Behind the change at MPA

It’s taken me a while to get round to writing this in August 2017. In April, the Master Photographers Association dispensed with the non-contractual arrangement that Icon Publications Ltd should provide members with a bi-monthly magazine. This was once a written contract, with a six-month termination, but our uncertainty over whether MPA would survive back in 2013 led me to continue on an ad-hoc basis. Provided we were paid, the magazine would continue, and as always would be the best that we could create.

MPA’s exposure to risk was zero. Icon covered all expenses from one fixed fee. No reporting fees, no travel expenses, no hotel bills, no meals, no photography fees, no freelance outsourcing, no additional costs were charged to MPA. To cover costs we retained the proceeds of advertising, reduced now to one-third of its value fifteen years ago. Eventually what had been the work of three employees in an office of six became the one-man work of one remaining director – me! – doing everything from database entry to taking envelopes to the post, alongside the real work of planning, writing, design, production and management.

By 2016 Master Photography was over half my work and income, and about the same for our son Richard running an office in Leicestershire. The demands of an association magazine, with a diary of deadlines and involvement in events, are very different from those of a free entity like Cameracraft (my current bi-monthly magazine). In 2015 I gave up a one week a month design and production contract for British Photographic Industry News and suspended the quarterly Cameracraft, because MPA’s awards timing would have left me trying to produce four complete publications simultaneously. In 2016, for only the third time in 43 years, I didn’t attend the biennial Photokina exhibition in Germany. MPA’s awards weekend timing, changed entry deadlines and their need for an early November/December magazine to replace an early October awards night souvenir book (once produced by Graphistudio) had struck again. This special edition also cost more, and made less, as the contents had to be confidential and we could not sell the congratulatory advertisements once booked by the sponsors of the awards.

Like it or not, Master Photography and the MPA dominated my working and home life. Anyone who knows me is aware that I normally worked 10.00am to 6.00pm (the post going at 5.45pm) then a couple of stints later on, normally 9.30pm to 11pm with a final check on email and some clear time for uninterrupted writing or editing after 1am.

The commitment in reverse – from MPA – had always been similar under Colin and Linda Buck’s management. The two-hour drive to Darlington for meetings came often enough, but most of the work was by daytime, evening and weekend telephone and email. I knew exactly what MPA was planning and what was needed from the magazine. We all worked all hours and worked hard.

After the revolution

From early 2013 on and the end of the Bucks’ engagement with MPA, this changed. Meetings almost ceased; long useful telephone chats ended. The new incumbents had little interest and less time. Travel to events abroad seemed to be a priority. No-one asked for our help (which when given often benefited us equally) and by 2016 – a year of no editorial meetings at all – I felt MPA had ceased to function as we knew it. Any plans were all in someone’s head and communication by telepathy is not my strong point. We assigned our all-round helper, Diane, to call the regions before every edition and she reported the same – she was the only contact they were getting from MPA.

In mid-2016, summer, the already quiet lines went virtually dead. A great deal of energy was being put into changes in the Cherubs baby photography franchise. MPA owned this, and with a dwindling membership the sales lead fees from this were (I believe) paying the bills. Around 120-150 members were, in effect, the cash cows for the association. Cherubs had already funded the purchase and building of two office buildings in Darlington (assets owned now by the membership) but very few members understood how these sales lead fees and associated products like triple folios were in fact the financial backbone of MPA.

In October 2016 at the annual awards, the CEO announced her resignation from MPA to become the Chief Executive of Babycloud, a proposed web-based venture which would buy Cherubs from MPA. Because the awards demanded it, I pulled publication of the November/December magazine issue forward by three weeks (hence no vital Photokina trip). I then had six or seven weeks before the next issue. We got on with other work, grabbed a week’s holiday in Malta as our first break in the year, produced an issue of the newly merged f2 Cameracraft and then asked when the new CEO would be appointed.

Looking for answers

It was early November, and MPA was in limbo. I had a magazine to produce, which obviously needed news about the Babycloud launch and progress, and to introduce a new CEO with a parting valedictory from Clare Louise. But my calls went unanswered. I then started to look into the background of the Babycloud story (as a journalist). There’s no need to go into detail, but it became clear it had not gone as expected. The former CEO was incommunicado, no new one was being appointed, the MPA board was divided in opinions and there seemed to be a risk that the Cherubs contract – vital to the businesses of so many members – could be lost.

So, I did my job. I got on with the work of following up excellent story leads to create a strong January/February magazine issue. Greg Moment, Melanie East, Mark Bushkes, Stephanie Ann Thornton, Rachel Gillies, Ian Boichat, Sandra Ramp, Philip Barrett, Gemma Walker, Richard Bradbury, Graeme Webb, Stuart Wood… all members, all featured with anything from a single page to a full portfolio article.

And I left four pages to deal with the new CEO, the Babycloud deal and MPA’s plans for The Photography Show in March. By November 18th when the organisers of that show queried a deal made by MPA with them involving advertising space traded for stand space, time had already passed for some deadlines (meaning I had to give them f2 Cameracraft space in lieu in 2017 – for which I still need to recharge MPA at the time of writing this) and I learned that Clare Louise, though out of touch with me, was acting as de facto CEO despite having resigned. Three weeks later no clear information had reached me, and at this time (early December) I started to email and call MPA directors, and use Facebook to find out what was happening.

It’s a complex story, even this account is too long. I still can not entirely work out how and why Babycloud evaporated, whether or not individuals were privately negotiating with Bounty (the providers of the Cherubs and further pre-natal sales leads), whether the former CEO was acting officially or not (if at all) and which directors of MPA stood to gain or lose (if at all) from various outcomes (if any).

As my deadline approached before Christmas, in the week of December 9th to 16th a lot seemed to happen. Many of the MPA board members resigned, with talk of bullying or intemperate language on both sides. Steve Ramsden, of the Northern Region, was appointed interim chairman of a slightly changed board, to replace the resigned chair Paul Wilkinson. Suddenly communication began again on many fronts. A complete rescue plan for the potentially missing Bounty/Cherubs deal appeared and accordingly a single page article was agreed (and seen by both surviving and resigned directors, as involved) and approved for print.

December 16th Article

This is the article. I saved a PDF copy. You can read it for yourself, as it very nearly went to press. It would have been in print had it not been for my usual late advertising copy and the need to fill three more pages (remember, I had left four, expecting a big news splash about Babycloud, welcome for new CEO and message from Clare Louise).

Counter-revolution

However, things didn’t stand still. Just exactly how this worked, I remain unsure (I have chaired committees and never come across this). Somehow, the resigned directors overturned new regional appointments, un-resigned themselves and reversed play. Steve Ramsden and David Thexton resigned, and Ray Lowe, having remained as a director all along, became interim chairman. But the Facebook debate raged on – Cherubs was not confirmed. No-one was officially negotiating with Bounty (though I later learned several individuals may have been, independently and possibly at cross-purposes, along with outside third parties who were equally interested in the rights to these valuable sales leads).

With my magazine schedule (and my entire Christmas plans) completely disrupted for many days, on December 19th I decided I had to act. I wrote a fairly strong email to Bounty’s press officer, urging her company not to allow the MPA to be left hanging this way, as the association itself was at risk. This is not something I would normally do – MPA internal politics had proved toxic before. But I’m an Associate, and an Honorary Fellow, a member since 1981 and good if distant friend to hundreds of MPA members over the years. I’ve helped rescue and rebuild the association and offered all the help and advice I could give to those involved over many years, freely in every sense, when asked.

I did not want to see MPA continue down a path of demonising board members who tried to play by the rules, with those in control forming cliques or putting personal interests ahead of the good of the association.

On December 21st I received a mid-day telephone call from Dimple Chhabria of Bounty. She told me my email had been a prompt to reconsider the arrangement with photographers and with MPA, and that we could publish a statement in the magazine – and immediately on Facebook – to end the panic and rumours. By the end of the afternoon I had the official email, the wording, and had prepared Page 4 of the coming magazine.

December 21st Editorial

Then, between 6pm and 7pm (note – I wrote 4 to 5pm originally when this was first published, in fact all two hours later), I received calls from Clare Louise and Paul Inskip telling me that this news from Bounty had nothing to do with my email to them, that they had been negotiating behind the scenes all along, and I must not release the statement. I deleted the Facebook post which was ready to publish Ms Chhabria’s words on the MPA Members’ closed group, while speaking to Clare Louise.

On receiving this information, Ray Lowe clearly felt what Bounty proposed was going to undermine the Cherubs business. With 120 or more members apparently provisionally signed to spend £500 a month on leads and Bounty requiring a figure in the hundreds of thousands to provide these, a potential £700,000 plus business (which I think had been the attraction of the Babycloud idea) might disappear and with it the substantial margin that had supported MPA, its executives and staff and the activities of the board for many years. Ray immediately arranged to meet Bounty, and completely renegotiated the arrangements to secure Cherubs as a business operated by MPA, rather than a lead service accessed directly by members at no benefit to MPA. I believe he did exactly the right thing, and if the previous good news given to me by Bounty on the 21st was indeed negotiated by others (with or without authority) he had stepped in to save the day.

So – I then reworked the entire content relating to the board, meetings, changes and Bounty to remove all the complex history of the past month and place Ray Lowe as new interim chairman in charge of passing it for press. That, after all, was my job as editor. When Steve Ramsden was interim chairman the information prepared for press at that time was approved by him, and also by others mentioned (these are the previously unseen page proofs linked above). When that board stood down through resignations and Ray came in as new interim chair, it was his board’s information which was printed.

Shooting the messenger

However, what had been promised did not happen. Instead of an EGM at the end of January, there was an emergency board meeting immediately after the holiday break. Since no minutes are published, it’s not easy to know exactly what transpired, but it seems pretty clear that Clare Louise was reinstated back as CEO despite her actions in 2016 and her resignation to become CEO of Babycloud – the venture which would have taken over the Cherubs turnover and had promised MPA funding to hold the necessary Cherub partners meeting, along with valuable sponsorship for the 2016/17 awards. Future funding for MPA had also been written into those plans. I do not know if MPA ever received any payment.

I admit freely that I made my view known to the new interim chair and board members, that a new CEO – preferably a professional association administrator not a photographer – should be appointed as originally planned. I believe that having a Chairman and a President is enough for an association of 700 or so professionals, and there was no need for a figurehead CEO. I was looking forward to an association secretary working for the board from the Darlington office… to quarterly or monthly meetings, to proper planning and advance information, attendance and reporting from board meetings, and a revival of active recruitment of British professional members to match the remarkable growth of the SEAsia and Chinese membership.

At the early January AGM, it now transpires that one of the first things Clare Louise did was to ask to put the magazine contract out to tender. She secured a unanimous vote supporting this. At this stage, I was not aware of this decision. I was told later.

The long-delayed March 19th EGM which by default had Clare Louise as CEO did not discuss any of this. Its main purpose was to confirm Ray Lowe as Chair along with other board positions. It was well attended, and I was there. I’m a professional journalist and editor, for many years a successful retained PR consultant and I can work with anyone even if I do not agree with their views. I did not always agree with Colin Buck but he was always honourable enough to sit down and talk about it.

I did not raise any point, or question the board’s appointments, or Clare Louise’s position. It was not my place to do so. Nor did anyone else, including Steve Ramsden whose brief period as interim chair placed him in a difficult position relating to confidentiality. He respected that confidentiality at the EGM.

However, my deference to playing by the rules proved ill-founded. Immediately after the end of The Photography Show, Clare Louise emailed on March 22nd to say I must submit a competing tender for the magazine. When I asked for the tender documents this minimal response came back (in bold below – this was the total tender brief – must have taken the CEO many hours to write). Some of these points of it are pretty empty business-speak, and others should be taken for granted from any publisher. None of this constitutes a proper tender request:

We are looking to deliver a membership communication that performs for the organisation and its members.

  • Share content on all channels that a member wants to engage 
  • Increase membership retention and acquisition
  • Provide value offerings to our trade partners
  • A redesign and content refresh to embody the MPA’s values
  • A comprehensive time line and flat plan for the magazine 
  • Any added value on offer to the MPA 
  • Keep within our £36k budget

The deadline for receipt of the tender was April 5th, little more than a two-week window, and apparently three or four other publishers were invited. I would emphasise that to do this without a single discussion with the existing publisher, with no meetings and nothing other than the above is more than unusual. My response was equally unusual (maybe too many words to say – surely you are taking the p*ss, look what you are getting, why do you want to lose it?). Please remember that UK MPA Fellows and Associates were being sent f2 Cameracraft completely free, a £35.70 value incentive we gave to MPA in the hope they could use it to encourage upgrading. But, as with our brief period of sending all members the second magazine free in 2015, MPA management did nothing to use it. It’s difficult to exploit a marketing benefit when you do no marketing at all. Still, we continued to send the extra magazine to A & F members.

Revision August 17th: I provided a preamble on March 24th to Ray Lowe, with the option to send this directors and regions, which he did in due course do. Therefore, all the directors and regional chairs had this information. It’s involved and dense because this is not a simple issue.  I now attach this here.

MPA-tender-preamble 2

I submitted a tender proposal which was the reverse of the brief bullet points, and gave reasons for suggesting changes. My tender reduced MPA’s expenditure by £6,000 immediately and was for four quarterly issues plus an Annual, slightly differently timed to fit in better with MPA’s normal diary of happenings.

mpsproposaldoc

On April 9th I was informed the next Master Photography (the one being worked on) was my final issue. No period of notice was requested or given. I have been told, since then, that discussion about the magazine between representatives of MPA and Future Publishing, the operators of The Photography Show, was heard during the show. I’ve never heard from any other publisher that they were invited to tender, and you can be sure I have made enquiries through my network of contacts and friends in the industry.

The decision to make a change I could accept; this is business. There’s no right after 22 years running a magazine to continue to do so, though a couple more issues would have seen me neatly to collecting my state pension and given MPA the semblance of having done this with good grace.

A clean slate

What followed was harder to explain. Normally, when a magazine changes hands in this way the previous publisher has some capital in the business, some goodwill or assets. They may also have liabilities. Signed-up subscribers likely to renew are an asset for a new publisher, but fulfilling their remaining issues is a liability for the outgoing one. So it’s normal to pass on subscribers. They continue to get their magazine, they move to the new owner, the circulation remains and the relaunch can add even more if well marketed. The outgoing publisher, in return, has no refunds to make.

I actually gave many MP subs free with f2 Cameracraft. Why? Because they cost me nothing. MPA had an agreement based on the magazine budget covering 1,600 members, the number it had when we changed from a formal ‘per member’ contract price to a fixed fee. As the membership fell from its high of around 2,000 fifteen years ago, we needed the equivalent of £2.15 per copy per member (12 copies a year). Then we settled on £3k a month and ten issues a year. Finally, with membership down to under half that baseline, we reworked the magazine with new printing systems (deeply regretting the need to move from our printers of 25 years’ service) and six editions a year. But Royal Mail asks for 1,000 minimum to secure Publishing Mail discounts – worth 65p on every copy. Printing under 1,000 is also not economical, and bad for our advertisers. So, we maintained the 1,600 run and the mailing, giving hundreds of subscriptions promotionally as they effectively cost nothing and maintained our readership so we didn’t have to lie to advertisers.

The advance advertising bookings are another asset. The outgoing publisher can not just transfer these to another title. In our case, many advertisers had dual series booking. They had a rate calculated on twelve insertions in the year, six in Master Photography, six in Cameracraft. This can’t be amended. Most would expect to be contacted for their advertising copy, and some helped with production of copy. So it’s usual for the new publisher to take on the confirmed repeat and advance advertising, and usually to pay a commission for the benefit of not having to sell this space again (it’s usually 25 to 30% of net).

But when I raised this through Clare Louise I got a same-day response of ‘no’ all round. The new publisher, unknown at that point, was not interested at all in subscribers or advertising. At this point, we seriously considered continuing Master Photography as an independent title, but concluded it would be destructive and negative to do this. As an MPA member, it would be unprofessional conduct, and no matter how unprofessionally others behave I try to run my life and business fairly.

Soon I learned that Future Fusion, the contract-publishing wing of Future, would be handling the title. I therefore tried contacting them by email directly (my emails were ignored). So I called their group publisher, known for many years, and discussed this with him. He made enquiries and confirmed there was to be no handover of subscribers or advertising, no continuity.

I had also offered the new editor all my production archives, over ten years of complete editions, all the logos, text files, pages and information needed to service the MPA account properly. This was turned down. I had not asked for payment. I was told they wanted to start with ‘a clean slate’.

When the replacement magazine appeared from the contract house, they’d cut the paper weight down to get below 250g postage (though the tender, I was assured, was to provide like for like). All the main MPA information was removed. No regions (just one with a big coverage – Clare Louise’s own West Midlands), no diary, no board contacts listed with the emails and phone numbers. In fact most of the statutory information you are supposed to print in a magazine was absent, no ISSN, no named publisher, no publisher’s address, no disclaimers or copyright notice.

One new Licentiate was featured, two major articles were about widely published non-MPA photographers – with the cover feature a re-work of an October 2016 interview in another Future title. Some business articles, of the type every editor gets offered daily, were featured and graphics rather than photography used to pad out the minimal text. The entire magazine contained under 9,000 words compared to over 21,000 in a typical issue of mine – and equally fewer images, though the savings in space by not having much other content did allow a nice big members’ gallery section.

There was, indeed, a second feature in the issue on an existing MPA member – Anthony Rew. He’s a good motorsport photographer. In fact he is so good that someone in MPA had forgotten that Anthony was the subject a six-page portfolio and interview just two years ago in the magazine, and probably recommended that the new editor should contact him. Since they had no archives, they wouldn’t know that many of the pictures had been used before. This is something we just never do! Some other deserving MPA photographer missed out on being featured, Anthony (who is a really nice guy and not to blame) got his story run twice.

anthonyrew the story from May/June 2015 Master Photography

And then, the new publisher not only wasted a full page on a huge typo-graphic of the awards date, but got the month wrong.

As for our subscribers, they once added 40% extra to the magazine circulation, over and above MPA members. Gone. And the advertisers? Several are baffled and frustrated that their regular advertising did not appear and they were not contacted. At least one decided not to appear as their agreed rate was not passed on, and they were asked for double. Instead of building on our regular supporters of the MPA magazine, the new publishers appear to have lost advertising.

All I can say is that this handover has not been a handover, and what is expected of a new publisher – a big effort to impress and meet the contract client’s needs – does not seem to be present. At least to my eyes. I’m sure it will improve but really this huge company, the most successful photographic publisher in the UK, should have blown everything I have ever done completely away. I’m just a bloke with a desk and Mac sitting at home. They have nine executive positions listed and four outside contributors. I look forward to seeing the fruits of some real hard work and diligence in future editions of Master Photographers.

That ends well?

Finally, it’s taken me a long time to put this on record, and by keeping it long and detailed I know it will not be read much. I have moved on, another photographic association has teamed up with Icon Publications Ltd giving us three times as many more photographers as MPA, and buying in Cameracraft for their entire membership. Our first issue with this new readership achieved 25% more advertising than Master Photography’s final one, 285% more readers and I’m really enjoying the variety of photographic genres and the fresh attitude from The Guild of Photographers. Many of my old MPA friends are members there, too. And it’s growing, and it’s a real UK organisation.

I have an email from one of those involved at MPA thanking me for my work over more than two decades but making it clear that my speculations on Facebook, in particular, which proved to be the only way I could uncover what was happening, were the reason they had to get rid of me. I had enabled others to ‘twist the knife’: I suspect that simply knowing too much and having my own opinions was sufficient reason.

Much of the advice I gave at the beginning of 2017 has been acted on, especially the renewed status of the regions. Ray Lowe has proved that a properly active volunteer MPA Chairman does away with the need for a ‘chief executive officer’. The new magazine proves that MPA never really needed a magazine, because if it’s considered OK or even thought to be better, that just says that 75% of my time and my staff and family’s time over the last 22 years devoted to it was completely wasted (the replacement proved to be a magazine issue which would take about a quarter of the time to put together as well as costing about 40% less to print and mail).

No contract publisher is ever going to do what we did for MPA again, and the dream of at least one director to dispense with print and move the budget to the web will one day be realised. It’s pity they did not issue a real tender, detailing the precise level of service and product quality we provided. Last time they did that many years ago the contract publishing industry wanted £13,000 per issue to tackle what we provided for under £4,000. And you can bet they wouldn’t have paid their own hotel bill for the awards or sent staff to cover press launches, regional events and trade shows without asking a penny extra for time or expenses.

The demise of print, of course, is the fate that could await all professional photography. One day nothing will be printed – unless the profession promotes and defends printing, hard copy, stuff you can hold and keep, in all forms. It’s what I have tried to do and it is a medium I love.

There is, of course, no going back. I suppose that MPA’s board might have viewed a monthly £3,000 bill as like a photographer losing one wedding a month, or a couple of portraits. I produced the MPA magazine from 1984 to 1989, and then again from 1995 to 2017. In a way I’d love to attend their 2017 annual awards, and indeed their AGM, but I won’t. From now on, I’m on the outside looking in on the association – not on the inside looking out for the association.

– David Kilpatrick FBIPP AMPA Hon.FMPA

30 Years of Icon Publications Ltd

Today, April 14th 2017, your publishers mark 30 years in business as a limited company. Icon Publications Limited is probably the smallest ‘organisation’ producing photographic magazines you’ll find today. We have two owner-directors only, me (David Kilpatrick) and my wife Shirley. Since everything is done on one iMac 27, and that is my iMac, it’s really a one-man operation. We still have offices for the team of six we had twenty years ago but they are empty. I work from a single small room in the house while a few other rooms are full of studio clutter and thousands of stored magazines and books.

Our long-term clients the Master Photographers Association, who have bought a copy of Master Photography to be mailed to every member for many years, ended our relationship a week before this 30-year marker. Five days later I attended the funeral of our friend Colin Buck, their former chief executive who had engaged me to produce the magazine 22 years earlier.

It’s been an interesting journey I started, as a trainee reporter ex-college in 1970, with The Star in Sheffield.

In 1975 I left a newspaper sub-editing job to freelance as a journalist and photographer. As a journalist member of the NUJ I was unable to be employed and use a camera, but it was photography that drew me into journalism on leaving school. I was earning more from freelance reproduction fees than from my day job and the offer of a guaranteed regular fee as Associate Editor of Photo Technique was my incentive to become self-employed. Back then, this was more of a risk than today. Interest rates were through the roof, unemployment was high, inflation was on the run and late payment or bad debt could leave photographers with entire months of borrowing instead of earning an income.

In 1970 at the age of 17, I won a first prize in Amateur Photographer’s monthly competition with a picture I had taken in 1969. The prize was a Zorki 4 camera. This is a picture I took on the first roll through the Zorki, of the Oxfam charity shop temporarily occupying space in Rotherham. Little changes.

I remember that at about the same time, Geoffrey Crawley decided to close down the tabloid Photo News Weekly his publishers had aimed at amateurs, to which we had both been regular contributors. The editor was Stuart MacPherson. Geoffrey suggested we should take over the magazine, but we had no money to do so. Stuart departed with one warning – do not work for the photographic press! It will eat your life and you will stop being a photographer. He went on to be the staff photographer for the charity Shelter for a working lifetime and stayed behind the camera instead of a desk.

We moved to an old cottage which had a bedroom supported on pillars and a disused outside loo. One bedroom became a small studio, and we turned the under-space and outhouse into a darkroom just high enough to stand up in, a six foot square mini-office, and a new entrance lobby. My IBM Executive D typewriter took up most of the tiny desk, and a filing cabinet and chair the rest. But I could come back in from an assignment, squeeze into the darkroom, process films and make prints while writing the captions and stories during the washing and drying stages.

Somehow this space was also enough to take on the editorship of The Photographer magazine for the Institute of Incorporated Photographers. It was a different world. Some contributors sent hand-written manuscripts, but that did not matter. As editor, I would mark them up for typesetting, do the same with their photographs whether prints or transparencies, sketch a rough page layout and send it to the printers. Provided I got the word count right and made my instructions clear, the finished page would come back a few days later needing nothing except signing off. The typewriter was only needed for my own articles and rewriting information like diary dates, but it was a design tool in its own right, with near typeset quality ideal to combine with Letraset. I made my own photoleaflets with multiple images and lith-film copied text, and found an adhesive from 3M which could turn them into peel-off backing sticky prints.

I remember one of my often-difficult committee meetings with the IIP editorial board, who did not know that my publisher-employer paid no expenses for me to attend these or any of their many seminars and events. I could never afford the early train so I was always ten minutes late, and they were old-school corporates, forces, police, hospital and government staffers when not independent photographers. No excuses were acceptable! At this meeting, I produced one of my prototype Stick-a-Back photoleafets, keen to tell them about the material I had sourced. Ron Callender slapped me down instantly – “put that thing away, laddie”…

However, this was the start of experiment with impact typesetting and blending design and photography using darkroom processes. I sent my leaflets out, and the chairman of Scope Data Systems Ltd who were the UK distributors for the AM Varityper, Flexiwriter and Justowriter called me in for a meeting. I left with a PR contract for photography, writing and advertising design which was to last six years. They became distributors for CTM Computers.

In 1979, two years after parting with my IIP editorship, we formed a partnership with one of their members, a neighbour and friend who had moved from British Steel to run the Mansfield Chronicle’s commercial photographic unit for only a short time before they closed it down and offered him the business for the Leeds Camera Centre valuation of its assets. We pitched in with half the investment, I qualified as a Licentiate of IIP, and we set up in Mansfield as a commercial and advertising studio. Steve, Tanya, Shirley and I worked all hours and after a year our partners bought us out with a figure which let us move to a large unconverted farmhouse in Tuxford and create our own studio. During that year we allowed Agfa and Jessop to install a C66 colour print processor in the partnership studio with a through-wall print delivery, in return for which we produced the operational manual for the machine and all the publicity photographs along with providing a demonstration site.

In-pro colour

This was the beginning of widespread use of colour in publications. I was a contributing editor of You and Your Camera and working on many partwork and book projects for Eaglemoss and Marshall Cavendish, as well as commercial catalogues and brochures. At our partnership LKA Visual Communications we specialised in technically demanding work, including exact colour matching in prints made to 0.5mm accuracy for prototypes of metal box packaging where our C-types had to be assembled on to an unprinted tin flawlessly, then rephotographed. We learned to make C-type transparencies and shoot direct E6 transparencies ‘in pro’, then assemble them on acetate sheets for a single drum scan to put all the images for an entire page or spread into position in one go.

This was a more typical page in the 1980s, from The Master Photographer magazine. This is how our LaserWriter Plus proof was sent to the typesetter/repro house – they were able to work from our PageMaker file, but the colour reproductions had to be made as separate scan films and ‘stripped in’ manually. Photographs that were used by Shirley Kilpatrick, below. See the section on Moving to Mac, later.

In pro scanning from pre-positioned originals saved thousands, and could be be charged in hundreds. To give you an idea, each scan (separate photograph) generally cost around £40-100 and assembling a page with a couple of colour pictures and text cost another £150, with a further £100 for a proof often needed just to ensure all the pictures were in the right place and not upside-down (seriously). In the 1970s our magazines had black and white sections and colour sections. A typical 60-page magazine would have just eight colour pages and the cover, which might be colour on the outside only. Advertising would hopefully use half this, leaving four or five colour pages in a fixed position inside the magazine for editorial pictures. Typesetting and reproduction usually came to over half the cost of printing. We had budgets where I was limited to six colour images and twenty black and whites per issue. By assembling many images as a layout and rephotographing it or scanning it as one, these costs and limits could be overcome.

Later, when drum scanners became larger and colour prints improved, my own studio created pages of instruction features which you can still find in old books like The Step-by-Step Darkroom Course. Each page was a large paste-up of 6 x 4 inch gloss prints. As late as 1992 we used the same methods with photographs and artwork to produce The Complete Book of Photography. We didn’t have to cut up small transparencies any more.

If you ever wonder about the skills of the pre-digital age, consider the catalogue work. Using a 5 x 4 camera, cardboard masks would be used to divide a single sheet of film into several rectangles. The groundglass screen would have an acetate sheet taped to it with these areas marked, and a visual of each item to be photographed with its exact size and position. Tests on the film batch and processing ensured exact exposures by working with highly consistent studio flash and a good meter (we used Minolta, which was accurate to 1/10 stop). The Sinar camera had a calculator which worked out the effect of bellows extension. Shots could still be bracketed, using several film holders.

Why did we do this and not just shoot some on 35mm, some on 120 rollfilm and some on 5 x 4? Easy – the film batches and processes varied too much. Even with our packs of CC and LB +5 and +10 strength balancing filters! The sheet film was also on a heavier base, making it easier to cut and assemble for scanning. The largest catalogue studios worked on formats up to 10 x 8 and trained their photographers to work ‘in-pro’ and ‘in-position’ because this work saved so many thousands in outlay and made those early mail order books viable. When colour was not so critical it was easier. We could use mixed formats of film, or prints.

Moving to Mac

At the time of our move to Tuxford and the creation of A1 Studios in 1980, Minolta UK Ltd was formed to take over distribution of Minolta cameras from Japanese Cameras Ltd. We had been using Minolta for several years and featured twice in the prestige Minolta Mirror annual, along with a series in the quarterly magazine of the Minolta Club of Great Britain. At photokina 1980, Rick Kutani of Minolta had a brief meeting with myself and Shirley and agreed that we should take over the Minolta Club.

This is where it all converged – we needed to run the database and mailing, with real ambitions to expand from a mere 800 members to thousands. My clients at Scope Data set up the deal to lease a CTM micro and we were on target publish the new Minolta Photoworld in 1981 (it became Minolta Image by readership name vote shortly afterwards). Then Scope, with their impact-typesetting machines and ‘micro’ computers built in to beautiful complete desks, were hit by a tsunami of early word processors and desktop microcomputers. Apple, BBC Acorn, Commodore, Amstrad and similar affordable kit took over the market. Scope arranged an Adler Bitsy system using the same components and processor as CTM (‘Bitsy’ sounds small but it filled a 3 x 4m office with the 5MB hard disc drive and massive dot-matrix printer).

We were already working on PR and brochures for Apple dealers DMS Electronics and had been using Apple II machines with MacPuter accounting software, daisy-wheel printer, a colour ImageWriter and Robographics. That software had a confusing name, as it pre-dated the Macintosh system. It was developed by Lorne Computing in Scotland and that’s how it got the Mac bit. Some idea of how durable software can be is that forty years later we still use Mamut AccountEdge, now Swedish-owned, which was developed from those beginnings.

Three years later in 1984, when the Adler lease with its expensive software and technical support ended, we bought the first Apple Mac network to be installed in the UK – two Mac 128K machines, a 20MB hard disc, the LaserWriter and large ImageWriter. I learned to program and maintain an Omnis database, and the saving on software support alone paid for the whole thing. A year later, Minolta introduced the first autofocus SLR system.

In 1986, Letraset launched ReadySetGo! as the first true desktop publishing program (something capable of writing PostScript files compatible with newspapers, magazines, litho printers and also desktop devices). We were producing The Master Photographer, Minolta Image and Ilford Photo and took the big jump of creating a complete edition using the new software. Then, on a Thursday afternoon, Briarwood Graphics in Nottingham announced that it didn’t work. From our Mac dealer friends we got a beta test copy of PageMaker and over the weekend re-created the entire thing. It worked. That was when we decided to move into publishing, invest in technology and swap huge print bills for ownership of the systems.

In April 1987, we formed Icon Publications Ltd. We entered The Master Photographer and Ilford Photo into the first ever Printing Industries Research Association Desktop Publishing Awards and Icon Publications Ltd won the category for Best Newspaper or Magazine (equal first for the two titles). We had the first commercial periodical ever produced using PageMaker, on the Mac. Everything else done was either a desktop printed newsletter, or a sponsored experiment in using the software.

Producing ILFORD PHOTO magazine was a privilege, working with the company’s corporate identity under very tight control. It also involved proper assignments, such as visiting the former Lumière factory and museum in Lyons to interview staff and produce editorial photographs. Below, emulsion chemists in the Lyons lab, © David Kilpatrick 1987.

This was a time when we had visits from National Magazine Co., EMAP, and several other large publishers who wanted to see how this worked. We were featured in Apple’s international marketing literature, and became sales agents for Gestetner who offered complete Mac-based DTP installations. On the Polaroid ‘barge’ at photokina I sat down for a few drinks and a chat one evening with two young guys who wanted to start a publishing company. I told them all about the Mac systems. They went on to form Future Publishing, created MacUser magazine, and subsequently a series of photographic and other magazines.

In 1988, we sold the photographic studio and moved from Nottinghamshire to Kelso in Scotland. The capital freed up enabled us to buy a Linotype 200P for setting page type, along with large screen Macintosh II systems. We imported them from the USA and even supplied a system to the graphics department of the regional council. Our first magazine with all the black and white repro via a Microtek 300ZS scanner went out in Spring 1991. To make the Linotype produce colour separations we invested in Hi-Line Screening, giving our publications the 200 lines per inch quality which you take for granted today. In 1992 it was a big step beyond other photo magazines.

By 1993 we had moved up to owning a Hasselblad/Siemens MacSIE 35mm film scanner and the Linotype was replaced by an AM Varityper 2400 (no connection with the typewriter-based technology I first promoted fifteen years earlier). By 1996 we had a Linotype T45 Leaf scanner, then added a Leaf Lumina digital still studio camera, colour laser printing, ISDN data transmission and more.

Posing for a PR shot with the Varityper 2400, Microtek 300ZS and ScanMaker 35, LaserWriter and Ikegami 20″ CRT monitor – with copies of The Photographer, PHOTOpro, and Minolta Image (taken probably February 1992)

But the industry continued to change. Much larger imagesetters producing four pages at a time, imposed for platemaking, were on the way. AM Varityper was wound up leaving us with a £25,000 machine and no engineering support. The firm planning to take over the maintenance contracts was already known to us for their high pricing. So, I nipped round to the bank and arranged an overdraft, and the next day two of our team took vans from Scotland to Hemel Hempstead where the liquidated company’s inventory was being auctioned. We successfully bid for an upgraded and much faster machine, along with two similar to the one we already owned. Then, at the end of the day, bids were invited for the contents of the former service department stores. We got the lot for £500. The maintenance company which had presumed to take over many lucrative contracts was furious; they tried to get a court order preventing the removal of what we had bought. They failed, but our editor Andy Aitken could only fit half of it in the van, so they may have ended up with some good stuff that we simply left behind.

What we got was enough to refurbish two machines, which we sold to two of the printing companies we worked with, and upgrade the best one to keep, with plenty of spare circuit boards, motors and lasers. Those kept our little A3+ imagesetter running as a busy bureau until around 2003, when technology took another huge leap. We had been buying thousands of feet of Kodak, DuPont, 3M or Agfa pagesetting film every month along with dev and fix. It was this business – reprographic film – which along with other fields like medical and industrial X-Ray helped keep the big colour and mono photographic film brands viable.

Then overnight it all went even more digital and the need for silver-based wet processed separation films disappeared. Even proofs disappeared. The industry switched to PDF page delivery by broadband/FTP, soft proofing on screen, and CTP (Computer to Plate).

Almost retiring

We had started testing digital colour repro in 1990. In 1991, the British Institute of Professional Photography awarded me a voted Fellowship for the pioneering work done in collaboration with their President at the time, former BBC lighting cameraman John Henshall, whose ‘Chip Shop’ column allowed exploration of every aspect of the new technology. In 1995, Shirley gained her MSc in Colour Science for a one-year study of colour reproduction, perception and print matching on inkjet, dye-sub and thermal wax printers using an early version of Photoshop.

During the 1990s we launched several magazines and changed our main magazine title. Starting in 1989, it was the quarterly PHOTOpro. By 1991, we were producing four titles. PHOTOpro became Photon, alongside a matching website, in 1995. Both the magazine title and website were sold to Photoshot in 1999 when we launched Freelance Photographer. In the meantime we had tried the market with 35mm Photographer, Paterson PhotoExpert, and Photo Club News. We had produced many Hove-Fountain photobooks, travel guides, Arabian Wildlife magazine, natural history books, industry catalogues and brochures. We had helped produce New Cyclist, the Guild of Wedding and Portrait Photographers news, the Surrey Salon catalogues, Arabian Wildlife and the indie music magazine Sun Zoom Spark. The first Gulf War and changes of client ownership ended much of this but at the height of activity we reached a half-million turnover – it was something we never expected with the two of us, our son Richard, a part-time secretary, one full time editor and a school-leaver trainee placement as our normal staffing.

The irony of this is that the entire profit margin lay in the technology which was about to be wiped out – cameras with real film, darkroom printing, scanning, typesetting, separation-making, ISDN data transmission, websites with plain HTML and colour images compressed using hardware for delivery over 300 and later on 1200 baud modems! The photographic magazines themselves were barely profitable and at that time we spent all the profit paying fees to contributors. The contributors’ budget for a typical issue around 1992 was more than the entire cost of printing a far superior magazine in 2017 (in actual pounds, not relative).

In the late 1990s we produced the catalgues for IMPRESS group – Paterson Photographic, Lowepro, Benbo and other brands. Here is Shirley, with Lowepro backback and Benbo tripod, trying out a new Contax SLR in a very cold river near Wanlockhead. © David Kilpatrick 1997. 

Although Master Photography (which we took over for the Master Photographers Association 22 years ago, when they published The Master Photographer which we continued under license for many years) and the original Freelance Photographer could have been viable for a conventional publisher into the early 2000s, digital photography really hit the ground running around 2003. It happened at exactly the same time silver film was eliminated from newspaper and magazine printing, along with conventional separation-making, page assembly (stripping in) and imposition (making the pages into sets of 4, 8 or 16 to match paper sizes). Old friends in the print industry simply lost their jobs or moved into another skill when CTP came along with faster broadband and Adobe’s refinement of the PDF document format for pre-press. Before this, our son Richard (who started working in the business at 17) had driven hundreds of miles a week, taking film to printers or catching the Red Star rail parcel deadlines. His other work had included scanning all the slides and prints for our magazines and clients, again, hundreds every month. He switched to taking over advertising sales and never enjoyed that one bit, as this was when the already established decline in the value of print advertising really hit.

The repercussions were great; the end of the Kodak and Fuji wedding and portrait awards, all film advertising, all darkroom product and much photo lab advertising. We changed our titles, to Master Photo>Digital and f2 Freelance+Digital, mainly because some companies would not advertise unless it had digital in the name.

Hanging in there

In the early 1990s, Icon Publications Limited was paid thousands to make page films from the manuals for Aldus PageMaker because the software team had written them using Microsoft Word (you could not make this up) and their printers, the former Aldus distributors McQueens, could not turn Word files into colour separations. We could. The new PDF/CTP/broadband technology less than fifteen years later meant that anyone with a word processor of decent pedigree, or a low-grade layout program like Microsoft Publisher, could send a document to a publisher or printer and if would probably be fine.

The same applied to images. Since 2004 or so, no printer or publisher has ever need an image converting to CMYK. In fact it’s about the worst thing you can do, unless you have the exact profile of the printer it is destined for and understand the rest of the workflow. We can reproduce everyday RGB JPEGs straight out of a phone or a consumer camera perfectly now, and it’s been that way for over ten years.

A bad purchasing decision landed us with a Canon CLC 800 colour copier and rip around that time. We had regular colour laser printing business and used to run off sets of proofs for the ad agency over the road, and do runs of promotional posters for events. Then, almost overnight, everyone had a high quality inkjet colour printer of their own. The colour laser printers stopped working well; the CLC 800 needed a £700 service and was earning zero. Now we await a collection and disposal service which will cost us £500 just to get them out of the old offices.

Four or five flatbed scanners can be found lying unused because there’s a perfectly good scanner in our HP7500A multifunction A3 printer-fax-copier-scanner-cardreader. In 2006 we were lucky enough to pick up an ex-Reuters Minolta Scan Multi Pro for 35mm up to 6 x 9cm, and in 2013 to track down an affordable replacement lamp from China. Thanks to VueScan software and an Apple Thunderbolt to Firewire adaptor, it still runs and provides access to our largely untouched library of many tens of thousands of negatives and slides. Anything else which needs digitising benefits from the old copy stand, kept from the 1970s, and lights – a 42 megapixel camera shot taking 1/1000s is a match for anything scanners could do in 15 minutes.

The Varityper Panther imagesetter went for £850 to a clothing firm from the Midlands who planned to modify it to produce masters for clothes label printing. Both the printers we sold other imagesetters to eventually replaced them with computer to plate… and Kodak or Agfa lost more turnover. Both are now gone. Hi-Tec Printers, the small South Yorkshire firm one of whose founders I met the first year I went freelance, printed nearly all our magazines for over a quarter of a century – thanks, Dave, Paul and Mick! The darkroom (which I now regret) sold for similar amount, all-in, to a photography graduate setting out in business. It would cost several thousand to set up now.

Back in the 1980s we had monthly costs for film and processing in the thousands. Our computer system in 1981 cost the same as a three-bed semi-detached house. Today, the hard truth is that to produce this magazine I don’t even need my iMac 27. It’s perfectly practical to work on a 15 inch MacBook Pro. There’s no need for offices, and although some paperwork does still clutter up my desk, that is only because it is paper. It’s all in the computer and the only reason it gets printed and kept is because the revenue insists. As for the outlay, a little over £40 a month subscribed to Adobe Creative Cloud covers everything we need and much more.

In 2007, we let f2 Freelance+Digital go to EC1 Publishing, as there was some hope that Sony would create a new UK user group and take over Minolta Photoworld, with some need for a commitment of time and new ideas. But we closed Photoworld in 2011 as this never went further. We had kept it going for five years after their takeover but when membership fell to 800 readers – the same we started with in 1981 – it was time to go. In 2012, we launched Cameracraft as quarterly to fill that slot with a much broader interest, and Gary Friedman as US associate editor. Then in 2014 EC1 closed down and f2 Freelance Photographer as they renamed it was to end. So we took it back, and when Cameracraft had completed 12 issues in 2015, merged the two. The magazine is now Cameracraft officially, but we still put f2 on the cover as everyone is familiar with that.

Where now?

When I wrote ‘almost retiring’ it is as much about all the equipment, supplies and processes we use as about our working lives. We don’t earn much, because circulations and advertising revenues today are a quarter of what they were and falling, but we also don’t spend much. Apart from printing and mailing, our largest bills now are keeping up with the latest gear, heat and light, rates, and running one modest car. If we took the decision to stop printing and become an electronic app and web only publisher we would stop using consumables and services entirely. If everyone did that, and no-one bought a physical magazine or book, or a framed wall print, or a wedding album, would photography still have any kind of UK industry behind it?

Sometimes I think my decision in 1984 to invest in Apple Mac systems was a big factor in making my own skills, very highly paid and valued at the time, worth so little now. Shirley learned to use the systems to design and edit a whole range of books for other publishers, a new career phase she loved even when it meant reworking a translated German A to Z of Video into English (think about it!). But there’s no work of that kind now for experienced editors, and if there was, it would be paid so little that insufficient time and attention could be paid to the job. We are always trying to do a month’s work in a week these days, and it shows.

In 1991 Keith Cogman published a freelancing motivational book called My Mamiya Made Me a Million (I just ordered a new copy for £8.50 from Amazon – there it is, above). One day I should write a book called My Mac Lost Me a Million – and you’ve probably just read an entire chapter.

– David Kilpatrick

f2 Cameracraft and Master Photography apps

Electronic versions of f2 Freelance Photographer, Cameracraft, and Master Photography can be found at the following URLs via mobile/tablet devices –

pocketmags-pagef2

Pocketmags website – version suitable for Macs, earlier Windows PCs, and all PDF compatible reading

iTunes – Apple iTunes Newsstand, app for iPhone, iPad etc

Android / Google – like Apple, only crunchier and with more pips

Windows Pocketmags App – check for versions which work with Windows 8, 10 etc

Giant whales photographed off Skye

An unusual sighting of two sperm whales near to the coast of the Isle of Skye this week could be a reflection of climate change and warming sea temperatures, says a leading marine scientist.

Catherine Atkins 120314b-web

Catherine Atkins 120314-web

The sperm whales – one of the true giants of the oceans – were spotted and photographed (above) by Skye resident, Catherine Atkins, yesterday afternoon. Unsure of the whale species she had been watching for around half an hour in the mouth of Camus Mor by Kilmuir, she contacted local wildlife trip operator, Nick Davies who passed on the information to the Sea Watch Foundation.

With such close proximity and excellent photographs of the animals, Dr Peter Evans of the Sea Watch Foundation was able to positively identify them as two sperm whales, and said “In past decades, most records of sperm whales in British waters have been of lone adult males around Scotland mainly around the Northern Isles and the Hebrides. Increasingly, however, adolescent males have occurred in our waters, sometimes in groups of 5-10 individuals.”

“Sightings of sperm whales have tended to occur mainly in summer so this early spring sighting is notable not just for the time of year but for its inshore location. The species normally lives in waters of 1,000 metres or more depth, beyond the continental shelf edge. Here they have been seen very close to land indeed. It is interesting to note that a sperm whale was seen last year around this time also very close in, within Oban Bay. That individual stayed around for over a week.”

“The increased occurrence of winter and spring sightings in Scottish waters could be a reflection of climate change, if their main prey, squid, have become more abundant locally in recent years, resulting in animals staying through the winter to feed rather than travelling into lower warmer latitudes.”

Sperm whales are amongst the largest mammal species in the world. Adult males can weigh in at up to 45 tonnes – the iconic London Routemaster double decker bus weighs less than 8 tons, unladen!

Catherine Atkins did a little research before submitting her sighting and showed her surprise by telling Sea Watch “I see sperm whales have blunt heads but they are not usually found just outside the front door in Skye!”. Boat operator, Nick Davies, from Hebridean Whale Cruises based in Gairloch who is involved in a project collecting cetacean (whale, dolphin and porpoise) data raised the concern that one of yesterday’s whales was “nearly on the rocks” and that Catherine had actually telephoned the coast guard for assistance before the two whales slowly headed north. Regarding a previous sighting of sperm whales in the area in winter 2013, Nick noted “Fishermen have been telling me that for the past four or five years they have been seeing increasing amounts of squid in their nets, and it seems that this was perfect for the sperm whale.”

The sighting, made on Tuesday March 11th was in waters in the mouth of Camus Mor on the Trotternish Peninsula, on the north coast of the Isle of Skye. According to Sea Watch’s national database, there have been only around one hundred separate sightings in British waters in the last forty years, with the largest group on record being of 20 animals seen off Mousa in the Shetland Islands in 2007.

After the show

We had a great few days at the National Exhibition Centre, introducing new readers to f2 and meeting old friends. Cameracraft also went down very well as it was the first time many UK photographers had actually seen a copy, we don’t give out samples by post but had a stack of back issues to hand out at The Photography Show.

iconstand1

It’s just an empty stand… we were there, honestly! Richard Kilpatrick made the large exhibition prints using his HP Z3200 24 inch printer and the quality was amazing considering we just created 600dpi PDF files from three covers, and took them up to that size. The furniture was IKEA and buying this assembly cost us less than hiring a desk and cupboard from the NEC, while providing really good storage for everything we needed.

necatriumfront-web    walkingtoNEC-web

bignikonlensestps14-web    panasonic-web

mpastand2    stevehowdledemo1

It was a great show – probably better than any recent Focus on Imaging – and the only regret was that being on the stand made it impossible to take in the many talks and star photographer appearances.

mpastand-left-catwalkstage-right

diy-framing-smallgroup

You could get involved in anything from a crowds of hundreds to a group of a just a few.

mgddemo-ilux

Martin Grahame-Dunn, whose article introducing the iLux Summit 600C mains-free flash head appears in the April edition of ƒ2, was demonstrating the kit and helping photographers with technique on the Photomart stand.

doorhofandnadine

Frank Doorhof, larger than life as ever, was demonsrtrating the new Elinchrom ELC Pro-HD flash heads on the Flash Centre stand with the help of his model Nadine (who also designs and creates her own costumes).

The whole flash/studio/strobe/speedlight market is changing rapidly and we can see a time coming soon when only amateurs still use battery camera-top flashguns – even though every pro will still own one or two, the introduction of wireless TTL (18 years after Quantum first offered it!) and Lith-ion onboard power to studio type heads by Profoto in the B1 is the beginning of a trend and not the culmination of development. ƒ2 will be following it – watch out for our flash system reviews in coming issues.

Making ƒ2 work again

This is the first blog post – not that I like the term blog as it presumes something regular like a diary or a log – on Icon. It’s not an easy one to make. Today I went over the news-trade figures and requirements, as inherited from the caretakers of ƒ2 magazine over the last seven years. They brought me back to the state of anger I felt in the mid-1990s when I withdrew our publications from news-trade sale.

That decision was made not because we were doing badly, it was a rebellion against a system which put 60-70% of the printed issues into landfill or incineration (they are not pulped or recycled as paper like newsprint can be). I’m not the world’s greatest eco-warrior but waste on that scale was multiplied across the entire magazine publishing industry in the UK. Tens of millions of tonnes of paper were being made, transported, stored, printed, transported again two or three times, and consigned to a disposal process with high environmental costs.

I imagined everything would now have changed, with all the constraints placed on energy companies (look at your heating and power bills) and the vastly increased awareness of the need to cut waste in packaging and to recycle everything. I find it has not. It’s got worse. The only reason there may have been any reduction in the tonnage of unsold returns from news outlets is that circulation figures have collapsed. It seems that these days it’s not unusual for magazines to need to print five copies for every one sold.

There’s only one way ƒ2 will work again, and that is to take the returns back to the levels which applied when I set out in magazine publishing 25 years ago. Then we could expect to sell three to four magazines for every five printed.

The good news is our predecessors chose not to add a useful little widget to the ƒ2 website – one which we will be adding to that site when it is passed over to us, and also adding to this site. It’s a Retail Outlet Finder which keeps track of which newsagent branches stock the magazine, and will tell you if you enter your postcode where the nearest one is. You probably won’t be seeing ƒ2 in Tesco or any supermarket, as their terms involve being paid to sell magazines. There are 28 photographic magazines on retail sale in the UK and ƒ2 won’t really be ‘like’ any of them (if we get it right).

I can only advise that despite the high costs of postage, in cash and in environmental terms, ƒ2 is a magazine you should subscribe to if you want to be sure of getting it, and to feel that the publisher is actually being paid to produce it. It does look as if selling on the news-stands, through WHSmith and major independent newsagents, involves the publisher paying for every reader. It would need one direct subscriber to pay for the loss on every WHSmith purchaser. The other solution is to place an order with a small newsagent for the magazine – perhaps with a newsagent which is also a local post office or convenience store, the kind of neighbourhood business you simply do not want to lose. Every ‘firm order’ copy is one with no chance of becoming a ‘return’.

Subscriptions and firm newsagent orders both support local jobs, whether it’s the postal workers or the shop staff. I will be doing my best to ensure that ƒ2 becomes an efficient sales success not a small addition to global warming. I want every copy to be read and valued.

– David Kilpatrick