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The sun awards showcase and reward the best in professional photography. It does this through an annual judged competition, the showcase SUN Exhibition, with allied events and seminars highlightingphotography generated in the Northern regions of the British Isles, within thedisciplines of advertising, design, fashion and editorial.
The awards are run as a not-for-profit event by photographers for for all those who work with photography.
Entry is open to all professionalphotographers in the northern regions,working in the required disciplines.
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A Bigger Welcome
Last year when we re-launched as the SUN Awards it was a pretty nervous time wondering how people would take to it. But we shouldn't have worried. Our reward has been excellent attendanc-es for the exhibition and all our events during the year. No betterexample can be the 800 people who attended our Newcastle launch at the Biscuit Factory, where prints of many Awards images were on sale.
The Call for Entries this year was received with entries from 40% more photographers than last year. In addition we opened the Best Use of Image category to nominations from designersas well.
Dialogues with CommissionersThe photography market is evolving fast. SUN works for both the photographers who create new and exciting imagery and the designers and art buyers who need to source the people and ideas that enable them to fulfill their brief.
What makes SUN so effective is that not only are we committed to the task as SUN's organisers but are also working photographers ourselves. As such we are aware of the needs of the everchanging commercial environment and market needs.
Growing OpportunitiesPhotographers, Designers and the Business community can all participate in SUN. The exhibition can be staged in a wide variety of venues, whether they be galleries or offices. Special Edition SUN Awards prints can be purchased. And the SUN archive acts as a fabulous resource for sourcing new work. The proof is in the overwhelming response that the new SUN Awards have caused. Added to this, each year SUN does new things things and goes new places.
Taking PartDetails of how to participate appear at the back of this book.Through the SUN book, Awards touring Exhibition, Web site, Seminars and other events, SUN's presence is felt throughout the year.
With your enthusiasm and support we intend to bring SUN to where it is needed, whether this is through the traditionaldesigner/agency route or the growing number of businesses who commission directly.
Being a part of SUN countsDoug, Ed, Tracey. SUN Expo Limited
judgesAs chairman of the judging panel for the 2nd. year in a row I was impressed by both the increased numbersand the marked improvement in quality of the entries into the Sun Awards 06.
I feel I must also mention my admiration for the efforts to which the judges of this years Awards went to inselecting their choice.
All of the 50 selected images were strenuously appraised and argued by the judges before their final decisions for the winning entries and inclusion in the Exhibition were made.
John Cohen. Chairman
Left to right: Jon Cohen (Chair), Pete Brandon, Tom Richards, Jack Lowe, Andy Balman, Rob Walker
Tim Ainsworth 0161 272 8885 www.timainsworth.com [email protected] www.shotupnorth.co.uk
Steve Aland 0151 630 1600 www.stevealand.co.uk [email protected]
John Angerson 0776 782 2828 www.johnangerson.com [email protected] www.shotupnorth.co.uk
Adam Banister 0783 451 8564 www.adambanister.co.uk [email protected]
Jon Boyes 01423 546322 www.jonboyes.com [email protected] www.shotupnorth.co.uk
Steve Bradshaw 0161 273 7551 [email protected]
Nick Brown 0161 962 8002 www.nickbrownphoto.com [email protected] www.shotupnorth.co.uk
Nick Brown 0161 962 8002 www.nickbrownphoto.com [email protected]
Phil Cawley 0161 273 7050 www.philcawley.com [email protected] www.shotupnorth.co.uk
www.shotupnorth.co.uk Guy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.ukGuy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.uk Guy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.ukGuy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.uk Guy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.ukGuy Farrow 0774 051 3996 www.guy-farrow.co.uk [email protected]
www.shotupnorth.co.uk Richard Freestone 01332 364439 www.richardfreestone.co.uk [email protected]
www.shotupnorth.co.ukTracey Gibbs 0161 743 0008 www.traceygibbs.co.uk [email protected]
www.shotupnorth.co.uk Tracey Gibbs 0161 743 0008 www.traceygibbs.co.uk [email protected]
www.shotupnorth.co.ukTracey Gibbs 0161 743 0008 www.traceygibbs.co.uk [email protected]
www.shotupnorth.co.uk Tracey Gibbs 0161 743 0008 www.traceygibbs.co.uk [email protected]
www.shotupnorth.co.ukLorentz Gullachsen 01789 450080 www.gullachsen.com [email protected]
www.shotupnorth.co.uk Andrew Haslam 07949039430 [email protected]
www.shotupnorth.co.ukAndrew Haslam 07949039430 [email protected]
www.shotupnorth.co.uk Andrew Haslam 07949039430 [email protected]
www.shotupnorth.co.ukMike Henderson 07836 504115 [email protected]
www.shotupnorth.co.uk Mike Henderson 07836 504115 [email protected]
www.shotupnorth.co.ukTim Hetherington 07831 228219 www.tim-h.com [email protected]
www.shotupnorth.co.uk Tim Hetherington 07831 228219 www.tim-h.com [email protected]
www.shotupnorth.co.ukCarl Hodgson 07802 338813 [email protected]
Ed Horwich 08456 444345 www.edphoto.com [email protected] www.shotupnorth.co.uk
Mark Kensett 01430 871971 www.imagenphotography.co.uk [email protected] www.shotupnorth.co.uk
Mark Kensett 01430 871971 www.imagenphotography.co.uk [email protected]
Chris Leah 07956 591675 www.chrisleah.com [email protected] Best Image www.shotupnorth.co.uk
Chris Leah 07956 591675 www.chrisleah.com [email protected]
Andrew Livesey 07930 483321 www.andrewlivesey.com [email protected] www.shotupnorth.co.uk
Rob Maclese 07977 000545 www.maclese.com [email protected]
Adam Murray-Brown 07695 633236 [email protected] www.shotupnorth.co.uk
Jonathan Oakes 0161 236 9045 www.jonathanoakes.com [email protected]
Ian Pilbeam 01624 825789 www.ianpilbeam.com [email protected] Highly Commended www.shotupnorth.co.uk
Dan Prince 07763 417346 www.danprince.co.uk [email protected]
Mike Slawski 0191 264 8888 www.magenta.org.uk [email protected] www.shotupnorth.co.uk
www.shotupnorth.co.uk Mike Slawski 0191 264 8888 www.magenta.org.uk [email protected]
www.shotupnorth.co.ukMike Slawski 0191 264 8888 www.magenta.org.uk [email protected]
www.shotupnorth.co.uk Mike Slawski 0191 264 8888 www.magenta.org.uk [email protected] 1st Runner up
www.shotupnorth.co.ukMatt Swift 01629 640469 www.mattswift.co.uk [email protected]
www.shotupnorth.co.uk Steve Thompson 07850 098799 www.stevethompsonphoto.com [email protected] 2nd Runner up
www.shotupnorth.co.ukBrendan Ward 0161 728 8959 www.studio-2.co.uk [email protected]
www.shotupnorth.co.uk Mark Westerby 07966 467315 www.markwesterby.com [email protected]
www.shotupnorth.co.ukRob Whitrow 07710 442130 www.robwhitrow.co.uk [email protected]
www.shotupnorth.co.uk Rob Whitrow 07710 442130 www.robwhitrow.co.uk [email protected]
Guy Farrow 1st Runner up www.guy-farrow.co.uk
ShotQuick 2nd Runner up www.photolink.co.uk/shotquick/
Best promotion of a photographerwww.shotupnorth.co.uk Tracey Gibbs 0161 743 0008 www.traceygibbs.co.uk [email protected]
Lorentz Gullachsen www.gullachsen.com 1st Runner up
Tim Hetherington www.tim-h.com 2nd Runner up
Best use of imagewww.shotupnorth.co.uk Mike Slawski 0191 264 8888 www.magenta.org.uk [email protected]
interview with
Andy Cheetham
It would be good to start with an overview of who you are and what you do?
I’m Andy Cheetham, Creative Director of CheethambellJWT Manchester, and I have been Creative Director of this company for 14 years. So I’m probably one of the longer standing if not the longest standing, Creative Directors outside of London. We’ve won over the years countless awards, including I don’t know how many Roses, probably somewhere near 80 or so, Cannes Lions D&AD nominations, Campaign Press Campaign Posters, Epcas, we’ve been in most things.
And of course this year you also received the Lifetime Achievement Award from the Roses.
Winner this year of the Lifetime Achievement Award, which I felt came a little bit to early in my career, and usually reserved for dead people, so, er, yes it was mixed feelings about that. I was very happy to receive it, but felt it was a bit early in my career I'm just beginning.
So we’re basing this interview around photography and yourself as a commissioner of photography and the criteria you look for, ie the portfolio, their personality, their track record?
Well it’s a combination, here as Creative Director I have a lot of teams underneath me and in general I let them come up with the choice of photographers and then we’ll sit down and chat about whose best for the job.
We would look first at their portfolio and whether their stylesuited the job. We would look at track record, because yes, it’s nice to know that the person your dealing with has dealt withsimilar clients of a similar size and has the experience to cope with whatever we throw at them or whatever problems that might occur on the job.
We then we would look through and really concentrate on, matching the style of photography to the brief after that we
would contact the photographer and talk more about what we need to do and see how they interprete the job, because quite often, that’s where a photographer will fall down. They will think that their interpretation of the visual will be so way away from our own that we will realise that they just haven’t got it, and that’s the bit that more photographers fall down on than anything, I think other than budget, which is always you know, we tend to have what we have on budget, so we will come pretty clear up front about where the costing is, what the clients got to spend and hopefully the photographer can work within that , if not we have to move on.
So within that, do you as Creative Director have a policy to look for new, unheard of creative talent.
Yeah, urm, unheard of talent, it’s a massive gamble, so the only way you can work that is if you have an opportunity where you’re perhaps looking for something more than the budget can really stand . So your looking for someone that you’re going to give them the chance, but in return you want more than the budget can stand really . And normally you know that doesn't mean that the photographer has to be out of pocket, in actual outgoings, but more that they have to look at the actual day rate and make adjustments accordingly. I’m not a fan of asking for something for nothing although I know it does go on, even within here certain art directors will approach photographers because they have projects that they want to get through and sometimes you know the only way of selling something into a client is to actually get out there get it done and show them how it works.
How much importance do you place on the rightphotography for the campaign.
Oh massive. I think in today's world, the right photography is so much more important because people are so less willing to accept substandard stuff, I think we all know with the way technology has gone that we, people, can spot errors a mile off and they will just not tolerate it, so a poor retouch, a bad comp, a badly shot anything, sticks out like a dogs dick.
best web siteSelected judges comments about Best Web Site Winner: enstone.net
Nice simple site, nice copy.
Easy to use. You get straight to what you want to view or what you are interested in as a client.
Fresh colours, quite contemporary
Worked wellﾉﾉﾉ.. kept my interest while images loaded.
Clean, simple, easy to Navigate. Did get a feeling of his personality.
What are your thoughts on vehicles to showcase photogra-phers such as Select, Contact, to something more regional like SUN.
I think SUN’s a good thing because its more of an independent, it doesn’t really cost us anything. It’s a good independent showcase run by photographers outside London which I think is a veryhonourable and good thing. I'm less in favour with the big agents,certainly when you deal with London photographers, you always have to deal with the agent and you can just see the money racking up and quite often for people that needn't be there. I think in the very big London agencies I can see the need for protection by art buyers and agents, but outside of London when the agencies get smaller, the budgets get smaller, the clients get smaller, there’s a need to strip those away.
Nice question for you, your favourite shoot and why?
I’ve had so many, my favourite, I’ve done some brilliant shots within the outdoor world, certainly in the early 90’s, I did a two week shoot with Nick Brown.
At the time the agency had no money Nick had no money and the client had probably even less. It was Berghaus, we jumped in a battered old car, we had two guides in another car and we drove all over the Alps, we didn’t have a set agenda, we didn’t really know where we were going, we just had a list of the sort of shots we needed to take.
We did the Italian Lakes, Chamonix, we did Switzerland, we would do two or three nights somewhere get a shot and then move on, and really we were just tasked with bringing back a bag full of shots and it was just great fun, we worked hard played hard . We used to race from destination to destination so we would leave Chamonix in the morning and be heading down to the Gordes en Verge perhaps and set off in two cars and we would say we’ll see you on the village green in such and such a place or the village square, the first one there and you know we had to choose our route to get there and it was just a brilliant
time the kind of time that as the business has grown and the responsibilities have grown, it’s just something that won’t happen again. Which is probably something that if my employees were doing that randomly, I would probably be quite upset so it’s funny how the world turns sometimes.
With the increasing demand on yourselves from clients to see photo finish layouts at the initial stage of creation, has that influenced the end photography, ie the client has seen a layout with an image say from a photolibrary. That this is what they expect to see and are they less inclined to view scamps anymore.
Without a doubt, clients willingness to accept rough visuals is becoming less and less.They have less vision perhaps or certain clients do, I mean we’ve got some great ones. Certain clients have less vision than they used to when we were doing just line drawings, now with all the testing and research that goes on you really have to produce these highly finished layouts and that does put the blinkers on at times.
The creative process is an ever evolving thing, so, ok a creative team may come up with an idea but then as different people come into the process they should all be able to add something, and I think the trouble with things nowadays, we also have a decreased thinking time, just because of financial pressures and the way things have gone. I’m not moaning about it because that’s what’s happened, this isn’t a rant, it’s the way life is. But we do have more time pressures on thinking again because creative presentations used to have to wait for a meeting, book it in and then you would have thinking time, and now clients want things pdf’d over immediately and sometimes you get the morn-ing to do something and they want to see it in the afternoon and highly finished. So what happens is that you get less thinking time and things have to be more highly visualised when presented, so post presentation you get less opportunity to influence the outcome. All to often we go to a photographer with an image we have already scanned in and we’ll say, just give us one of those and actually we want the l ight in the
Mark Enstone 07831 253 744 [email protected] www.enstone.net
same place, we want the hair exactly like this, we want that,we want this. And you know I feel for photographers because it is compromising their art in many ways.
This brings us to their friends the photolibrary! How do you see their role in the work you produce nowadays, has that changed?
I think photolibraries have always been a source of reference, I think they know that and that’s part of the gamble they take, we don’t use too much stock photography, I feel that they still price themselves out . I think one of the great things with working with most Northern photographers is that they do understand that repeat fees can cause difficulties and that London agencies often price themselves right out of the game by wanting to make and make and make again for usage. The stock libraries are in that same bracket, they will charge you for the slightest use on anything and I would much rather deal with the photographer.
Would you have any advice for photographers on theirpromotion and bringing their work to your attention.Or indeed what doesn't work.
What doesn't work I think, far too much money is spent on mailing out shot after shot after shot, I also think quirky mailings don’t work . I do think a good, quick, efficient web site is a great place to be . I think we are bombarded with too many web links if I get one from a photographer, unless its connected to a job,unfortunately I will either delete it straight away or put it away somewhere to look at later and never get round to it. I think if you do manage to get through and someone does think ok I’ll have a look at that web site, it has to work really really quickly, because there is nothing worse than sitting there waiting for something to download. Yes broadband and the speed of the internet has made it a fantastic tool for displaying things but in the meantime web companies have started harnessing that technology so the complexity of the sites is going up as fast as the speed of the delivery, so sometimes you don’t notice any difference,
so I would say keep it simple, keep it quick, keep it efficient. In our place we have an Art Buyer, Lisa Bell and she does see as many photographers as she can and we do when a new person comes in, tend to get the teams together to have a look at the book . So I don’t tend to see that many, I tend to see people put forward by the teams and then we go from there.
Finally your favourite image from a campaign say over the last twelve months, Something that you see, photography and design working together well, something that made you think yumm.
I’ll have to think hard about that one. That’s a really reallydifficult question.
It can be one of your own.
What have we done that’s really good.
Alex Telfer has just done a really nice shoot for us, really nice, for Sporting England and it’s about to go live and will be by the time this breaks. It’s actually been launched in Bradford. It’s just a couple of reportage shots, I looked at them and thought that captures a moment really nicely, my favourite one is of a girl jumping over a puddle and I just think it’s a lovely image.
That’s probably my favourite shot today, because next week there’ll be something else. We’re so bombarded by things, it’s very difficult to remember stuff.
One little thing I would like to bob in there, do you take your own pictures?
Aahh well if you look to my right there’s a camera on my desk, do I take my own pictures?
www.shotupnorth.co.uk
For full details on all Fujifilm Professional films please visitwww.fujifilm.co.uk/professional
In addition to Fujifilm’s continual development of silver halide products they run two ‘film only’ awards.
Fujifilm Distinctions Awards is open to all UK based professional photographers and runs from 1st April to October 1st. There is a first prize of £2,000, a runner-up prize of £1,000 and a 3rd place prize of £500.
Full details are available from www.fujifilmdistinctions.co.uk
Fujifilm Student Awards is the longest running and most prestigious student photography award in UK. Entry is open to all students undertaking full or part-time professionalphotographic training, or full or part-time graphic design training of which photography is a major part at a UK based college or university. The Awards is open between 1st November and 1st April the winner collects a first prize of £1,000 and the title of Fujifilm Student Photographer of the Year. Further details are available from www.fujifilmstudentawards.co.uk
Much has been made of the digital revolution resulting in the ‘death of film’ – Fujifilm doesn’t hold that view. The company recognises the importance of digital technology and are continually developing and producing new digital equipment, but this is not at the expense of traditional film.
Fujifilm remains 100% committed to the production, supply and marketing of silver halide film. This commitment is illustrated by the introduction of five new professional films in the past 18 months. An additional two films will be added later this year,making a total of 27 emulsions in the film products range.
A glance through this book will show that traditional film remains the choice of many photographers who simply believe that film gives them better results. Film continues to provide excellent colour, depth, feel and texture in addition to having unsurpassed archival properties.
Many photographers choose to get the best of both worlds by combining the two technologies – using film to capture the image and then scanning from either the negative, transparency or the print. By doing this they still enjoy the exceptional image quality of film and also benefit from the flexibility that a digital workflow can offer. Fujifilm Professional films have been optimised for digital scanning, and give excellent performance when used for digitally printed images.
Film is a creative choice
