ago I would have done it then.

I wouldn’t have missed it for the world! Would I do it again? Damn right I would!

http://www.andrewcollierphotography.co.uk/

Watch the movie and take on board a few new ideas. Thank you to Helen & Peter, the bride and groom and Stuart Cooper for designing an exceptional Queensberry album.

video

A Winter Wedding Seminar – Images captured in The Lake District
When creating a business that is packed with adventure and opportunity Winter Weddings is certainly an avenue worth exploring. Why? The range of images you capture will stretch you as a photographer photographically, the challenges you will face as a photographer will keep you entertained and will require constant education. As without a doubt The Winter Wedding certainly requires skill, ambition and speed!

If you are inspired by what you see but alarmed by the thought of a winter wedding investigate where you are on the 5th February 2010 as Winter Weddings is again going to be on our training menu.

Roger graduated from our Bespoke Programme earlier this year so we are obviously very proud of his achievement, and think his image is fantastic. Competitions are a great way to open new doors and who knows where they could lead you! So get flicking through those magazines, checking out photographic websites and of course keep an eye out for the next Annabel Williams Awards – all of which offer you great opportunities to enter your images and hope for success!

Rogers blog – http://www.rogergriffithsphotography.co.uk/blog/?p=375
SWPP competition page – http://www.swpp.co.uk/comps.htm

Also check other competitions out, here are some to get your started:
http://www.igpoty.com/competition.asp
http://www.timesonline.co.uk/tol/travel/travel_images
http://www.px3.fr/submit/login.php