The BPPA and Pool C

Following the first round of matches after the resumption of English football, The British Press Photographers Association are delighted with the working relationship that they have created following the Premier League’s launch of Operation Restart.


The BPPA board have been instrumental in securing positions for the smaller agencies and freelancers across the UK proportionate to access given to the newswires and publication positions.


Before we undertook the project there was no Pool C – which meant no access for those outside of the national and international agencies and newspapers.


The goal we set out in gaining positions was achieved and in continuance with fairness for all and to be representative of the whole industry. Members took a vote on a random draw system with the majority voting in favour of the draw.


The board undertook a huge juggling act adhering to the Premier League and individual club requests, whilst supporting sports photographers at their time of need during a global pandemic which brought much of our industry to its knees.

New relationships have been forged as a result of this process and The BPPA are now in constant communication with the Premier League, Data Co Ltd, the English Football League as well as press officers at the majority of the member clubs.

This is a positive step forward for our association. We welcome the new relationships that we have formed as a result of our involvement with Operation Restart with the clubs and league now approaching and involving us is a huge leap forward for The BPPA.

This temporary ‘working solution’, albeit not ideal for everyone, is as fair as it can be and ensures that the match access opportunities for the smaller agencies are distributed on an rota basis. We have worked hard with the individual clubs to find a common ground which means that access is offered to all license holders.

The BPPA are happy to continue operating this draw system on behalf of photographers and the individual clubs and we would ask that all Data Co Ltd licence holders applying for games respect the process in place.
Positive feedback from club press officers has been very encouraging for The BPPA and we request that anyone who has any concerns with the accreditation process speak to us directly rather than the clubs as they have been inundated with calls from photographers.

Covid-19 has placed a massive amount of pressure on everyone in the industry and we are happy to work with you all to make as positive an outcome as possible for everyone in our industry.


The BPPA is an organisation that prides itself on ethics, professionalism and camaraderie for every one of our colleagues.

To see the latest news about the EPL Draws please visit the Facebook Page that we have set up to keep those interested in touch.

An open response to a recent social media post about gender in press photography

The BPPA has come in for some criticism from a group called Women Photographers of the UK about what they refer to as the uneven representation of women in the current Assignments 2019 exhibition. You can read their open letter here on Medium. This is a response from Lynne Cameron, Vice Chair of The BPPA.
 
Dear Suzanne, Anna and Susannah
 
We would like to reassure those expressing concerns about the representation of women in our industry that we are very aware of the issues and are currently working on projects to support and help current and future female members of the organisation. We were disappointed that these concerns were not directed to The BPPA in the first instance as we welcome all constructive criticism. It is one of our core values to work transparently with all parties in any matter related to photography.
 
The issue of gender imbalance is a complex one, not just related to photography but to wider society.
 
The association is proactively working to improve such imbalances. As an example The BPPA elected me as Vice Chair and Julie Edwards as our Social Media and Website Editor at last year’s AGM. We are both long-standing professional photographers who have first hand experience of gender related issues within our industry. Julie and I are bringing our experiences, energy and ideas to The Board and welcome further positive constructive comments which could help address this wider topic.
 
In relation to the exhibition (it is not a competition) we would like to reassure those concerned that images were curated by highly regarded members of the profession who were deliberately not given any information about the name or gender of the photographers in order to make the selection process ‘about the images’ as far as is humanly possible.
 
We are extremely proud of Assignments – an exhibition designed to promote and highlight the amazing work that is being produced by our members.
 
The Board of The BPPA welcomes constructive input from anyone who wants to help to promote and inspire great photography. If you have ideas on what more can be done on the issues raised then please get in contact with me or any of the other members of our Board.
 
Lynne Cameron
 
Vice Chair, The BPPA
 
 
 
Statistics:
 
1. The BPPA has 321 paid-up members of whom 40 are women – which is approximately 12.46%.
2. 16 photographers joined or rejoined in order to take part in Assignments 2019 of whom 25% were women.
3. 161 photographers entered photographs for Assignments 2019 of whom 18 were women – 11.2%
4. 1,351 photographs were entered of which 148 were entered by women – 10.95%
5. 110 photographs were selected for exhibition of which 10 were by women – 9.3%

Assignments is back – and not just in London!


The exhibition of the best of British press photography returns – and as well as the London show we are taking over the The Potteries Museum and Art Gallery in Stoke on Trent for a whole month.
The opening night is Tuesday 23 July- and will run until Sunday 25th of August to coincide with summer holiday season.
We are doing things slightly differently this year – full details on the website – but here are the key facts:

  • Entries open on April 1
  • Entries close April 12th
  • Pictures taken between 31st August 2017 and 14th April 2019 are eligible
  • We have increased the maximum number of pictures you can enter to 10 this year
  • There is a £10 registration fee to help us pay for everything
  • There is NO framing fee this year – our friends at Canon and Fixation are very kindly picking up the bill for us!
  • We will be doing the “catalogue” and the “contact sheet” again
  • (every image entered makes the contact sheet – so you can choose your own favourites)
  • Everyone who enters gets a pair of invites to the opening night party!
  • The exhibition is open to BPPA members – but if you have lapsed or haven’t got round to joining you can do so now

Check out the Assignments website for the full rules and details of how to enter: https://assignments.thebppa.com
You haven’t got long – so get hunting through those hard drives now!!

We are starting the new year by helping you brush up on your Photo Mechanic based workflow

We offering members and non-members the chance to take part in a series of keenly priced half day workshops which will be focused on making the most of Camera Bits software to select , caption and send your images out to the picture desks in a fast and efficient way using Photo Mechanic.
BPPA Secretary Neil Turner has a long history and experience writing about and teaching photography as well as working as a photo editor on very large sports events with world class teams of photographers.
Take the chance to learn from his years of experience as a photo editor how to make the most of the complex and powerful Photo Mechanic. Take control of variables, code replacements and autocomplete texts.
Attendees are welcome to bring laptop’s to follow the tuition in real time if they wish. If not, just listen, take notes and ask questions.
Even the experienced are bound to learn something new.
You can register on this keenly priced workshop here…

New Board Member for Social Media & Web

We’d like to introduce you to the new board member who will all be playing an active role in making this yet another successful year for the BPPA and British Press Photography.
I am Julie Edwards and I have been a press photographer for just over 10 years, working mainly in the Entertainment Industry.
I have already introduced a series to the BPPA website called “Members Talks” but my second task is to ensure that all the new (and old) board members write an introduction or “about me” focused not on their photography but what they believe the BPPA should be and how they will help achieve that. It’s not fair that I ask others to do this without putting pen to paper myself first.
With this in mind, what follows is not the normal “I’m a photographer because I grew up surrounded by photography” type introduction  (although I did as my dad was in newspaper distribution and I was surrounded by all the papers every day).
At school I was a maths head and started my career just as the desktop computer revolution started. My father said “computers are the future”, so I combined my maths and design talent in the drawing office running computer aided design systems. This career grew and I ended up as a consultant selling and implementing some of the most advanced design solutions on PC’s, starting my own software company in the 90’s as the internet era was in it’s infancy. Luckily I was working with one of the largest organisations in the CAD field whose investment in Marketing and Sales training was second to none which I benefited from greatly. In about 2007 I gave this all up with a huge change in direction to return to my first love: photography. Well not just photography, press photography, using my sales and marketing skills to get into positions quite quickly that normally take many years in the industry.
Why do I detail this past? My portfolio for the BPPA is Web & Social media. I have a past well rooted in technology and problem solving, anyone who knows me knows I have some of the most bleeding edge and automated workflows possible. This gives me the right background to help to bring the BPPA right up to date into a modern, forward looking, helpful association that press photographers think vital to be part of.
UK Press photographers are not always the most creative but they are without doubt the most versatile, quick thinking and resourceful photographers on the planet. Our work is seen every single day by millions of people. No other group of photographers have their work this visible and yet, only last week, on a train, I was likened to being “no higher than an Estate Agent”. Why do we have this reputation? Probably because the only time we are in the limelight is when it is negative (privacy intrusion etc). The BPPA needs to help change that, it needs to show the world what we do and the web is the perfect platform for this. 
Julie

Members Stories: Boris goes for a run…

In the first post of what will be a regular feature of BPPA Members telling the story behind a photo, BPPA Member Peter Macdiarmid, photographer London News Pictures, talks about …. Boris goes for a run ….
It’s not often that a press photograph leads the news agenda, but it does happen now and again.
I have been working as a press photographer for 31 years starting out on local newspapers in south London then progressing to The Independent, The Daily Telegraph, Reuters and 10 years as senior news photographer at Getty Images. Currently I work at London News Pictures, covering news and politics.
For me news photography is a passion and I put a lot of time and effort into looking for different images that catch the reader’s attention and illustrate a story in a unique, and hopefully original way. Sometimes this approach can make an ordinary image really stand out.
With this in mind I went looking for former foreign secretary Boris Johnson at his Oxfordshire home during last week’s Conservative Party Conference. Thinking that Boris would leave his house and head up the M40 to Birmingham for the second day of conference I positioned myself in the road outside by his driveway. Usually Boris will give a happy wave to any reporters and photographers as he gets into his car, but today I was on my own.
A short while after the sunrise began to cut through the October chill I spotted Boris leaving for an early morning run wearing his usual flowery shorts. I managed to capture a cheery wave before he disappeared down the lane that leads to the farmland surrounding his house. Normal practice, when there is a group of press doorstepping Boris, is to wait for his return and photograph him running up the lane back home, but today I decided to make use of the golden hour sunrise.
Having not ventured out into the nearby fields previously, I had to make an educated guess as to his return route. I located a spot that would enable me to photograph him crossing a path edged with long grass between two ploughed fields before turning left towards me.
I had guessed correctly and a few minutes later Boris emerged from the woodland leading to the path. He spotted me and waved. Sometimes he waves without looking up, and on this occasion he was also half raising his other arm for balance, all of which made a rather unusual image. He then jogged past me on his way home.

Peter Macdiarmid, photographer London News Pictures
© Licensed to London News Pictures. 01/10/2018. Thame, UK. Boris Johnson waves at photographers as he runs near his Oxfordshire home. The former foreign secretary is due to attend Conservative Party Conference this week. Photo credit: Peter Macdiarmid/LNP

Rather pleased that I had found a different way of photographing the MP that was the talking point of the Conservative Party Conference, I set off back to the car to edit and transmit my images.
Within a couple of hours the images started to appear online, but with a headline that was markedly different to my caption ‘Boris Johnson waves as he runs through fields near his Oxfordshire home’. The Mirror online headline was ‘Boris Johnson commits greatest trolling in world history by running through a FIELD OF WHEAT’…. referring to the Prime Minister’s confession that the ‘naughtiest thing she has ever done’ was to ‘run through a field of wheat as a child’
My images of a man out jogging in the morning sunshine began to take on a life of their own. I spent the rest of the day fielding calls from ITV, Channel 5, BBC TV, CNN International and German TV asking for the picture for news bulletins. Multiple newspaper online websites were publishing my pictures and it was being talked about on radio bulletins by lunchtime. That day’s Evening Standard ran it on page one and another inside.
Tuesday’s papers ran the image across four front pages and on inside pages too.

I have received a few phone calls asking me if it was a stunt – as you can see – it wasn’t.
Peter Macdiarmid
London News Pictures

And Then The Prime Minister Hit Me – the new book from Brian Harris.

Brian Harris

 
Veteran Fleet Street photographer and founder member of The BPPA Brian Harris has just published his long-awaited book “…and then the Prime Minister hit me”. You can follow the story of how the book came into being on Brian’s blog.
When Brian Harris decided as a boy to give up his dream of being a newspaper cartoonist and instead become a photographer, it was a decision that would take him from 1960s Essex to the heart of the British newspaper industry in London and to dozens of countries in search of the images that encapsulate the decades from the 1970s to the present day. Some 200 of these photographs are featured in …and then the Prime Minister hit me… Presidents and royalty, ministers and movie stars, ordinary people caught up in extraordinary events; Brian Harris has captured many of the most famous and compelling people of our time. His honest, often hard-hitting text tells the story behind his pictures, and in so doing, the story of his life.
Drawn from his archive of thousands of prints, negatives and contact sheets, these images document not only Brian Harris’s 45 years as a photojournalist, but also many of the defining moments of modern history. As a staff photographer on The Times, his assignments included Northern Ireland’s ‘Troubles’, the bloody birth of Zimbabwe, the aftermath of war in the Falklands, famine and human suffering in Ethiopia and Sudan. He joined the founding team of The Independent in 1986, with a brief to produce the kind of purposeful editorial photography with which the newspaper became synonymous. His twelve years on the Indy coincided with the start of the civil war in Yugoslavia, the Tiananmen Square massacre, the fall of the Berlin Wall, Czechoslovakia’s ‘Velvet Revolution’ and Saddam Hussein’s invasion of Kuwait.
Aside from such headline-grabbing events, the daily grind of politics has given Brian Harris some of his most memorable images. Caught here on campaign trails, at party conferences and glad-handing the public are presidential candidates, British prime ministers and party leaders – including the unforgettable moment when Labour’s Neil Kinnock took an unplanned dip at Brighton beach.
The personal stories that illuminate Brian Harris’s photographs are a valuable social document of the changing face of the British newspaper industry experienced from the inside. From the heavily unionised working practices of the 1970s, through the post-Wapping fallout that gave birth to The Independent, to life as a freelancer, Brian has seen it all. …and then the Prime Minister hit me… is in part a tribute to ‘Fleet Street’s finest’, who taught the young photographer the tricks of the trade. But this book is dedicated to Brian’s father who built him a darkroom and his mother who made his first flyer for his fledgling photography business back in Romford. Without them, there would be no story to tell.
If you want to know more, please visit Impress Publishing’s website

Self-publishing 'Coast People'

Ian Forsyth

As I write this post sitting at my desk in my home office I am surrounded by an ever-increasing collection of photography books. Books that I have been gathering over many years firstly as an amateur with a keen interest and now as a working professional photographer. Over these years and I assume like many other photographers I have always found that seeing a photograph in the printed form is indeed a wonderful thing. Whether it was a print that I made myself in a basic but functional darkroom at the start or then later in the digital world as a print came rolling unceremoniously out of an inkjet printer tethered to my laptop it was still a great feeling.
The photobook is an extension of that.
A way of seeing the work of photographers I admired and the kind of work I was interested in. Looking over the titles surrounding me I see familiar names that have inspired me through my photographic career. Names like Tom Stoddart, Don McCullin, Larry Burrows, Philip Jones Griffiths, Robert Capa, Jane Bown, Robert Frank, Robert Doisneau, Weegee, Bresson, Sean Smith….the list goes on. All of them offer ideas and inspiration to the photographer and provide an insight into a time and place in history and of course it goes without saying they provide fine examples of photography. So as a photographer one of my ambitions was always to have my own book of photography. To have my work printed and have something that I could be proud of and which I would be happy to have in my collection.
My journey into publishing has been an adventure to say the least. It’s been quite a stressful undertaking. It has been financially challenging and it was a long process that at times nearly reached the point where I simply let it go thinking it was too much of a task to take on. As my collection of rejection letters from publishers increased I thought that the idea of having a book picked up by a publisher was pie in the sky so when I received a letter saying that a publisher was interested I was all ears! Now we’re not talking Steidl or Thames and Hudson here! I’m not talking about an international publishing house knocking at my door! This was a decidedly smaller affair and one that would result in only a small run of books. To try and generate interest and arrange with bookshops that would be willing to stock the book meant I had to be very proactive and most of the publicity for the book fell upon me.
Things were going well. Layouts were all done. Captions were written and pictures decided upon. I had approached some local media and started to generate some wider interest in the book. I provisionally secured nearly thirty orders in one day just by posting it on social media. I had spoken to my friend, a photographer who’s work I admire greatly, Tom Stoddart, who kindly agreed to write the introduction for the book and all was going well. But problems arose when I saw the quality of the prints in the book. They weren’t what they should be. Not for a good quality photography book.
Now I was under no illusions about this book. I had no thoughts at all that this would make it into the collection of the world’s great photography books! I’m not under any impression that this small addition would make a difference to the world of photography as a whole. But that wasn’t the point. This was my book with my pictures in and so I wanted it to be right and I wanted it to be printed well. So after a few weeks of trying to work through the problems with the printing it became clear that it wasn’t going to get resolved and I had to look for an alternative way of doing it. Now I’ve self-published a couple of one-off books before through the online company ‘Blurb’. So I knew that the quality was very good and at least with the template style options available there were plenty of ways of making the book my own and which gave me some creative freedom when I put it together. So I found myself going down the route of self-publishing to try and get this book off the ground. After a re-design and a change in layout I eventually had a finished copy that looked how I wanted it to look.
Now the financial outlay of self-publishing is one that shouldn’t be underestimated. Unless you have a few thousand quid put aside it’s an uphill struggle. So much so that the costs of producing a number of copies was, for me anyway quite prohibitive. I could have waited for a couple of years or whatever until I had enough money put to one side to allow me to produce a few thousand copies off but let’s face it…when do any of us get to the point when we ever have enough money to do something like that. Sometimes you just have to go for it and see where it goes. So my book, ‘Coast People’ was released on-line through ‘Blurb’ last month. It represents the culmination of a long-term photography project that I had been working on for around 5 or 6 years and is a visual document of something that I’m passionate about and which I have access to all year round. It looks at the coastline between an area called South Gare at the mouth of the River Tees in Cleveland and down the coast to Flamborough Head in North Yorkshire. With the book I’ve tried to show the people who live or visit and who use the coastline for recreation, sport and business or simply as a means to get a break away from whatever they usually do. My approach was to look for the simple, the quirky or the humorous. Some are posed portraits whilst the majority are just ‘as they happened’ without interference from me and which I hope, as a documentary photographer might form some part of a visual record of how people use the coast and which might help promote the heritage of the area and ultimately help protect it.
So only time will tell if it achieves this. But all the comments I have had back so far from those that have bought it have been very positive and as far as self-publishing goes? Well as a working photographer the financial aspect cannot be ignored in anything we do. The pursuit of a fair wage for what we produce is ignored at our peril and as professionals none of us should ever work for free! Occasionally however the challenges of taking on a self-publishing task might bring other rewards that might as yet not be immediately obvious. It can bring an understanding that in this oppressive digital age the production of a book of photography is a real-time extension of the digital world we now live in. A book has form. It has texture and feeling. It is a collection of pictures chosen over many months by the photographer and a collection that has been put together with pride and commitment. It is also quite addictive! I am also releasing a high-quality magazine at the start of December that shows a selection of my feature stories and documentary work from through the year. Called ‘Room 2850’ – after my blog of the same name – I hope to produce twice a year showing more of the stories I photograph.
So maybe give it a go? Turn that long-term project that has been simmering away for a few years into something tangible, something that can be held and looked at many times. Maybe a few copies will sell or maybe thousands will be bought but at the very least it is something which can stand alongside all your other photography books but which can claim to have the one thing none of the other books have…you made it.
 
You can get the book from Blurb here and you can see more of Ian Forsyth’s work here
 

The Hut

Jeremy Sutton-Hibbert

‘The Hut’, six simple letters making two words, but which in the Borders region of Scotland , and in particular in Hawick, conjure up images of men linking arms, swaying, singing, drinking and 500 years of remembrance and history.
I’ve photographed all over the world, in many exotic locations, from the jungles of Papua New Guinea to the boardrooms of Tokyo, but on returning to live in Scotland in the last few years I’ve begun to explore once more my own country, an exploration which during my recent Unsullied And Untarnished’ book project, looking at the Common Riding festivals of the Scottish Borders, took me inside ‘The Hut’.
The event was the ‘Curds and Creams Repast’, a morning event at the Hawick Common Riding, an annual festival which commemorates the capture of an English Flag in 1514 and the ancient custom of symbolically checking the boundaries of the common lands. On the hills above the town, the riders approach the Hut, the men jump from their horses leaving youths to tend them, and run for the wooden farm building. The event is ticketed, and to some visitors surprising in that it is a male-only event. While the riders enjoy their hour or so inside, the female riders and participants of the Ridings mill around outside, listening to the proceedings over speakers.
Inside, men from the various Border towns representing other Common Riding festivals sit at long benches. Speeches are made and listened to, traditions are observed, songs sung, and copious drinks of rum and milk consumed.
I’ve been fortunate to gain entry twice to photograph, my presence tolerated if not exactly welcomed. Although visitors are welcome at the Common Ridings, these are essentially local festivals for local people. But photographing in the hut, with the condensation forming on my camera lens, the sweat dripping, the air humid with the heat, song and perspiration of 200 horsemen, stands as one of the more fascinating things I’ve witnessed in my own country, and certainly is proof that you don’t need to take off for foreign climates to see extraordinary sights and experience life.
Incredibly, even here in Scotland, the Common Ridings are little known outside of the Borders. With my latest project, Unsullied And Untarnished, out now as a book of the same title, and which also forms my part of a new show by Document Scotland photography collective, I hope others can gain an insight into the annual festivals, to learn about the pride and love the participants have for their communities, their traditions and the history of this country.
Unsullied And Untarnished book, with a foreword by photojournalist Harry Benson CBE and essay by Alex Massie, is available from Jeremy Sutton-Hibbert’s website. www.jeremysuttonhibbert.com
Unsullied And Untarnished forms Jeremy Sutton-Hibbert’s contribution to Document Scotland’s The Ties That Bind photography exhibition, on now until 24th April 2016 at the Scottish National Portrait Gallery, Edinburgh, Scotland.
www.documentscotland.com
©Jeremy Sutton-Hibbert. 2015.
Jeremy@jeremysuttonhibbert.com
 

Election 2015 – Never Mind The Deja Vu

Back in 2005 The BPPA put together a project called “Never Mind The Ballots” which was a response to the “most stage managed, spin driven and least visually interesting elections in modern times”. Press photographers faced a month of ten minute photocalls and long frustrating waits whilst trying to find interesting and journalistically significant images. Ten years later the sense of deja vu was only diluted by the fact that things had actually become worse.
Because of that, we decided to run Election 2015 – a partner to the 2005 project to show that the ingenuity and skill of press photographers haven’t faded. The gallery is now on line HERE and if you like it please share it, tweet it and make sure that as many people as possible see what lengths we have to go to to get the pictures that actually tell the story.