An Interview with Billy Kidd

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At Colours Magazine we continue with our series of interviews with upcoming photographers and as always the idea behind those interviews was to get an insight into what it takes to be a professional photographer and what is involved in their daily lives. How did they start, how did they learn the business, what mistakes did they make?

Today we feature Billy Kidd, and upcoming fashion photographer from US. Billy is a totally self taught photographer and has been making a mark in the fahsion photography world with his outstanding work. In the words of Billy himself:

I am a native of Panama City, Florida. My family moved away when I was about 6 years old to Arizona where I was raised. I always thought of myself as a computer nerd.

In 2004-2005 I went to school for a CIS major at a local community college where I took an elective in photography in my first semester. I was horrible… my composition sucked, the only thing I could do well was print in the darkroom. But I loved it. The next semester I took another photo class with a local photographer Jared Platt. At that same time I lost my job, so Jared hooked me up with Dan vermillion, a local commercial photographer who hired me as his full time assistant. Half way through that semester I dropped out realizing they weren’t going to teach me anything that I couldn’t learn on my own or through other photographers as well as save myself a lot of money. I worked with Dan for roughly 2 years. In 2007 I left Dan to pursue my own career, primarily focusing on shooting jewelry. My first BIG job was right when I left Dan, a local advertising company, Off Madison, hired me to shoot 200 pieces of jewelry for a designer. I had no clue what I was doing, but I didn’t let them know that. After that I really focused a lot on inner growth; how can I have a style or vision if I don’t know who I am? I fell into fashion by accident as I was shooting product for Desert Living magazine that entailed bags, clutches and purses with a model. After that, I didn’t want to shoot anything else.

Since then I’ve been working a lot with Ritz Carlton Magazine, Plaza, Soma, and Ad agencies like R&R partners and Cramer Krasselt. The best part about working with magazines is I get all the freedom to shoot what and how I want. I get to be myself. I put my feelings into my images.

You May Also Like on Colours Magazine

Fashion Photography with Lara Jade
Commercial Photography with Jon-Paul Mountford
Vernon Trent and the Art of Seeing

CM: If you were to name 5 things which were essential to your success, things which you would advise others to do essentially in the start, or you would advise others to focus upon, what would they be and why would you pick them.

The most important thing is know who you are. Embrace your emotions no matter what they are.
When you let yourself be who you are, you can do anything with real emotion.

Don’t underestimate your worth.

Don’t be scared to be self expressed.

If you have time on your hands, you’re not doing anything interesting.

CM: How did you get into fashion photography and why fashion photography, why not sports or landscapes or editorial work?

I love the male and female body. I love human interaction. With fashion, I get to create a surreal world; something from my imagination.

CM: What was your first professional assignment that helped you establish yourself in the market and how did you get that contract?

It was the jewelry shoot with off Madison. I met them, showed them my book, which included a portfolio of jewelry. Then I talked with them more about their families and plans for the weekend rather than shooting. When I left, I was pretty much a friend. Since could talk to me as a real person, it was easy for us to negotiate the contract and they gave it to me. I was amazed they did!!

CM: Who has been your biggest influence in your photography work and where do you look for inspiration for your work?

Music. The emotion that comes from sound is powerful to me. I always listen to music as I shoot.
I’ve had times when a particular genre was on, then in the middle of a shoot it changes. You can see the style and feeling changes in my images as well.

CM: Talking about influence, which photographer in general and fashion photographer in particular has inspired you. How do you relate to them and what elements of their work have you carried forward or developed upon in your style of shooting.

There are so many great photographers out there, I can’t just point at one. No one really influences me, but I do admire Rony Shram, David Byun and Andreas sjodin.

CM: Since having started out, have you changed much in terms of photography technique and in terms of how you work?

Of course. When you stop learning because you think that you are the best, you become nothing. I plan on exploring, experimenting, and learning till I can’t go on. Look at Irving Penn. I read an article in vogue a few years back which interviewed him saying that he is constantly absorbing information. If the greatest photographer of our times is still learning, how can I not be?

CM: For someone else like you who is going down the route of learning on the job as opposed to getting formal education, what would your advice be regarding what to do and what not to do?

Experiment. Shoot day in and day out. Think about light, subjects, concepts. Don’t let yourself be dry. If you can’t get a person to shoot, shoot an egg like Weston did. Shoot everything you have access too.

CM: You are fortunate that in such early years in your career you have gained a lot of success, what do you credit all of the success to. What were those things that helped you get where you are today? Was it business acumen, networking, marketing genius or something else?

I am no genius in marketing, and I am in no way a business man. But I have to say that networking has been the most helpful. I try to meet new people everyday, by email, phone, or in person. I send new work out by email almost every week. I stay in front of people as much as possible. I remember the first commissioned fashion spread I did for Soma magazine in SF. I had been sending them my work for months and never heard a thing. Then one day the editor called me up and asked me to shoot.
Never be scared to show your work to people. There will always be those who like it and those who hate it.

CM: In your opinion, for someone starting out what would be the best way to get your name out there to attract the right sort of client. If you are just starting out, what are the key things marketing wise that you would think are essential to the success of a business and what worked for you?

Email, email, email. Call up who ever and meet with who ever you can. I’ve gotten jobs because I was suggested by modeling agencies, from friends in the industry, and people who heard my name. Emails keep me in constant contact. Often times people don’t have time to answer a call.

CM: Financial barriers is one of the major considerations for a photography business. Certainly it is not limited to the cost of purchase and maintenance of the camera and related equipment. However many times those who are less experienced in the business side of things and are new in the market are not aware of what those other financial commitments are. What would your advice be as to how those looking to enter the market or those who have just entered the market, can properly identify their financial commitment and what can they do to educate themselves about management of finance, planning for the future and dealing with the daily ins and outs.

Everything costs money. It sucks, but that’s how it is. I was broke and eating mostly top roman for the first 6 months of my career. What to remember is there is always a way to do something on the cheap side. For a while, I was shooting jewelry in my 3’x3’ back yard, in the shade, with a piece of foam core underneath and a 10D canon. You don’t need fancy equipment or that awesome 60 mega pixel camera. I typically shoot with only 1-2 lights these days and a 5D.

If all you have is a film camera, remember to charge your clients for film and processing. If you have a digital camera, charge your clients for color correction and processing of the raw files.
If you have to spend money, charge your client for it. Keep all your receipts, and remember what is deductible from the Tax man. I buy dozens of magazines every month and I can deduct that from my taxes at the end of the year.

CM: Many photographers who are looking to enter the fashion market are not sure how much to charge for their services. When you were starting out how did you price your services for your first professional assignment? As compared to then how do you price your services now? What things do you have to keep in mind when putting cost against a service that your provide?

My day rate has changed a bit over time. When I first started I was charging a $2000 day rate. It’s now between $2500 and $3000. I do flex for some clients depending on the circumstances. I always charge for rentals as well as my lighting gear. I think it’s important to charge clients for my gear because maintenance can be expensive. I call it the grip and lighting package in my estimates. I’ve never had anyone question it. Always charge for usage. If they are going to make millions why should you not make more for helping them make that money.

CM: Equipment wise, when taking photos at a shoot what is your favourite go to kit?

Canon 5D, profoto Acute 2400 watt pack, and a head with a softlight beauty dish on a boom.
Nothing beats profoto, and the light from a beauty dish is perfect.

CM: Regarding photography style, How would you describe yours? What are the key elements that describe your shooting style, something that we can see in your photos?

Good question… I would say guerilla style. I very rarely use a tripod. I like to move around a lot.
I also like my girls to continually move. I am not a fan of posing. Keep it natural and fluid. Constantly move. I am a fan of drama; shadows are your friend.

CM: Could you please briefly take us through what happens in a fashion shoot, from the time a publication, or an agency decide that they want a certain shot to selection of the photographer, financial negotiation to the final point of delivery. How does all of this flow and who takes the lead and acts sort of a project manager in organizing the whole operation?

Let’s take a recent shoot and use that. I shot the cover of the recent Ritz Carlton magazine. The Art director Tamara Cooper called and asked if I wanted to shoot, of course I said yes.
We wanted to focus on a nice pair of legs sitting on a sleek suitcase, wearing designer pumps, and have a great purse as an accessory. It was during that time period that we discussed what production I would need to bring in and we negotiated the price. With them, I rarely have to talk too much about money as they are generous with photographers. She hired Mitzi Melville to style and then we all collaborated about the direction we wanted to go in. I typically like to set keywords. For this particular shoot: sexy, classy, warm and cool. Tamara likes to do a lot of production so she scouted and found us a great location with tons of natural light and marble floors. I usually like to see a location before shooting, but for this shoot I didn’t have the time.
The day of the shoot I had an assistant show up 1 hour before shoot so we could load our gear and head to the location; punctuality is very important to me. Then we unloaded our gear in a corner at the location so we were out of the way. I bring all my gear to locations just in case.
In this situation, we ended up not using any lights, just a white card for a bit of fill.
The shoot took roughly 2 hours because of the styling. We always spend more time perfecting the scene than shooting. I never shoot more than 30 – 40 actual frames.

Once finished and back at the studio I went over the shots, and selected 3 great frames. I then let the AD select the final image. I did some minor retouching and sent it to the client 2 days later.

Two months later it was published and featured in every Ritz Carlton Hotel around the world… except 3 that were in India where it is taboo to show legs…

CM: Social Media, blogs, digg, delicious, forums. Social Media Tools, are they of any help to those who are starting out? For someone who is starting out, how important are these platforms and how can they be best utilised?

I have a list of blogs I always read from “Susie bubbles” to “Where the lights end”.
I would say I read about 50 blogs a week. They keep me in touch with what’s happening in fashion. I read about who is shooting what editorials and AD campaigns, what models are hot right now, and what angles designers are taking at their recent shows. If I was based in NY, I probably wouldn’t have to read so much. Arizona can be at times, boxed in, as if it is its own little world.

I also keep a blog to keep local photographers and models in touch with what I’m doing and what I think is important for them to know. I like sharing how I create something. I’m not protective of the way I shoot, how I light, and how I process my work. If I can help a photographer improve their work, then I’ve done the same for me.

CM: Marketing, what works for you. For many photographers it is a costly combination of on line advertising combined with word of mouth, trade shows and print advertising. What is your approach and from a pure return on investment point of view what has worked best for your business?

Emails! I’ve never sent out a postcard, mailer, or letter (except after I meet with someone in person, I always send a hand written letter thanking them for their time.)
My reps do a great job calling people and getting my name out too.

Sending out submissions to magazines also helps. It gets your name to them, and if you get printed, the whole world sees your work!
I think a big list of editorial clients means a lot to the AD world because
it says that this person is credible and people like what he/she does.

CM: Everybody has high points and low points in their careers, what have been the high and the low points for you, and what helped you get through the lows?

My friends and family have been very supportive of my career. I’m new to all of this, only carrying 2 years and a few months under my belt, so I’m sure I’ll go higher as well as lower. I think this field is a rollercoaster ride. However, I’ve only had one real dip in business and that was between Jan and March of this year when the recession was hitting it’s low. What kept me happy during this time was shooting for my own fulfillment. I shot constantly for myself and submitted a lot of work and it opened a creative door that hadn’t been opened yet. Among these shoots, I started playing with Video art and decided to exhibit it in March. I think this brought work in again…life is fun even in the bad times.

A high point in my career was when I was published in Plaza magazine out of Sweden, which is circulated around the world. It was my first major publication and for the months following that, I had an influx of commercial and editorial work.

CM: What do you think the future holds for you and other photographers in the fashion and advertising market?

Definitely mixed media. The separation of everything in this growing online world is over.
Mixing interactive vector art, with still photos and motion video is too awesome.
We can’t treat this new technology like a print magazine or a TV. That would be a waste.

CM: Any future projects lined up that you would like to share with our readers?

I have a great jewelry shoot for Isaac jewelers coming out that will be hot, and a few editorial shoots you should keep your eyes open for.

CM: What sort of a post production setup do you use?

I do all my own post production. I use a 24” imac and I always use lightroom first to “tweak” my photos. I built presets but often experiment with images. I convert everything to DNG first and pull them into photoshop CS4.

CM: Where do you want to go with your photography, what are your plans for the future?

I Love fashion and beauty. I am relocating within the next year to NY so I can be closer to the resources I need. Designers, stylists, models, etc… I want to be shooting for magazines like Numero in France, Vogue Italia, W,V…
All I want to do is shoot.

CM: If you had to pick one last piece of advice for those of our readers who are looking to get into fashion and advertising photography, one thing that you consider has helped you the most and you would want to share with others, what would it be?

Don’t be scared of what people think.

I was born in Panama City Florida. My family moved away when I was about 6 years old to Arizona where I was raised. I always thought of myself as a computer nerd.
In 2004-2005 I went to school for a CIS major at a local community college where I took an elective in photography in my first semester. I was horrible… my composition sucked, the only thing I could do well was print in the darkroom. But I loved it. The next semester I took another photo class with a local photographer Jared Platt. At that same time I lost my job, so Jared hooked me up with Dan vermillion, a local commercial photographer who hired me as his full time assistant. Half way through that semester I dropped out realizing they weren’t going to teach me anything that I couldn’t learn on my own or through other photographers as well as save myself a lot of money. I worked with Dan for roughly 2 years. In 2007 I left Dan to pursue my own career, primarily focusing on shooting jewelry. My first BIG job was right when I left Dan, a local advertising company, Off Madison, hired me to shoot 200 pieces of jewelry For a designer. I had no clue what I was doing, but I didn’t let them know that. After that I really focused a lot on inner growth; how can I have a style or vision if I don’t know who I am? I fell into fashion by accident as I was shooting product for Desert Living magazine that entailed bags, clutches and purses with a model. After that, I didn’t want to shoot anything else.
Since then I’ve been working a lot with Ritz Carlton Magazine, Plaza, Soma, and Ad agencies like R&R partners and Cramer Krasselt. The best part about working with magazines is I get all the freedom to shoot what and how I want. I get to be myself. I put my feelings into my images.

CM: If you were to name 5 things which were essential to your success, things which you would advise others to do essentially in the start, or you would advise others to focus upon, what would they be and why would you pick them.

The most important thing is know who you are. Embrace your emotions no matter what they are.
When you let yourself be who you are, you can do anything with real emotion.

Don’t underestimate your worth.

Don’t be scared to be self expressed.

If you have time on your hands, you’re not doing anything interesting.

CM: How did you get into fashion photography and why fashion photography, why not sports or landscapes or editorial work?

I love the male and female body. I love human interaction. With fashion, I get to create a surreal world; something from my imagination.

CM: What was your first professional assignment that helped you establish yourself in the market and how did you get that contract?

It was the jewelry shoot with off Madison. I met them, showed them my book, which included a portfolio of jewelry. Then I talked with them more about their families and plans for the weekend rather than shooting. When I left, I was pretty much a friend. Since could talk to me as a real person, it was easy for us to negotiate the contract and they gave it to me. I was amazed they did.

CM: Who has been your biggest influence in your photography work and where do you look for inspiration for your work?

Music. The emotion that comes from sound is powerful to me. I always listen to music as I shoot.
I’ve had times when a particular genre was on, then in the middle of a shoot it changes. You can see the style and feeling changes in my images as well.

CM: Talking about influence, which photographer in general and fashion photographer in particular has inspired you. How do you relate to him/her and what elements of their work have you carried forward or developed upon in your style of shooting.

There are so many great photographers out there, I can’t just point at one. No one really influences me, but I do admire Rony Shram, David Byun, and Andreas sjodin.

CM: Since having started out, have you changed much in terms of photography technique and in terms of how you work?

Of course. When you stop learning because you think that you are the best, you become nothing. I plan on exploring, experimenting, and learning till I can’t go on. Look at Irving Penn. I read an article in vogue a few years back which interviewed him saying that he is constantly absorbing information. If the greatest photographer of our times is still learning, how can I not be?

CM: You are mostly self taught as you mentioned on your website. What do you see as the dis-advantages or perhaps the advantages of not having a formal education or training? Is there anything that you feel you have missed out on by not having formal training?

I have no clue. I don’t know how school influences a photographer because I chose a path and went with it…

CM: For someone else like you who is going down the route of learning on the job as opposed to getting formal education, what would your advice be regarding what to do and what not to do?

Experiment. Shoot day in and day out. Think about light, subjects, concepts.
Don’t let yourself be dry. If you can’t get a person to shoot, shoot an egg like Weston did.
Shoot everything you have access too.

CM: You are fortunate that in such early years in your career you have gained a lot of success, what do you credit all of the success to. What were those things that helped you get where you are today? Was it business acumen, networking, marketing genius or something else?

I am no genius in marketing, and I am in no way a business man. But I have to say that networking has been the most helpful. I try to meet new people everyday, by email, phone, or in person. I send new work out by email almost every week. I stay in front of people as much as possible. I remember the first commissioned fashion spread I did for Soma magazine in SF. I had been sending them my work for months and never heard a thing. Then one day the editor called me up and asked me to shoot.
Never be scared to show your work to people. There will always be those who like it and those who hate it.

CM: In your opinion, for someone starting out what would be the best way to get your name out there to attract the right sort of client. If you are just starting out, what are the key things marketing wise that you would think are essential to the success of a business and what worked for you?

Email, email, email. Call up who ever and meet with who ever you can. I’ve gotten jobs because I was suggested by modeling agencies, from friends in the industry, and people who heard my name. Emails keep me in constant contact. Often times people don’t have time to answer a call.

CM: Financial barriers is one of the major considerations for a photography business. Certainly it is not limited to the cost of purchase and maintenance of the camera and related equipment. However many times those who are less experienced in the business side of things and are new in the market are not aware of what those other financial commitments are. What would your advice be as to how those looking to enter the market or those who have just entered the market, can properly identify their financial commitment and what can they do to educate themselves about management of finance, planning for the future and dealing with the daily ins and outs.

Everything costs money. It sucks, but that’s how it is. I was broke and eating mostly top roman for the first 6 months of my career. What to remember is there is always a way to do something on the cheap side. For a while, I was shooting jewelry in my 3’x3’ back yard, in the shade, with a piece of foam core underneath and a 10D canon. You don’t need fancy equipment or that awesome 60 mega pixel camera. I typically shoot with only 1-2 lights these days and a 5D.

If all you have is a film camera, remember to charge your clients for film and processing. If you have a digital camera, charge your clients for color correction and processing of the raw files.
If you have to spend money, charge your client for it. Keep all your receipts, and remember what is deductible from the Tax man. I buy dozens of magazines every month and I can deduct that from my taxes at the end of the year.

CM: Many photographers who are looking to enter the fashion market are not sure how much to charge for their services. When you were starting out how did you price your services for your first professional assignment? As compared to then how do you price your services now? What things do you have to keep in mind when putting cost against a service that your provide?

My day rate has changed a bit over time. When I first started I was charging a $2000 day rate. It’s now between $2500 and $3000. I do flex for some clients depending on the circumstances. I always charge for rentals as well as my lighting gear. I think it’s important to charge clients for my gear because maintenance can be expensive. I call it the grip and lighting package in my estimates. I’ve never had anyone question it. Always charge for usage. If they are going to make millions why should you not make more for helping them make that money.

CM: Equipment wise, when taking photos at a shoot what is your favourite go to kit?

Canon 5D, profoto Acute 2400 watt pack, and a head with a softlight beauty dish on a boom.
Nothing beats profoto, and the light from a beauty dish is perfect.

CM: Regarding photography style, How would you describe yours? What are the key elements that describe your shooting style, something that we can see in your photos?

Good question… I would say guerilla style. I very rarely use a tripod. I like to move around a lot.
I also like my girls to continually move. I am not a fan of posing. Keep it natural and fluid. Constantly move. I am a fan of drama; shadows are your friend.

CM: Could you please briefly take us through what happens in a fashion shoot, from the time a publication, or an agency decide that they want a certain shot to selection of the photographer, financial negotiation to the final point of delivery. How does all of this flow and who takes the lead and acts sort of a project manager in organizing the whole operation?

Let’s take a recent shoot and use that. I shot the cover of the recent Ritz Carlton magazine. The Art director Tamara Cooper called and asked if I wanted to shoot, of course I said yes.
We wanted to focus on a nice pair of legs sitting on a sleek suitcase, wearing designer pumps, and have a great purse as an accessory. It was during that time period that we discussed what production I would need to bring in and we negotiated the price. With them, I rarely have to talk too much about money as they are generous with photographers. She hired Mitzi Melville to style and then we all collaborated about the direction we wanted to go in. I typically like to set keywords. For this particular shoot: sexy, classy, warm and cool. Tamara likes to do a lot of production so she scouted and found us a great location with tons of natural light and marble floors. I usually like to see a location before shooting, but for this shoot I didn’t have the time.

The day of the shoot I had an assistant show up 1 hour before shoot so we could load our gear and head to the location; punctuality is very important to me. Then we unloaded our gear in a corner at the location so we were out of the way. I bring all my gear to locations just in case.
In this situation, we ended up not using any lights, just a white card for a bit of fill.
The shoot took roughly 2 hours because of the styling. We always spend more time perfecting the scene than shooting. I never shoot more than 30 – 40 actual frames.

Once finished and back at the studio I went over the shots, and selected 3 great frames. I then let the AD select the final image. I did some minor retouching and sent it to the client 2 days later.

Two months later it was published and featured in every Ritz Carlton Hotel around the world… except 3 that were in India where it is taboo to show legs…

CM: Social Media, blogs, digg, delicious, forums. Social Media Tools, are they of any help to those who are starting out? For someone who is starting out, how important are these platforms and how can they be best utilised?

I have a list of blogs I always read from “Susie bubbles” to “Where the lights end”. I would say I read about 50 blogs a week. They keep me in touch with what’s happening in fashion. I read about who is shooting what editorials and AD campaigns, what models are hot right now, and what angles designers are taking at their recent shows. If I was based in NY, I probably wouldn’t have to read so much. Arizona can be at times, boxed in, as if it is its own little world.

I also keep a blog to keep local photographers and models in touch with what I’m doing and what I think is important for them to know. I like sharing how I create something. I’m not protective of the way I shoot, how I light, and how I process my work. If I can help a photographer improve their work, then I’ve done the same for me.

CM: Marketing, what works for you. For many photographers it is a costly combination of on line advertising combined with word of mouth, trade shows and print advertising. What is your approach and from a pure return on investment point of view what has worked best for your business?

Emails! I’ve never sent out a postcard, mailer, or letter (except after I meet with someone in person, I always send a hand written letter thanking them for their time.) My reps do a great job calling people and getting my name out too.

Sending out submissions to magazines also helps. It gets your name to them, and if you get printed, the whole world sees your work! I think a big list of editorial clients means a lot to the AD world because it says that this person is credible and people like what he/she does.

CM: Everybody has high points and low points in their careers, what have been the high and the low points for you, and what helped you get through the lows?

My friends and family have been very supportive of my career. I’m new to all of this, only carrying 2 years and a few months under my belt, so I’m sure I’ll go higher as well as lower. I think this field is a rollercoaster ride. However, I’ve only had one real dip in business and that was between Jan and March of this year when the recession was hitting it’s low. What kept me happy during this time was shooting for my own fulfillment. I shot constantly for myself and submitted a lot of work and it opened a creative door that hadn’t been opened yet. Among these shoots, I started playing with Video art and decided to exhibit it in March. I think this brought work in again…life is fun even in the bad times.

A high point in my career was when I was published in Plaza magazine out of Sweden, which is circulated around the world. It was my first major publication and for the months following that, I had an influx of commercial and editorial work.

CM: What do you think the future holds for you and other photographers in the fashion and advertising market?

Definitely mixed media. The separation of everything in this growing online world is over.
Mixing interactive vector art, with still photos and motion video is too awesome.
We can’t treat this new technology like a print magazine or a TV. That would be a waste.

CM: Any future projects lined up that you would like to share with our readers?

I have a great jewelry shoot for Isaac jewelers coming out that will be hot, and a few editorial shoots you should keep your eyes open for.

CM: What sort of a post production setup do you use?

I do all my own post production. I use a 24” imac and I always use lightroom first to “tweak” my photos. I built presets but often experiment with images. I convert everything to DNG first and pull them into photoshop CS4.

CM: Where do you want to go with your photography, what are your plans for the future?

I Love fashion and beauty. I am relocating within the next year to NY so I can be closer to the resources I need. Designers, stylists, models, etc… I want to be shooting for magazines like Numero in France, Vogue Italia, W,V… All I want to do is shoot.

CM: If you had to pick one last piece of advice for those of our readers who are looking to get into fashion and advertising photography, one thing that you consider has helped you the most and you would want to share with others, what would it be?

Don’t be scared of what people think.

Find out more about Billy Kid

Billy’s Website
Billy Kidd’s blog
Billy is represented by:
Fierce Artists and by Ford Artists.

You May Also Like on Colours Magazine

Fashion Photography with Lara Jade
Commercial Photography with Jon-Paul Mountford
Vernon Trent and the Art of Seeing

2009 Colours Competition

We are accepting entries for the 2009 Colours Magazine Photography competition. Don’t miss out on your chance to win some fabulous prizes including Shootsac camera bag, Zack Arias’s One Light Workshop DVD, ShowIT Software by David Jay and Shooting Glamour DVD by Jason Cole. Find out more here.

Tagged as: Billy Kid, Digital Photography, Fashion Photographer, Photographer Interview

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