Vista 64 -- nightmare over

Last year I replaced my desktop computer. Not before time, as I'd had it for 5 years, during which time the only upgrade was additional memory and new peripherals (NEC Spectraview 2190 monitor, Wacom tablet, USB disk drives). In an attempt to make the new machine last as long as possible, I went for a 64-bit operating system. This means you can use more memory, which should speed up heavy-duty processing of photographic images. Seemed a good idea to future-proof against the demands of higher-resolution cameras. I thought I'd checked that my existing kit was compatible. But not carefully enough, it transpired.

Here's a list of (the most important) stuff that didn't work for me:

Canon driver for 5D camera (web searches suggested this is down to the installer rather than the driver itself)

Adobe Photoshop (CS3) Bridge (various windows mysteriously greyed over; increasingly frequent crashes)

Nikon CoolScan 5000 35mm film scanner (no 64-bit drivers available)

Wacom Intuos 3 graphics tablet (all sorts of hassles)

Asus WL-BTD201M Bluetooth dongle (failed to install)

Installation of ICC profiles

Sound card (stopped working)


Of course, it's possible that some of the above was down to user error. I've been using PCs for over 20 years but have never considered myself an expert. Just learned as much as I needed to get by, with the aid of a resourceful and helpful local supplier: The Real Computer Shop. After patiently fielding my frustration for many weeks, they finally advised me to give up and revert to 32-bit XP. I've now been running that for a week. Bliss! I'd forgotten what it's like when everything installs and works first time. Of course it may be that a more expert user wouldn't have had as much grief. But I suspect my own computer skills are no worse than average. So, if anyone considering a 64-bit system finds this posting, I hope it might save you hassle.

Geoff Roe on Photographic Composition

An intriguing 5-star short review in Amateur Photographer dated 3 January '09 led me to a brilliant, self-published book by Geoff Roe on Photographic Composition. The author is a retired academic, and this succinct little book chimes with my background in psychology, as well as making frequent links with painting and music. Informed by cognitive science, it goes far beyond the usual, hugely dissatisfying, platitudes about the Rule of Thirds and Lead-in Lines. Very informative and refreshing. ISBN 978-0-9529867-2-0, available from GE Roe, PO Box 220, Bramhall, Stockport SK7 2UZ, for £12 plus £2 p&p.

Best Christmas Present

Daughter Amy gave me World Architecture: The Masterworks by Will Pryce. Photo-essays on 49 great buildings across the world, by a photographer who is also a trained architect. I'm hugely impressed with the photographic vision and technique displayed in these images -- especially as I've had a go myself at two of the featured buildings this year: the cathedrals at Durham and Ely.

Sheffield BIPP network?

Having just become a qualified member, I wonder if BIPP members in and around Sheffield have any interest in networking together? So I've emailed 18 local colleagues listed on the BIPP website and invite you to post comments here if you think there's value in building something locally. Skill sharing? Passing on work? Car-sharing to regional meetings at Selby? Any other ideas?

Back to Bank St

On 13th December, a brief visit to Bank Street Arts for their Christmas Fair. Hoping to meet again some of the people I photographed there for Open Up Sheffield in May. Brought Abigail Ivall and Caroline Twist a print of my image of them in at work their studios, shot from the landing.



Sorry to miss Ken Horne, although his fine recent work was in evidence. Interesting conversation with John about language and visual arts, as well as the value (or otherwise?) of formal qualifications. Left feeling I really must keep in touch with Bank Street.

Now I'm a Qualified Photographer: So What?

Does it matter whether a photographer is qualified? Some people seem not to care one way or the other. Some photographers say they can get work without bothering with formal qualifications, based on word of mouth and the quality of what they've done before. Just as some customers have told me that all that matters is personal recommendation, and whether they like the person's previous work.

But coming to it after a career in another profession, where qualifications are absolutely essential, I felt differently. I wanted to demonstrate an assured level of competence, recognised by a respected professional organisation. So I looked into the UK organisations that offer qualifications. The one I chose was the British Institute of Professional Photography (BIPP). This is solely concerned with maintaining and improving professional standards, developing skills and encouraging continuing professional development, facilitating communication in the photographic industry, and safeguarding the future of the industry. It doesn't function as a commercial trade organisation. It does genuinely seem focused on improving members' skills. It doesn't hard-sell goods and services to its members. It also appears to have the most rigorous and systematic assessment processes.

The entry level qualification is Licentiateship. This represents an established level of skill and competence. It requires you to present a panel of 20 images (preferably mounted prints) that demonstrate: composition, control and lighting of the subject; and sound technical competence. The images have to fall within a specific category of photography: mine were Press & PR. A Working Profile document is also required, which describes your working methods in general as well as specifically in relation to each of the submitted images.

I've been favourably impressed with the processes involved. BIPP offers one-day training courses to candidates at reduced rates. It also offers candidates free mentorship from senior members (BIPP Fellows). Regional meetings provide opportunities to share your work with other members and get useful advice. The judging of submissions is carried out by three Fellows, who examine the images before inviting the candidate in for feedback. I found this very informative, with the strengths and weaknesses of individual images very trenchantly described. I got really useful advice on how to develop my skills and my style of work. It certainly felt rigorous, anything but a walkover. I felt I could easily have failed to pass, had I worked any less hard on the images I submitted.



Here's an image the judges said nice things about. They liked the composition with its use of the windows into the atrium beyond. It shows artist Cynthia Harrison at Bank St Studios in Sheffield and was part of my commission to photograph artists' studios for Open Up Sheffield in May 2008. More of these images are on my website.

So now I'm a qualified photographer. So what? I do feel anyone employing a photographer would be well-advised to choose someone qualified with BIPP. And also that I've been validated, through a process I found well worthy of respect, as having shown myself competent. I'm also encouraged to pursue my development as a photographer, to aim in due course for the next level of qualification, BIPP Associateship.

Endcliffe Park Playground photos now up on website

Today, I've posted the photos of the opening event for Endliffe Park Playground on my site. Prints are for sale at modest prices, with a third of proceeds to the Friends of Endcliffe Playground. I am grateful for the opportunity to support such a worthwhile event and am sure the playground will benefit kids and families for many years to come.