unless they are perfectly suited to the subject and lighting (as a rare example, the two bridal shots which close this article). He always masks away areas like the face if the result could be too ‘plastic’. He will use mod- ern techniques such as gamut and saturation limiting to give colour work a distinct signature, and precise toning to match his monochromes. Don’t judge from our pages – it would be very difficult to guarantee getting the subtle warmth of his prints perfect in a magazine. He’s keen that his work should never date because of the photographic style. “I would like to look at a photo in the future, and see a younger me, and maybe see how I have changed and fashions have changed. I do not want to look


MASTER PHOTOGRAPHY 18


Of all the pictures here (mostly from the 2011 Master Photography Awards Exhibition) it’s the kicked football which attracts most questions. He actually shot it with a 70-200mm Nikon lens, to get the scale of goalposts right, and the ball has been sized up in the photo. It was genuinely there, though, as the indent left by his D3X on his forehead proved when one the young players scored a direct hit to the lens! Below, the infamous garden bench – variations on this simple idea have proved a winner with clients.


at a photograph in future and think that the technique makes it look dated. I want the subject alone to make it look dated – the photograph should be time- less. That’s what I am aiming for, timeless photography.” Paul’s entry to photography, after early training in industrial design followed by a career in IT in the City of London, came after the birth of his daughter Harriet. A visitor saw the baby shots he had done, on the wall, and immediately gave him a paid commission. He says, “that was it – once that has happened, it really makes you think…” Indeed, there was no turning back. He became a part-time professional like many who have been successful amateurs, and it was only four more years before he was able to turn his talent


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