Newsletter | May

Imperial Palace

I’m beginning to forget what London looks like. I left in early March and it’s now summer in Tokyo. A week here, and then on to Taipei for a week’s shooting. That will make it a three-month trip—a record even for me. With no shooting this week, I have some time to think about the writing I have to do for the rest of the summer, which is…

How to be creative

Often, when I give a talk, I get thrown a particular curve ball question, and it goes something like ‘how can I be more creative’? There are variations, such as ‘how do you develop a style’ or even simply ‘I want to take better photographs’, but they’re all directed at the same thing, creativity. Of course there’s no simple answer, and during those question times I refuse to attempt a simple sound bite, but is there an answer at all? Can anyone at all reasonably expect to become creative, like learning to drive? There’s an historical weight of opinion against it. Plato wrote, “Will we say, of a painter, that he makes something? Certainly not, he merely imitates.” Immanuel Kant decided that creativity was the product of genius, and so not something that could be analysed and learned. This, the genius theory of creativity if you like, has persisted ever since—until now. It says basically, you have it or you don’t. End of story. A waste of time trying to teach it.

Well, I wouldn’t be writing about this if I believed that, but a good start is to agree on what creativity actually is, at least in photography. There are indeed some strange contenders, as a browse through the internet will show you, with an emphasis on technique (double-exposure, motion blur, infrared and so on) and quite a bit of reliance on canned creativity—my term for software effects and filters à la Instagram. “To allow everybody to get a chance to produce great ‘creative images’,” as one manufacturer puts it. I think it’s fair to dismiss all of that as just a misuse of the word. What creativity really comes down to is the use of imagination to produce something apparently new. Now there’s a glaring qualification that I added—‘apparently.’ More usually you’ll see the word original, but almost all art, even revolutionary art, is based on what went before, so that’s a risky word to use. In fact, it’s what made Kant associate creativity with genius, the assumption that creativity is actually and always original.

Yet, even if that were ever true, the world has changed. In practice, being creative means adding a twist, an addition, an interpretation, an association, and that’s perfectly fine. Think of any famous photograph that almost everyone could agree were creative, such as a food still-life by Irving Penn or the Charles Jourdan shoe campaigns by Guy Bourdin. What’s going on in these images is a complex layering of associations and influences. For instance, Penn referenced vanitas paintings, while Bourdin combined the surrealist influence of Man Ray and the mysterious narratives of Helmut Newton. That’s one of the principal ways in which creativity in photography works, and it’s completely valid.

Next, creativity involves an audience. Just being imaginative and close to original isn’t quite enough. If the result were plain nasty, it wouldn’t count. It has to appeal. One of the more brutal aspects of any creative medium is that there’s always a judgment of success. If respected judges, or simply enough other people, think your images are good, then you have a confirmed place on the creative ladder. Winning prizes and being published are good indicators, but what do you do about the state of being unrecognised? Look at the timeline of any admired photographer, and it begins, quite naturally, with obscurity. Natural, but not at all comfortable, with attacks of self-doubt likely to happen every so often. As one young Chinese photographer came up and asked me after a talk in Hangzhou, ‘What if no-one likes my work?’ A reasonable question, with the possibility of one good answer (keep going and people will eventually see how good it is) and one bad one (it’s not good enough). Do you fall back on the van Gogh and Gauguin model of being too far ahead of your time? Or perhaps go in the other direction and try to please an audience by making images in a style you know that they already like? That second option might turn out to be not very satisfying, which would matter less if you’re more concerned with recognition than breaking new ground.

Ultimately, though, all this means that, according to my way of seeing it, you can analyse successful creative photographs. And if you can analyse, you can work out a system for being similarly creative. Can anyone be creative? No, I don’t believe so, but in a way it’s self-defining. Anyone who wants to badly enough to work on it and to ask these questions is already demonstrating that the creative urge and need is there, so in that case, I’d say it’s almost certain that the creativity can be improved. It doesn’t have to be genius level, either. One of the ways in which the world has changed is that art is no longer the preserve of an elite with time on its hands or of total obsessives. Now, most people in developed societies want to be able to express themselves creatively somehow. So there’s a range of creativity, all of it worthwhile, from big leaps to small touches of improvement. And photography is by far the most available and accessible medium in which to practice it.

That’s what I’m going to be writing about this summer.

          …

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Newsletter | April 2015

Japanese azalea, Ryogo-tei Garden near Osaka, Japan

Wild geese

I still haven’t found a way to write and post this newsletter any earlier than the last minute, Maybe that’s not to do with time so much as with me. Anyway, this is becoming a long trip. I’m still in Shanghai, although right now on my way to the train station to go to Hangzhou, where my friend Tutu will pick me up and we’ll drive to Anhui Province to climb another two tea mountains. In fact, I did have a break from shooting a couple of weeks ago—in Kuwait. After judging the Kuwait Grand Photography Contest in early March, Sheikh Mohammed, whose initiative it is, asked me back for the awards ceremony, which was kind of him. But there’s no straightforward way from here to there, and it ended up as 26 hours bed-to-bed. While I was there, I took part in a new project from my publisher, Hachette, called Where I Write, and the result is a video I shot of a visit to the printers who were hurrying to finish the book of prize-winning photographs. I like visiting printers, because it’s where photo assignments are finally turned into something tangible. If that interests you, too, join me here.
 Photography talk, Beijing, China

Photography talk, Beijing, China

After three days in Kuwait I flew back to China, to Beijing to give photography talks for a few days. Which brings me in a roundabout way to the first wild goose I’ve been chasing this month, because one of the talks was inevitably my Composition one. Question time at the end of these is always interesting, as it stops me from being complacent about repeating the same words time and again. This time, the idea of harmony, balance and proportions came under scrutiny, and I realise how intolerant I’ve become about ‘recommended’ proportions. Partly it’s because I see so much written about it online, and the usual nonsense hones in on the Rule of Thirds. Why should it be a rule? Why should there be any rules in what ultimately is a creative activity? To further focus my mind on this, a French magazine just asked me to write a long article on composition, and one of the suggested headings was about rules. I turned that instead into the heading There Are No Rules, with what seems to me the watertight argument that we’re doing photography, not engineering, and rules are designed to make things accurate, predictable and repeatable—pretty much the opposite of what you’d want from an interesting, surprising photograph.

One of the good things about the internet is that there’s always someone who’s researched whatever it is you’re looking for, and I decided once and for all to find out how the Rule of Thirds got started. It turns out that the term was invented in 1797 by John Thomas Smith, a painter of little note, misinterpreting the artist Sir Joshua Reynolds, who simply made the point that if there are two distinct areas of different brightness in a picture, one should dominate and they should not be equal. Smith wrote, “Analogous to this ‘Rule of thirds’, (if I may be allowed so to call it) I have presumed to think…” Since then, this rather silly instruction to make divisions a third of the way into the frame has been followed with mediocrity by artists and photographers who lack imagination. It should be obvious that if all photographs were composed like this, they would just be similar and boring. It’s probably the worst piece of compositional advice I can imagine. Think of photographs of any kind that have inspired you. How many are divided into thirds? The real puzzle is why it gets repeated so often, and never with any examples that are worth looking at.
The next wild goose chase was inspired by the revision we’re doing of my book Perfect Exposure, as the second edition will be published in early November. My editor, Frank, suggested I look into something called ISO invariance that’s been popping up recently on various camera websites. Sounds serious and technical. The gist of this is that some new high-end camera sensors perform so well that when you raise the ISO setting, there’s no increase in noise. Well, that really would be something, wouldn’t it? In fact, it would be a miracle. I’m really no physicist, but it still didn’t make any sense to me. On the other hand, with a technical name like ISO-invariant, there must surely be some truth in it? Fortunately, I’d just bought a Nikon D4S equipped with one of these sensors, so I could find out for myself (actually, unfortunately in another sense, because I had to buy it to replace the D4 I dropped on the floor three weeks ago). I waited until dusk, and then took a series of test shots from my balcony of the Suzhou Creek. Total nonsense. Of course dialling up the ISO increased the noise. What did I expect? The next day I had an appointment with Nikon Shanghai to borrow a lens (yes, same reason, to replace the lens that was on the camera I dropped). I asked the representative about ISO invariance. Look of puzzlement. I went into more detail. Nikon, as he said, never make public comments, but at least when I left the building I knew that this was another wild goose.
What both of these go to show is that if you come up with a good title, you can pass off all kinds of nonsense. And no, I didn’t say that that’s what book publishers sometimes do.
MF2015-04_byZCOOL_1

Photography talk, Beijing, China

 

Upcoming: 9 days India Colour with Michael Freeman; A Photography Workshop arranged by Country Holidays.
22 to 30 November 2015. click here for more info

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#WhereIWrite

The Kuwait Grand Photography Contest

I’m taking part in ‪#‎WhereIwrite‬ the new global project from publisher Hachette.

Join me on a visit to the printers in Kuwait as we get ready for the world’s 2nd richest photo competition – nearly a quater of a million US$ in prizes!

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Newsletter | March 2015

           Tea spiritual retreat at True Colour Museum, Suzhou, China

 On the (Tea) Road again

I’ll take a break here from the Cartagena book, even though editing and layouts are ongoing, because it’s now the run-up to Spring, and for me that means the first pickings of tea and a return to the final tranche of shooting on the tea book. With a brief side-trip to un-Spring-like Kuwait to judge their second photography contest, it’s Shanghai again at the beginning of the month, with several weeks ahead of me around China, Taiwan and Japan.

This is the time, halfway through the entire shoot, when picture selection and layout start to preoccupy me. The designers have already begun with whatever finished sections I’ve been able to give them, first working out a grid and a style. Now, with that approved, it’s a matter of filling the gaps and allocating pictures to different sections. This is a very different kind of book from my Cartagena one, more traditional and informative, larger in format and much longer. There will be nearly 300 pages, and as it’s a picture-led book that means we’ll probably use just a little over 300 images.

At the beginning of a book project like this, there’s a picture script of course, but basically any good shot looks like it will find its place on a page somewhere. As time moves on, however, I become more and more concerned about gap-filling: making good shots to illustrate particular subjects in the script. And they need to be good rather than just page fillers, or ‘point pictures’ as they’re known in the business. These are images that simply illustrate the point, and there’s a huge danger of including ordinary, worthy-but-unspecial photographs. There are indeed points in the text which ought to be illustrated somehow, but there’s a nagging tendency to be on-target at the expense of being interesting.

This is quite a delicate area, and it’s easy to fall either on the side of being literal, or on the side of being purely photographic—the old issue of content versus form, if you like. As I’m wearing two hats for this book, photographic and editorial, I can see both sides and have to strike a balance by myself. As a photographer I’m very concerned to have interesting imagery, but I know all too well the editorial suspicions that photographers go off and please themselves and disregard the brief. However, as the client’s brief for the book is that it be picture-led, it must be visually appealing.

You’ve probably faced similar issues yourself in even self-assigned photography, and it often boils down to finding an oblique or sideways solution to illustrating something. Here’s an example from last week. The famous book on tea in Chinese is the Cha Jing, written by Lu Yu in the Tang Dynasty, but how to illustrate this? His tomb, some memorial? No, please, that’s a recipe for a point picture. A picture of the book itself? Even more boring. We have long discussions on this, and with some good fortune come up with a workable solution for an interesting picture. Jin Xinhua from the town of Changxing, a couple of hours’ drive from Shanghai, is a property developer (‘about to retire’, in his own words) and a fan of photography. He also has a beautiful old Qing courtyard mansion, which he upped and re-assembled to one of the countryside properties he developed. And he’s into tea, but the clincher is that Changxing is where Lu Yu lived and wrote the Cha Jing. With Jin, we planned all of this last December, and on this Spring trip it’s my first shoot. He’s laid on a calligrapher and tea expert, Xun Yuewei, who will copy out a page of the classic book in the courtyard setting. An added bonus that I hadn’t asked for is a dancer and a guqin player, and this certainly adds life to the shot. You’ll please forgive me a little plug for my latest book, Capturing the Moment, because here I have two moments to coordinate: the rapid ones of the dancer twirling and throwing her long sleeves outward, and the slower ones of the calligrapher dipping his brush, poising it for the first stroke of a character, or with the brush on the paper (and incidentally with his arm high enough for us to be able to see the first line of characters on the right). Coordinating two good moments, even in a controlled situation like this, is less certain than you might imagine, because you can’t just say ‘hold it’.

20726_11_MFshooting20722s       On set for Lu Yu’s ‘Classic of Tea’ (Cha Jing)

Online teaching

Two developments here. One is that, while we’re developing the year’s Diploma Course at MyPhotoSchool, we’re also producing a 4-week course that will be launched sooner, in late summer, called Perfect Exposure. If you’re familiar with my book Perfect Exposure, it will be based on the ideas in that, taking a more practical, professional approach to exposure than the usual theoretical one. The core of it will be, as in the book, that there are just 12 exposure situations, whatever the subject, and there are strategies for dealing with each. In the meantime, here’s the usual link to the Foundation Course, now into its eighth month: click here

The other development, which has grown out of the Diploma Course, is longterm mentoring, which means essentially a tailor-made course constructed around individual needs and aims. There’s a brief description on my website.  click here to read more

Workshop news

I’m missing my Yunnan workshops, which I just haven’t had time to do last Autumn or this Spring. Based at The Bivou, my friends’ boutique adventure lodge in the village of Shuhe, near Lijiang, they’re a breath of fresh air literally and figuratively, with marvellous locations and very good relationships with surrounding ethnic communities. I’m fully intending to start again this coming October, probably towards the end of the month as I’m supposed to be judging a photo competition in Oman earlier, and I’ll work out dates soon. For the time being, if you’re interested, please drop me a line. We generally spend four or five days, but it’s flexible.

Upcoming: 9 days India Colour with Michael Freeman; A Photography Workshop arranged by Country Holidays.
22 to 30 November 2015. click here for more info

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PHOTOWORLD January edition

I have a new article in the excellent Chinese photography magazine Photoworld on storytelling—the first of six on this topic over the coming year for the bi-monthly publication. And there is, of course, my recent book on storytelling through photographs, The Photographer’s Story, available now in several languages—including Chinese Simplified and Complex.

photoworld2

 

 

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December News

Lake Inle fishermen

The Myanmar workshop

After a lot of planning by Country Holidays, the Myanmar 2014 workshop started on the 5th December, with people flying in from Singapore, Hong Kong, Washington DC, London, New Zealand and Shanghai. Including trip leader Andy Yeo and myself, there were fifteen of us, for nine days. I want to congratulate Country Holidays, who lived up to their reputation as one of Asia’s premier high-end tour operators, on a seamless organisation. This was my first workshop with them, and it won’t be my last…. Read more

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Raw processing – just to keep things clear

7679_19v2crop_rawseq1000px

Raw processing attracts a lot of attention on photo forums, unfortunately not all of it well-informed. As I’m writing about it for a forthcoming issue of the UK magazine N-Photo, where I’ve taken over the Nikopedia section for a year, I thought I’d look and see what photographers tend to think and say about it. To be honest, the most impressive thing was the amount of bad temper and argument displayed. Perhaps it’s a macho thing, the idea that it’s manly to know about software, algorithms and the math behind it, rather as it used to be manly to be able to fix a car engine.

Well, the math is complicated, and there’s no need for pride to be involved unless you’re a software engineer by profession. But the principles are not complicated. At its very simplest, a digital camera, and especially a DSLR, captures much more information about tone and colour than can be displayed in a photograph or seen by the eye. The image as captured has to be processed somewhere to turn it into the JPEG or TIFF that is the usual end-product. You can let the camera’s processor do it by choosing NOT to save the Raw file, and you’ll have a JPEG or TIFF as the result. Or you can choose to save the original data in its raw, unprocessed form (hence the name Raw) and do that processing for yourself later on a computer with processing software like Adobe’s in Photoshop or Lightroom, or DxO Optics Pro, or the camera manufacturer’s own software, or any of dozens of raw processing engines, as they’re called. Here are the main reasons for choosing to do this:-

1. The raw file keeps the full image quality

2. You control what image data to use for the final JPEG or TIFF from the surplus available

3. Better processing is available with software that can be run on a computer than in-camera, especially demosaicing

4. You can often recover exposure ‘loss’ in highlights and shadows

5. The software engineering behind raw processing continues to improve, and you’ll be able to re-visit images saved as Raw

6. It’s impossible to overwrite a Raw file, so it’s safer archivally

The arguments against revolve around time and space. Raw files take up more space than JPEGs, take longer for the camera to save as you shoot, and take time to process on the computer.

Meanwhile, for a clear and comprehensive description of what you can do in processing a raw file, the following link to Adobe is hard to beat:-

http://helpx.adobe.com/creative-suite/using/make-color-tonal-adjustments-camera.html

 

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PHOTOGRAPHER INTERVIEWS: Wei Wei

I’m re-publishing here the Featured Photographer interviews I did for the Open College of the Arts, on their former page The Freeman View. Wei Wei (和平) lx024 Wei Wei is a Chinese photographer based in Hangzhou, the city not far from Shanghai that is famous for West Lake and for growing tea. A graduate of Hangzhou Zhejiang Institute of Technology, Department of Art, she began work as a freelance photographer shooting both editorial and advertising, and has become well-known for her music photography, as one of China’s top artists covering rock stars and rock bands in the country’s exploding music scene. She combines this with a longterm personal project that she has been shooting for a few years on Tibetan Buddhism. Her career offers a fascinating insight into what it takes to be an independent professional photographer in a country where the economic opportunities are large, but where the state maintains control over many aspects of society. We met when I ran her story School of the Living Buddha on the iPad magazine Photographer’s i.

MF: How did you get started?

The restricted Larung Valley college town

The restricted Larung Valley college townMF: How did you get started?

WW: As I was growing up, Polaroid cameras were quite common, and travelling with my parents it was natural to have many taken. As a child, I always thought of the photographer each time as a magician. Then at school there was a singing contest, and the teacher gave me a Polaroid camera for me to shoot it, so I became a magician! I was fascinated by how it made me look at details an moments in a new, concentrated way. My first photography gained me unexpectedly high marks, and when our teacher asked us to choose what we wanted to do for our professions, I hesitated hardly a moment before saying photography. Not surprisingly, that’s what I chose for university. As a professional for a number of years now, I have numerous film and digital cameras, but my favorite is my childhood love, the Polaroid camera. The first camera I bought was a Polaroid SX-70, and it remains my most cherished. 03

MF: And your first job?

WW: When I graduated, a local maufacturer, Wahaha, asked the college to recommend a photography student, and the department recommended me. I think this was because I was very active shooting records of college activities, so became quite well known for that reason. I should explain that Hangzhou Wahaha Group (the name means ‘laughing child’) is both private and the largest beverage manufacturer in the whole of China. And it is largely controlled on a day to day basis by one man, the owner. A total of four candidates were competing for this post, but finally I got the job. I began by shooting children’s fashion showing Wahaha company activities. I think the reason for my success with this was that a took a simple approach that treated the children very innocently, and also because if immersed myself in every detail of preparation. For instance, the parents who accompany children to a shoot can have an influence on their mood, often causing stress, so things like that have to be anticipated and managed. But since then, I’ve photographed for Wahaha fro the last six years. And then editorially I began shooting for regional publications like Chengdu Business Daily, City Express, Young Times, Search City, and The City.

MF: Here in the West, photography has become more difficult over the last several years financially as a career, and whatever else we want to do creatively, it’s important to be able to make a living. In China, has the continued economic growth meant that photo assignments are plentiful?

WW: Yes, there are a lot of job opportunities, but it is still very competitive. As the economic conditions improve, so there are more and more photographers. Of course, it is a very popular career, but many people just see the glamorous side of it and fail to think what it takes to succeed. I’ve been fortunate, but actually there are fewer opportunties than you might think for large numbers of photographers just starting. As the market improves, there has become a clearer division of labour, just like in the West. Wedding photography is one example, and is a very big market in China because marriage is expected and is a big event in every family’s life, not just for the couple getting married. I don’t do this myself, but you see it everywhere, and competition among photographers within every speciality like this is very strong. Many who want to have a career in photography get stuck as assistants, or start undercutting on price, let alone having the opportunity to shoot their favorite things. WW0_0818

MF: But would you say there is plenty of work in China for photographers who are ambitious and prepared to work hard?

WW: I think in China, if you are willing to work hard, you have many opportunities. But your work needs to be sufficiently convincing, and you have to be very serious and dedicated. My clients are generally in fashion photography, in the music business, and humanistic documentary photography. After a few years, I have my own client relationships, of course.  The commercial clients make it possible for me to shoot my own favourite projects that I really enjoy.

MF: Do you keep your different types of shooting separate from each other?

WW: Yes. I have my own studio in Hangzhou, because this is my home town, and I like it also. So my commercial work is mainly fashion photography of my commercial customers, basically in the studio in Hangzhou. But at the same time, I am also a rock photographer, so I need to follow rock bands and rock stars to performances, which involve multi-city tours. In addition to these two working arrangements, as long as there is enough free time I go to Ganzi County in Sichuan, to continue my project involving the Tibetan Kham peoples, shooting their lives and culture. This last is my favorite project, and I am referring to Tibetan culture as religion, which is Tibetan Buddhism. Several topics unrelated and with a great difference; commercial photography is generally done in my studio; at the same time, I’m a minority female photographer shooting rock, whether it is a small music festival or a large concert. IMG_7617v2Baisha villageBaisha villageBaisha village

MF: Tell me something about your rock photography

WW: Currently in China, rock music is on the rise. At first, we heard only foreign bands, but now there are many very good bands and performers. I also like rock personally, and it started when I went to see the concert of Xu Wei, my favorite musician, and I was shooting throughout the entire concert. From what I hear, it’s not at all easy now in the west simply to take photographs at concerts…

MF:…Right, but it used to be here like the way you describe, at least when I started photography…

WW: …OK, right, but we don’t yet have that much of a problem in China. Anyway, that’s how it began, and I’ve deliberately made it part of my work. What I love is that all the musicians are so passionate. By the end of any concert shoot, I always have severe dehydration, but that doesn’t affect my love of rock. With some of the less well-known rock bands, they can’t really afford to pay me a lot, but I’m willing to help them, and sometimes even shoot free. I was very lucky to have worked with top groups, and become friends with them, so it’s good to return the favours to up and coming bands. In a sense, I think I’ve been successful because, as a female photographer, I’m better at bringing some delicate sense and warmth to the shooting. There are only a handful of female rock photographers in China. There’s an increasing openness that music is bringing to our society, with more and more shows each year. I was just in Dali at the Labour Day holiday, shooting a big music festival held on Erhai Lake, with the country’s most famous rock star. I worked for the festival for seven days, and although the fee was not very high, I’m happy because I could combine my two greatest interests, photography and music. WW0_0154WW0_0396

MF: What first motivated you to go to Tibet and start recording Tibetan Buddhist culture?

WW: I would go to Tibet every year when I was a student in University, and live with the locals –  so different from my normal modern city life – but the most important thing is, I saw a form of sincerity there, and the reason for the way they deal with life and death and the people around them comes from unreserved religious beliefs. It shocked me, so I wanted to photograph them and their beliefs, and make a record of their lives. It’s important that the Tibetans keep their faith and culture, because it is a very valuable asset that we all can learn from.

MF: Buddhism is a popular topic for Western photographers also, to the point where there seems to be a lot of similar shooting in the same places like Thailand, and now Myanmar. Do you have a specific subject?

WW: At the beginning I had a magazine assignment in Tibet, and stayed there for some time. I was surprised and moved at the depth of Buddhism in Tibetan life, and their faith, and wanted to learn more and photograph more of it. For three consecutive years now, I’ve been following one of the youngest Rinpoches, a Living Buddha, as he established a Hope Primary School near Ganzi in western Sichuan for more than 80 children from poor families, and recording the progress. This is located not far from the Serthar Institute in the Larung Valley – very remote, and the world’s largest Buddhist Institute. The Rinpoche introduced me to this college in the high grasslands. Foreigners are completely banned from entering the college, where there are more than 30,000 monks and nuns, living in tens of thousands of simple wooden cabins gathered together. In fact, earlier this year I concluded a winter shooting. I wanted to enrich the shooting with photos of winter Tibetan life, which is very tough.

MF: Is there a worthwhile magazine market in China for stories like these Buddhist ones?

WW: Chinese magazines are interested in Tibet for content, but they are less willing to cover too many things about Buddhism, which you can appreciate. The Buddhism is more of a personal project, but I can still get published landscapes of Tibet and Tibetan festivals, such as horse racing.

MF: In general, is the magazine market for photography healthy in China? Here it isn’t, and it’s difficult to get interesting assignments.

WW: There are some very good magazines in China, and they are interested in stories on culture as well as the usual fashion and lifestyle subjects that you would expect. Generally though, magazines draw up their own plans in advance and set up a special shoot when they want an in-depth story on specific cultures. Of course, there are not many such opportunities, but I certainly do what I can.

MF: In your commercial work in Hangzhou, what kind of clients do you have and what is a typical day’s assignment?

WW: I have two major commercial customers, both well-known large companies; in fact, in their respective fields, they are the best. One is Whaha, which I already mentioned, and the owner and I have maintained a very good cooperative friendship. There is also the cosmetics company Proya. I have a long-term relationship with both and have a couple of assignments a year for each. Usually with such clients the campaign will involve a well-known celebrity, for example, Lee Hom, a  pop star in Asia. We’ll discuss the style of shooting, and the fashion style also, which could be sporty or elegant, depending on the product. Generally the celebrities have their own make-up artist and costume designer, so I don’t need to worry about this. After shooting, we have a photo screening with the celebrity as well as the client, and if it all looks good to everyone, we make the selection for processing and post-production. The workload is quite big, but it’s well paid. If you buy Wahaha’s bottled mineral water, you’ll be able to see my photographs.

MF: What does this year’s schedule look like for you?

WW: Very busy. Apart from my studio work, this year I need to follow China’s most famous rock star, Xu Wei, shooting concerts in many cities, from May until January next year, every month at least one concert, which means for me 10 days that each month. In addition, in order to continue shooting my Tibetan Buddhist topic. 未标题-20

MF: What next?

WW: I am currently putting together a book on the Buddhism project, and it will be my first book,  so I’m being very careful in the selection. Of course I know there are a lot of photographic books about Buddhism, and a lot of photographers have good Buddhist imagery, but I have a different perspective. I also have that special access to the Institute in the Larung Valley. I’ve learned a little Tibetan, and I live in the homes of Tibetan people. This is my advantage. In these years of shooting, I came to understand more and more, and I became a Buddhist.

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UPDATE on the ONLINE PHOTOGRAPHY FOUNDATION COURSE

The course notes for the first lesson are now available FREE! Just click below to download them:
https://s3.amazonaws.com/michael_freeman_foundation_course/Documents/Foundation+Course+Lesson+1+%28FREE%29.pdf

This will give you a taster for the actual eight-week course, which will start on the 6th of September. it actually does run over a specific tie, rather than people just beginning whenever they want, and there’s a good reason for this. There’s an assignment that I give at the end of each week, and as well as my giving a critique on this, I want to share everyone’s. We’ll all get more out of it if every participant gets to see everyone else’s—and can comment.

We haven’t yet set the dates for the second run of the course, but it will be shortly after the first ends, so probably in November.

My website for the course: http://bit.ly/1nCFWk7

COURSE BOOKS: THE PHOTOGRAPHER'S EYE & THE PHOTOGRAPHER'S EYE: GRAPHIC GUIDE

COURSE BOOKS: THE PHOTOGRAPHER’S EYE & THE PHOTOGRAPHER’S EYE: GRAPHIC GUID

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New Online Photography Foundation Course

THE ONLINE PHOTOGRAPHY FOUNDATION COURSE
Well, after a lot of work, we’re now launching one of the biggest projects for me this year—the Foundation Course, on Composition in Photography. It starts on the 6th of September and lasts eight weeks. I’ll be writing more about this over the next few weeks, but for now, why not take a look here:-

 

Orange pearls

 

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