Our _Newsletter_

Our Newsletter

LSP Newsletter #33

February 2015 – Newsletter #33

Hello everyone! We hope your year had a fabulous start and that you’re keeping up with your new resolutions for 2015. We at LSP are doing our best!

The entire team is thoroughly enjoying the new studios at Headspace in Hatton Garden and all our students are too. There is even an onsite barista station serving top-quality coffee and snacks!

We want to thank everybody who submitted images for our January assignment, inspired by Guy Bourdin. The response was impressive and we received some fantastic images, both colourful and graphic in nature.

On a different note, we would like to apologise and inform you that our Zine has been discontinued. To make it up for the confusion, we are giving away a £50 Gift Voucher to all our Newsletter’s readers and fans.

Please scroll down for details.

The monthly contest for a Workshop (worth £295) will continue as usual. Please see the winner’s image and the new assignment just below. We are grateful for every single one of you who follows us and participates in our initiatives. That’s what keeps us going! :-)


Congratulations to Ilka & Franz who win the January Assignment #32 ‘Geometry & Vibrant Colour’.

This is the portrait of Kamil, a tennis player.

We thought the subject was intriguing, catching and the use of colours was on point with our theme.

Ilka & Franz win an Open Date Voucher to attend an Evening Workshop at LSP (worth £295). Workshops included are: Evening Digital Photography Levels 1 and 2, Creative Photography, Career Coaching, Photoshop and Lightroom.

February’s Assignment is published below and the deadline to submit your images is the 27th of February. The winner will be announced on our March Newsletter.

Keep up the good work and continue experimenting!

For queries about Newsletter and Contest: newsletter@londonschoolofphotography.net


Did you know there is a science studying food texture called Food Rheology?

‘The acceptability of food products to the consumer is often determined by food texture, such as how spreadable and creamy a food product is.’

It already existed in ancient Egypt and it’s always been one of the main reasons why we choose one food over another. Texture is essential to identify a food, it’s not just its flavour or colour, and to make us like it!

Although the study refers to the texture of food when eaten, from the photography point of view, we can add that it is very important to emphasize texture when taking a photo of a dish as well.

So this month, starting from food rheology, we link our assignment to one of our February Masterclasses tutors: Sue Atkinson


Sue has over 30 years experience working in the Food Photography industry and has a long and impressive list of clients, including McDonalds, McCain, Tetley Tea, Fox’s biscuits and Krispy Kreme. 

Sue’s careful use of light to emphasise texture is wonderful. She often uses strong and directional light to create shadows and show off the textures in each dish. 

That is exactly why a great food photographer can distinguish himself from the rest, it makes you so hungry you would eat anything he/she photographs.

So our task for you is to set up a photograph of your favourite food item or meal and emphasise those wonderful textures present. We all know that for a perfect presentation of your dish you should have someone to cook it and style it at its best, but we also know that simplicity is the key to create amazing artwork as long as you have a clear idea in mind.


  • Pick an item of food or dish that you love.
  • Using strong directional light from one source (a window is great for this but you can also use a strobe or continuous light source.)
  • Start placing your lighting coming from one side, 180 degree angle from the right or from the left when you look at your subject TOP DOWN. (Move the light around if you can or move your Food Item/Dish and observe how it affects the subject.)
  • Add a Reflector (Can be anything white), or an absorber (This can be anything Black/Grey) and playing with the distance and size you can emphasize more or less the shadows.
  • Spot Meter on your Highlights (The brightest part of the scene).
  • Make different Exposures & Compositions by moving around the subject. Adjusting your lighting and Vantage point.
  • Experiment with shadows and  REMEMBER…Shadows create the texture in our images. 
  • For Every Step of the Process it is recommend you take a shots as a reference for later study.
  • (What Works & Why? – What doesn’t Work & Why?) This are the most important questions to ask yourself whenever you shoot a Project/Assignment.
  • To get accurate light readings for the brightest part of your picture, you can use your camera’s spot metering mode to start and experiment with the others (Matrix/Evaluative), found in ‘Metering Modes’ on most cameras. 

You don’t need expensive equipment to shoot a good photograph or make your food look appetising, just take a look at our Pinterest board and get inspired by some great ideas.

Your goal is to make that food look appetizing and YUMMY!

Click with Passion and Enjoy it!

You can submit your photos here (A maximum 6 images per person.)



Food photographer Sue Atkinson has honed her skills over more than 30 years in the industry. Working first with film and large format cameras, Sue began her career illustrating cookery books including some of the first microwave and vegetarian titles before moving to her specially-equipped London studio where she took on the more challenging and demanding briefs of design groups and advertising agencies and now lists amongst her clients McDonald’s, McCain’s, Tetley tea, Fox’s biscuits and Krispy Kreme.

Sue Atkinson – Food Photography Masterclass 

Saturday 28th February 2015

10.30-16.30 (max. participants: 8) 




Mike Roles is a practising sculptor and photographer. He has obtained a PHD in Sculpture and a MA in Photography from the prestigious Royal College of Art with extensive knowledge and debates within Fine Art Photography and mixed media.

During the masterclass, Roles will discuss about the term Fine Art Photography and how it can be defined if at all. Each student will bring an image for inclusion of a group discussion on the topic “What is Fine Art Photography?”

Mike Roles – Fine Art Photography Masterclass 

Wednesday 25th February 2015

10.30-16.30 (max. participants: 20) 




Silvio Berlusconi © Paul Stuart / Lenny Henry © Sarah Lee

The annual Taylor Wessing Portrait Prize exhibited at the National Portrait Gallery annually, often draws thousands of entries and yields accomplished works from across the professional and amateur photography fields. This year is certainly no exception. 

Amongst the long-listed finalists there are images of famous sitters, as there are every year, for example Lenny Henry, Silvio Berlusconi and David and Samantha Cameron to name a few. The Lenny Henry portrait from Sarah Lee is striking, beautiful light, reminiscent of a masters painting, a serious and intense Henry, not what we usually see of him in the media. Then we have the Camerons alongside their daughter, which is an informal candid shot, used for their annual Christmas card from Tom Stoddard and regardless of your political leanings, is very touching. 

A wonderful part of of this prize though is the many personal images among those of famous and recognizable people. So many of this years’ entries come from the photographer’s own family, friends of friends, or similar. That close connection lends itself to some incredibly beautiful results. For example Arvi by Sami Parkkinen shows a young boy dressed in his fathers huge coat, a playful take on a formal early photograph. Or the huge black and white image of a photographer Lenka Rayn’s friend’s daughter, naked from the waist up and with a huge mop of wild hair – it’s tender and engaging. 

Unexpected © Lenka Rayn H / Arvi © Sami Parkkinen

Perhaps though, the images that really endure are the ones from the documentary and photojournalistic tradition. One of things that is always strong at the Taylor Wessing is the variety of stories that these portraits can tell. The image of the young man in Uganda, gaining access to education with help from the charity Sightsavers, forms part of the photographer Graeme Robertsons’ wider work on the subject but this portrait stands on it’s own perfectly well. Laura Pannack’s image of an Orthodox Jewish girl taken at the Synagogue where her father is a Rabbi is also particularly transfixing. There is real power behind these images, as well as many more in the exhibition.  

It’s always hard to judge portrait next to portrait like this, when the experience has been so varied but thankfully we don’t have to make such decisions, as that’s what the judging panel is for. You may agree or disagree with their choices but regardless of that go see this varied selection of quality work and appreciate each image for it’s own merits. – Kit Ryall

13 November – 22 February 2015

National Portrait Gallery


TOP PAGE IMAGE: WINNER Taylor Wessing Prize – Konrad Lars Hastings Titlow by David Titlow, 2014 © David Titlow

You might want to keep an eye on our Instagram page @lsp

We regularly post snapshots and backstage photos of our workshops just as they’re happening!