Shamil Tanna is an award-winning music and advertising photographer based in London. His dynamic, eye-catching style and approach have very quickly made him one of the most sought after young photographers working today. He is known for his technical ability and creative lighting style photographing some of the worlds most iconic musicians, politicians, actors and sports stars including Lady Gaga, Rihanna, Iggy Pop, Radiohead, Pele, and David Cameron.

He regularly shoots for The Guardian, Observer, Q Magazine, Financial Times, Four Four Two, and Wired Magazine and was one of the first photographers in the UK to have their own personal app on the iTunes app store showcasing his extensive portfolio.

1. How did you get in to photography?

When I was a kid my bedroom wall was always covered in pictures that I’d cut out of magazines. It never really dawned on me that it was something you could do as a job! I bought my first camera when I was 14 when my school offered a photography GCSE and never looked back really. It’s the only thing I’ve ever done. I went to art school and as soon as I graduated I started freelancing as an assistant, and eventually started getting commissions in my own right. I’ve never had a ‘proper’ job!

2. Who or what are your influences?

Anything and everything. Movies, books, other photographers… It’s difficult to name my favourites as there are so many. Avedon, Guy Bourdin, Gregory Crewdson. The list is endless…

3. Is there one photograph in history you wish you had taken & why?

Loads! I see them all the time. I’d love to have been working in the 60’s and 70’s when you had more time and access to the celebs. Nowadays you’re lucky to get half an hour in a hotel room!

4. What is the most difficult part of establishing yourself as a freelance photographer?

Where do I start…! It can all be pretty tough. Getting you’re foot through the door, convincing people to commission you, business costs and financing, coming up with new ideas and keeping up with new technology. You never really feel like you’ve established yourself as you have to constantly reinvent yourself and test yourself. You’re only ever as good as your last shoot.

5. What has been the pivotal moment of your career so far?

My first major commission shooting Radiohead. I was very inexperienced and had only shot one paid job when I got my first magazine cover. It was a dream job, spending 2 days with one of my favourite bands. I got to go to one of their recording sessions which was amazing. I remember being so nervous before the shoot and decided to just tell the band that I’d never done this before. They were great and made it all very easy for me. I remember running on adrenaline so much so I ended up in hospital the next day. I’d twisted my knee going up a ladder but hadn’t noticed!  The shoot opened a lot of doors for me so was worth the pain.

6. What camera do you use?

It depends on the job. I use a 5Dmk2, and Hasselblad when bigger resolution is needed. I also recently bought a small Canon S95. It’s the size of a mobile phone and the quality is fantastic. I guess the best camera is always the one you have on you and I tend to keep that in my pocket all the time.

7. Do you shoot any personal work? If so what personal projects are you working on at the moment?

I try and shoot as much personal work and projects as possible. I’ve been working on an on-going long term project for the past couple of years named ‘Encore’ where I photograph musicians immediately after they finish a gig. It’s been quite a difficult project to organise and can be quite exasperating getting permission for the shoots. It was exhibited at Arles last Summer. I tend to have several personal projects going at any one time. I also try and shoot tests for my portfolio as often as possible where I try out new techniques and ideas.

8. How do you manage to juggle your commercial work and your personal photography?

This can be quite difficult. I have a sketch pad full of ideas that I keep and whenever I have any spare time I usually just go through it and try and develop one. If it’s for any bigger test shoots where you need to spend more production time I usually have to just put time aside and hope no big jobs come in! It’s happened a couple of time where I’ve had to cancel and move test shoots to accommodate for commercial jobs coming in.

9. Where do you see the future of photography?

I think photographers are having to become more versatile. I’m often getting asked to supply more video content for online and ipad to go along with the stills. Without sounding too gloomy print seems to becoming less important than it was.

10.What advise would you give to someone just starting out in photography?     

                                                                                                                                                                                                                                Perseverance Oh… and be prepared to be a little broke for a while!

Many thanks to Shamil for the interview.

Shamil is currently represented in the Uk by Stem Agency

http://www.stemagency.com/index.php?/project/shamil-tanna/

+44 (0) 7790 026628

More of his work can been seen on his personal website:

http://www.shamiltanna.com/

All images ©Shamil Tanna

Leica Camera AG presents the Leica M Monochrom, the world’s first digital camera exclusively for full-frame, 35 mm black-and-white photography. Featuring a sensor designed specifically for this purpose, the new addition to the Leica portfolio enables photographers to capture images in outstanding black-and-white quality, setting entirely new standards. The latest camera in the flagship Leica M-System, the Leica M Monochrom continues the successful story of the Leica rangefinder system, which has written numerous chapters in the history of innovative photography.

“Black-and-white photography is more popular than ever before. Even today, it has lost none of its fascination as an expressive medium, not even for younger generations of photographers. This is confirmed by the numerous monochrome images shown by members of the M-Community, who we are in constant contact with,” said Jesko von Oeynhausen, Product Manager for the M-System at Leica Camera AG. “For the first time ever, we are offering an opportunity to consistently and authentically explore black-and-white photography with the M Monochrom, a tool that is unique in the digital world. The camera’s exclusively black-and-white sensor brings an enormous technical benefit that is reflected in the amazing imaging quality it delivers.”

All yours for the measly sum of £6,200!! for the body only, why anyone in their right mind would invest in a digital camera that only shoots B&W is beyond me, especially seeing as there are so many great RAW conversions & plug-ins that can achieve amazing B&W results using colour RAW files. If you want to get the look of 35mm B&W film, buy a M6 and a roll of Tri-X

In true Leica tradition, they have decided to release a limited edition white M9-P with Silver Noctilux 50mm lens for the measley sum of $30,000… oh & Leica also very kindly throw in a free white leather strap to complete the package. Bargain eh?!

Dan Kennedy, born in Norfolk, is a Celebrity & Fashion photogorapher from the UK. After studying a Professional Photography Practice course at London College of Printing, his first photography related job was on his local weekly newspaper The Great Yarmouth Mercury. He then moved to Nottingham and worked as a news agency photographer before shifting to become a news stringer in London, which found Dan working for The Times and Independent newspapers.

Keen to concentrate on the portraiture side of his job he moved into features work and then onto editorial magazines and advertising campaigns.

Dan shoots for a number of clients including The Guardian, The Observer Magazine, Bafta, Glamour Magazine, Closer Magazine, Heat Magazine, Penguin and Random House publishing. He has also shot ad campaigns for Nikon, Sky and Ultimo.

1. How did you get in to photography?

After taking some awful pictures of friends who were in a local band in Norwich I somehow blagged my way into a secret warm up gig that Iron Maiden were playing in a pub in Norwich (they were billed as The Nodding Donkeys).  I got shoved, kicked and spat at, obscuring people’s views as I pushed to get to the front of the stage to get the shots… which I did.. I guess after that I got the bug. 

2. Who or what are your influences?

Photographer-wise I was really inspired by documentary and war photographers when I first started - Larry Burrows, Salgado, Don McCullin, Greg Marinovich.  More recently by Avedon, Gregory Crewdson, Michael Thompson, Norman Jean-Roy, Leibovitz.
 Music massively influences me too…I listen to an american radio station - KCRW.. then I make Spotify playlists for shoots from that. Norman Jean Roy said music has a massive effect on your shoot day. I think he’s right. It affects everything - your mood, the subjects mood, the energy on the day, your inspiration.
 
3. Is there one photograph in history you wish you had taken & why?

That’s a tricky question! I think most of the images that stick with me are often of tragic or harrowing situations and i’m not sure i’d  have wanted to be there at those moments.Terry O’Neill’s shot of Faye Dunaway post-oscars in Palms Springs 1977, however, is one of my favourite shots ever. She’d just won an Oscar for Best Actress in the film Network.. Papers full of Oscars news strewn around her but she looks lost…there’s a sort of melancholic glamour to the shot. I would have loved to have been there and taken it.

4. What is the most difficult part of establishing yourself as a freelance photographer?

So many parts are difficult! Persuading people to see you, Getting people to give you a go.. Keeping faith in your work…constantly striving to produce new and interesting work… the list goes on!….

5. What has been the pivotal moment of your career so far?

Shooting Angelina Jolie in 3 minutes in the Dorchester Hotel. Getting out my square of black velvet stealing a quick portrait.. Having that in my book got me a few good shoots and bolstered my career ..

6. What camera do you use?

small lumix for travelling
5D2 for a lot of jobs
Hassleblad with phase back for bigger and advertising jobs

7. Do you shoot any personal work? If so what personal projects are you working on at the moment?

Yes… I shot the fall colours changing in Vermont in October. I had a sudden urge to shoot some pictures with no people in them. no stylists, art directors, make up people.  I found a veteran pilot - Winston -  and got in a Cessna light aircraft and flew over the top of the tree canopy over the state. Really enjoyed it and I was really pleased with the shots.  Last week I shot the profile of a Ugandan actress. We painted her black with poster paint and I recreated a studio version of the moment I first saw her striking profile, just a personal project.

8. How do you manage to juggle your commercial work and your personal photography?

I’m quite reactionary about personal work. I move quickly if I have an idea, plan it and shoot it. I’m realistic about needing to do the commercial work to be able to take time out to do personal work. But I think it’s really important to do it. To do something no one else has had influence in but you.

9. Where do you see the future of photography?

Pretty much video I think. I think stills are here for some time yet but the explosion of videographers who came out of nowhere when the 5D2 arrived was fascinating and indicative, I think, of the way things will go..

10. What advise would you give to someone just starting out in photography?

Do lots of web research. Take inspiration from as many sources as you can, be creative as you can and aim high!

Many thanks to Dan for the interview.

Visit Dan’s website for more of his work and contact details:

http://www.danielkennedy.com/

All images ©Dan Kennedy

Following Kodaks decision to cease production of 3 of their slide films, the firm have now taken the decision to up the price of it’s commercial film products by 15%. A Kodak press officer citing:

“We have to contend with further increases in energy and raw material costs, and higher costs associated with lower volumes. Therefore, to remain a sustainable, viable business, the company is implementing a price increase for consumer and professional films”

Slowly film is becoming more and more expensive to use as a medium, forcing many photographers to turn to digital for financial reasons. The average consumer is now looking at spending around £6+ for a roll of 35mm 36exp film, adding to that the average developing cost at a lab of around £8+ brings the total costs of shooting 36 exposure of 35mm colour negative film to around £14 a roll - even before taking in to consideration the printing costs or scanning of the negatives.

Source: photorumors