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I can’t explain the chains of chance and circumstance that lead up to us owning this funny little house in a french village that time seems to have forgotten…all I know is it is as much our home as the one we live in the other 45+ weeks of the year.

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When I knew I had to go open it up for the summer I could think of no better people to share it with than some of my lovely Click Collective girls…so we organised our very own road trip (minus Brad).

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It has been a complete joy to walk the old tiny streets…unchanged for centuries it feels…the faded shutters in a myriad of shades from french violet to turquoise but never red…that is to be my English treat when my shutters are ready for the brush…the crumbling plaster…the magnificent doors and windows that allow us to take a tiny peek in the life of the village.

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To see it through three sets of fresh eyes was just pure joy…it reminded me yet again that there is beauty in the most unsuspecting of places and also why this tiny village in the middle of the mountains stole my heart in the first place.

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Andrea Ellison

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Mandy Beck

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Claire Penn

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Susanne Daly

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Andrea Ellison

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At other times, it is allowing another to take yours.”

― Vera Nazarian, The Perpetual Calendar of Inspiration

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Our hands are a vitally important part of who we are and how we see ourselves. They can perform extremely gentle and precise actions such as writing a letter, painting a picture or threading a needle. Our hands also enable us to perform heavy labour, such as digging with a shovel or swinging an axe. We use our hands to feel whether something is rough or smooth, hot or cold, sharp or dull. We hold a child’s hand as we cross the road. We caress the hair of a loved one. Even when we are talking, our hands are used to express ourselves and are a key part of what we say. Enjoy the variety of images below that show the diversity of our hands, and as always many thanks to everyone who submitted.

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Lucy Woodrow – The Click Collective

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Wendy Grant – The Click Collective

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Aly Linaker and Lucy Woodrow – The Click Collective

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Amanda Hayler – The Click Collective

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Pam Hordon – The Click Collective

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Lisa Dearnley-Davison and Jane Packard – The Click Collective

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Rachel Baker – The Click Collective

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Andrea Ellison – The Click Collective

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Siegrid Cain – The Light Lounge

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Helen Yin and Julie Svanberg Grath – The Light Lounge

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Kay Maguire – The Light Lounge

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Andrea Pittam – FaceBook

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Debbie Harrie and Spark Studio Photography – FaceBook

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Kerry Morgon-Shaw – FaceBook

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Alyson Andrew and Joanne McNeil – FaceBook

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Helen Bryant – FaceBook

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Kate Tolson – FaceBook

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How long have you been running The Guild and how have you turned it around to make it modern and applicable to today’s photographers?

The Guild started in 1988, I joined in 2005 and was awarded the Master Craftsman title within a couple of years (I cried), and Steve and myself were approached to become its Directors in September 2009. When the Guild first started it was a huge Association because it offered Photographers things that were very relevant at that time such as its Manual of Guidance. It is fair to say that it didn’t move with the times so had declined to less than a 100 members when we took over.

We thought long and hard about what I wanted as a photographer, and we also spent the next few months researching what we thought was relevant today, re-launching the Guild in its current and evolving format in the Spring of the following year the following year. The introduction of the Panel was probably the most important change we made as we instantly had a team of dedicated experts to support our members.

The key thing we wanted when we took over the role was to give the Association a heart (i.e we wanted a community feel). We also wanted to be ethical, open and supportive and avoid the politics we sometimes hear about elsewhere. Basically, we wanted what we would have loved when we started out. It was also important to have a Code of Conduct and set industry relevant standards so potential customers could see membership as a mark of trust.

Since then we have continued to evolve it according to member’s needs and ideas, for we see the Guild as the members association with ourselves as facilitators.

Why should a photographer be a member of an organisation like The Guild?

Photography is a very insular profession. Being a member of any association can create a sense of belonging and offer a support network where we all help each other. I can’t say what other associations offer, but the Guild offers support and advice, a qualification or assessment programme, access to high quality training and mentoring to assist with personal development.

There is also a fun side to membership, monthly competitions, legal support if ever needed, incredible insurance and over 20,000 discounts to save members money. Also, as stated above, membership can also be a great reassurance tool for any potential customers.

What is most bizarre or difficult situation The Guild has encountered whilst supporting a member?

We’ve supported members through quite a few issues and acted as a mediator where necessary. At 8pm at night on the 23^rd December we found ourselves ‘in discussion’ with a national newspaper that was going to publish a members images of a celebrity’s children without consent and brokered appropriate accreditation.

Having said that, there has not been anything ‘out of the box’ which compares with what we experienced personally i.e. a couple whose wedding we photographed split up straight after their Honeymoon and both engaged solicitors to fight for the rights to the album. The bride won and we pretty much had to design an album without a groom in it, as per her wishes. He had the proofs.

What are The Guild’s top tips for managing clients’ expectations?

There is one big tip here – Communication!

It is important to know what a client’s expectations are and you as the photographer needs to be realistic in terms of explaining to them what you can deliver. This is why we really value our pre-meets with a couple just before a wedding. Consultations prior to any other type of shoot are just as important in our eyes.

Everything should be reinforced by a contract of course. Most of the disputes we get involved could have been avoided had there been one. You would be amazed how many photographers still don’t utilise a contract. This is why we had a very good one drawn up and placed on our website for members use.

How does The Guild qualification process differ to other organisations?

Most associations offer a ‘qualification’ programme based around the creation of a Panel of 20 images and have 3 levels ‘Licentiate’, ‘Associate’ and ‘Fellow’.

Our system differs both in terms of the process and the awards given. We remain loyal to the history of the Guilds so our levels are ‘Qualified’, ‘Craftsman’ and ‘Master Craftsman’ – terms the public understand for other Professional trades use them too.

Because of that, if someone is in business we ask that they submit images they have actually delivered to customers (rather than a Panel). This way we can assess their actual product quality and knowledge of photography in real circumstances. We also ask for evidence of insurance as part of the process.

How do you select Panel Members?

The Panel is there basically to provide a team of experts to support the needs of our members therefore when a need is identified we search for who believe are the best in that field and most suited to that area – The most recent example being that the Guild has seen huge growth in the number of members who photograph bumps, babies, children and lifestyle images in general.

We found out from members that Kate Hopewell-Smith and Tamara Peel were the most admired photographers in that area so they were approached and asked to join, which they did. We have also integrated judges from other associations to give us very varied perspectives. This way the Panel has an amazing cross-section of talent and expertise to suit the needs of our members.

‘Styled Shoots’ are increasingly popular. Are these accepted for qualified status submissions?

Submissions for Qualified status can be from any genre, for example one member who recently submitted a forensic science submission and another specialises in shots of vending machines. The subject is not that relevant as it is the skill level we are interested in.

The only key point to a submission is that the photographer must be the author of their work. (ie it must be theirs and not done under instruction guidance from somebody else)

What tips have you got on hiring ‘Second Shooters’? For example, would you recommend having a formal contract with them?

A hugely significant point is that everyone who utilises a second shooter, regardless of whether they pay them or not, is seen as an employer in law and therefore it is vital you have Employers Liability insurance if you use one, as you are responsible for them and their actions whilst they are working with you.

Thereafter, a lot depends on the relationship you have with that person. For example, a husband and wife team will obviously not need a contract but otherwise a contract would be the sensible thing to have so that both parties know where they stand over use of images.

What type of competitions does The Guild run?

We run three main competitions, two of which are linked. The first one is a free to enter ‘Themed’ Competition which has a different subject matter each month, and what makes it interesting is the fact that the members are also the judges, choosing their favourite image with the winner getting a prize.

The main competition is the Image of the Month competition, which is very demanding as the judging is done by a full panel of judges and Gold, Silver & Bronze Bars are awarded to the stronger images – There is even the potential of a Platinum Bar but we’ve yet to have one of those!

Whilst very challenging it’s also incredibly good fun and I believe we are the only association to give feedback to those who fail to win an award, so there is a mentoring element to entering. Certificates are issued and many monthly winners of our Bars find themselves in their local press. The Guild’s Photographer of the Year Titles are linked to this. The Bars earn points and the photographer with the most points at the end of a year becomes our Photographer of the Year in the respective genres. Again, this is a very different approach to other Associations which award their titles to a photographer based on one image.

Can non-members take part in The Guild workshops? Where can our readers find out about them?

They can in most cases, though Guild members do get a discounted rate. There are one or two events each year we restrict it to Guild members only because of attendee limitations. There are lots of exciting events each year, such as the full blown Mock wedding we have just done, and the pending day with Kate Hopwell-Smith. Another is being planned with Damien Lovegrove.

We don’t arrange training opportunities just for the sake of it. They are usually because members ask for them for we offer a ‘bespoke’ programme. More details can be found at   http://www.photoguild.co.uk/member/training/training

We have also just purchased our own training school – ‘The Blackthorn’ which has a long history and great reputation, offering some high quality courses are available at very good prices. It is open to members and non-members (Guild members get a 20% discount) and the courses there will be expanded in the near future as a result of us taking it over. More details about the school can be found at http://www.photoguild.co.uk/member/training/training

You are a highly successful photographer. Have you ever turned down work? And if so why?

Yes, I have done this on occasions, if the ‘vibes’ don’t feel right. Gut feeling is strong indicator and is an in-built safety mechanism we all have, so I trust it. If I don’t feel comfortable with a potential customer, I am not likely to be able to deliver my best and I don’t do want to do that, as I would be letting them down as well as myself.

It’s amazing how many disputes we deal with where the photographer says that they didn’t have a ‘good feeling’ from the start. If it doesn’t feel right, it probably isn’t and potentially could lead to problems.

What is the most difficult shoot you have photographed? How did you cope?

I didn’t even need to think about this one – I had a wedding the day after my father’s death in unpleasant circumstances. I couldn’t let the couple down though so I didn’t say anything to my bride and groom.

How I got though it I will never know, but we are professionals aren’t we? I was okay until it came to the ‘cake shots’ and the bride had a photograph of her late father in a frame by the side of the cake. Thankfully, that was the last shot I had to do and I went straight back to my car and broke down in tears.

As a more amusing footnote, the first wedding I did was also very difficult for all the obvious reasons. I did wonder about my chosen career path though, when during the course of the day, the groom blatantly ‘tried his luck’ with me in front of his bride!!

I heard he was caught with the bridesmaid by his new mother-in-law later in the day, and she hit him.

What are your key wedding shots?

For me, there are key moments during the special day…. the look as a father sees his daughter in her dress for the first time, similarly the moment a  groom turns and sees his bride walking towards him. Of course, the giving of rings and the kiss (if there is one), as well as the signing of the register are very important too. There are other key photographs I always aim to get, such as shots of the wedding breakfast room pre-use, the ‘romantics’, and groups.

Personally, I think groups are extremely important for we are capturing family history and creating an heirloom. In my Guild role, there have been too many occasions where people have contacted the office trying to locate a photographer who traded years ago, as they want an image of someone very special to them that sadly has since passed away. Some people shy away from ‘group’ shots because they see them as ‘difficult’ or ‘boring’, but if you think ‘shapes’ they can be amongst the most interesting shots of the day.

My trademark ‘romantic’ shot is of the couple sitting on a lawn and I often build a picture around them including some guests.

How did you go about suggesting wedding photographers for your daughter’s wedding? Will you be taking your cameras?

We kept well and truly out of this one, for how could we choose!! There are so many good photographers within the Guild local to us, who are also good friends. I’ve said all along that I wouldn’t take my camera, but now the date is approaching I might just put it in the car ‘in case’ I need it

Thank you so much to Lesley and Steve for taking time out of your busy schedule to do this interview. If you want to know more about The Guild please visit their website at The Guild of Photographers.

But at last………she is here

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so raise your faces skyward and with joyful welcome say

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“Hello Spring…oh how we have missed you “

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“She turned to the sunlight
And shook her yellow head,
And whispered to her neighbor:
“Winter is dead.”

A.A. Milne – When We Were Very Young

Amanda Hayler – Click Collective

Claire Penn – Click Collective

Jane Packard – Click Collective

Mandy Beck – Click Collective

Pam Hordon – Click Collective

Sam Pommells – Click Collective

Wendy Grant – Click Collective

Kay Maguire – The Light Lounge

Kismet Jewell Nakai –  The Light Lounge

Siegrid Cain – The Light Lounge

Helen Yin  - The Light Lounge

Alex Rickard – Facebook submission

Lizzy Ho – Facebook submission

Maggie Strapper – Facebook submission

Mandy Taylor-Armstrong – Facebook submission

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Thank you to all who entered images for this post….we love seeing your work and love to feature as many as we can

until next time

happy Spring

love Andrea x

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How do you follow an amazing trip to Venice? A weekend jam packed with culture and laughter in the UK of course. And what better place to visit than Liverpool . . .

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“We are never more fully alive, more completely ourselves, or more deeply engrossed in anything, than when we are at play.”
- Charles Schaefer

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Some of us ~ well OK probably just Wendy ~ are old enough to remember the Beatles; Jerry and the Pacemaker’s hit single ‘Ferry Across the Mersey’ and the Liver Birds programme on telly. Not only is Liverpool home to our lovely Click girl Vicky, but it’s home to the Three Graces and just outside Liverpool on the way to Southport, is Antony Gormley’s Beach installation – Another Place – at Crosby.

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It all started with a question . . . “Have you ever been to see ‘Another Place’ – near Liverpool?”

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Several discussions later and we were organising a mini Click Collective gathering. This time, instead of staying in a wigwam or a canvas tent, as per previous get togethers, we were looked after by Aly who very kindly put us all up in her artisan home.

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Several southern girls decided to make the trip so there was a real mix: Amanda Hayler travelled up to Liverpool on Friday (spending several hours in the Aldephi Hotel over a fabulous tea with some of the northern girls who couldn’t make Saturday’s date with Gormley), while Tracy and Wendy came up on the Saturday morning. We all then met at the Bluecoat to start the day activities, being joined by Vicky and Amanda Holl, and armed with a variety of cameras (Canons, Nikons, polaroids and even iPhones).

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Not only was the Big Egg Hunt in Liverpool but tours around the Cavern (their coffee machine was broken so we had to have alcohol) and Albert Dock (walking past the building that the Titanic passengers bought their tickets for that fateful journey) were followed by the trip out by train to Crosby – just in time to meet up with another Click girl, Lisa, and catch a not quite so spectacular sunset on the beach. Wellies and converse trainers were the preferred beach footwear but some wore crocs and braved the cold water.

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We crammed such a lot into just a few hours…the day ended with an Indian meal and the pub, followed by full English homemade breakfast in the morning, walks around Southport, not to mention an abundance of chat and laughter. Then it was time to go home . . . it was such fun . . . we want to do it all over again!

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The Adelphi, Liverpool – Amanda Hayler and Aly Linaker

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The Bluecoat, Liverpool – Amanda Hayler

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The Big Egg Hunt, Liverpool – Vicky Sudbury

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The Big Egg Hunt, Liverpool – Wendy Grant and Tracy Morter

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Around the Docks, Liverpool – Amanda Hayler, Wendy Grant, Vicky Sudbury and Amanda Holl

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Walking around Liverpool – Wendy Grant, Vicky Sudbury and Amanda Hayler

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Mathew Street, Liverpool – Wendy Grant

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In and around the Cavern, Liverpool – Amanda Holl, Vicky Sudbury, Tracy Morter and Amanda Hayler

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Another Place, Crosby Beach – Lisa Dearnley-Davison

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Another Place, Crosby Beach – Amanda Holl

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Another Place, Crosby Beach – Tracy Morter

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Another Place, Crosby Beach – Amanda Holl and Aly Linaker

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Another Place, Crosby Beach – Vicky Sudbury

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Another Place, Crosby Beach – Amanda Hayler

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An evening in Southport – Tracy Morter

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Southport – Wendy Grant

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Southport – Vicky Sudbury

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Southport – Tracy Morter

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Going home, Liverpool Lime Street – Wendy Grant

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– Burt Bacharach and Hal David
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With Valentine’s Day just around the corner, we thought we’d share some images of love with you…

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Tracy Morter – The Click Collective

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Wendy Grant and Aly Linaker – The Click Collective

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Amanda Hayler – The Click Collective

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Amanda Holl and Jane Packard – The Click Collective

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Pam Hordon – The Click Collective

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Andrea Ellison – The Click Collective

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Kerry Morgon-Shaw – Facebook

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Nikolina Attwood – Facebook

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Helen Lisk and Judi Checketts – Facebook

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Mandy Taylor Armstrong – Facebook

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Lizy Ho – Facebook

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Amanda Balmain – Facebook

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Nina Mace – Facebook

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– Christina Rossetti (1872)

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As the weathermen deliver the news that a whiteout is on its way…we sit, morose with doom and gloom, preparing to batten down the hatches and wait for the pesky white stuff to clear.
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But instead let us embrace the magic that is snow…tiny flakes each unique and different…the perfect quiet it brings as sound is muffled and softened…a soft white light…quite unlike any other…a time for mittens and scarfs…crisp long walks….a new world with landmarks hidden…leaving footsteps on virgin snow…letting a single flake dissolve on your tongue…ears toasty in your woolly hat…tingles in your fingers as you blow on them for warmth…what is not to love?

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It is hard not to smile when you truly embrace the magic that is snow.

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Claire Penn – The Click Collective

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Amanda Hayler – The Click Collective

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Sam Pommells – The Click Collective

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Wendy Grant – The Click Collective

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Rachel Baker – The Click Collective

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Amanda Holl – The Click Collective

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Pam Hordon – The Click Collective

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Tracy Morter – The Click Collective

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Jane Packard and Aly Linaker – The Click Collective

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Rosie Wooldridge – She Clicks

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Siegrid Cain – She Clicks

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Kate Geikowski – She Clicks

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Isabelle Lafrance and Boo Marshall – She Clicks

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Tracy Bradbury – Facebook

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Audrey Russell – Facebook

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Kimberley Ward and Nanette Gordon-Cramton – Facebook

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Judi Checketts – Facebook

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Mandy Taylor Armstrong – Facebook

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Carolyn Mendelsohn and Lizy Ho – Facebook

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Maggie Stapper – Facebook

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Claire Lane – Facebook

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Andrea Pittam and Zuzana Hudak – Facebook

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“Lookin’ through my old pictures, faded photographs
Some of them bring me close to tears, others make me laugh
Old memories seem to come alive
And open up the past again and let me dream inside”
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- K.T. Oslin & Jerry Gillespie

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Following on from last year’s Memory blog post, we are pleased to present another series of old family photos that continue to remind us and inspire us…

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Wendy Grant

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Sara Hazeldine

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Lisa Dearnley-Davison

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Mandy Beck

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Susanne Daly

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Amanda Hayler

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Tracy Morter

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It is not surprising to find many artists, poets and writers have walked its streets before you and found inspiration within its walls. Lord Byron who’s visit turned into a five years stay in a Venetian hotel confirms its decadence…

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“palaces are ruined, music is not heard any more, those days had gone by and remains only the beauty of this dying glory”.

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It was the most perfect of places for 30 female photographers from around the world to gather…and we too found inspiration there.

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Here is part two of our Venetian adventure…we hope you enjoy its beauty through our lens.

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Vicky Sudbury

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Sam Pommells

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Mandy Beck

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Julie Svanberg Grath

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Claire Penn

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Siegrid Cain

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Sara Hazeldine

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Amanda Holl

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Andrea Ellison

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Jane Packard

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Boo Marshall

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