Monday, January 15, 2018

Father Of The Bride

A wedding celebration is always a joyous occasion for all involved. When my daughter Emma set the date for her wedding, Julie and I suddenly became aware how much planning is required to ensure everything would be just as we always wished for the day. Naturally, having been involved in the wedding industry for pretty much all of my life, I was able to offer my advice, when required.

Uniquely from my perspective, I knew of the pitfalls that could be encountered, therefore, Emma sought my help whenever she needed it, at the same time, not wanting to give too much away to myself, father of the bride.

Athelhampton House

The 15th century house was chosen for the ceremony and reception, a venue I was more than happy to endorse. I have worked in this beautiful private house on numerous occasions as a wedding photographer. On each and every occasion, I was always impressed by the attitude of the management team, led by Owen Davies, General Manager and his assistant manager Laura Pitman. I was fully aware of how welcoming and accommodating they are, striving to deliver quality and outstanding professionalism to make our day, just as we wanted it to be. Owen with his guidance and knowledge of fine wines and champagne was second to none.

Laura with her ability to organise and structure the day, took away any worries from our family.  Her patience and expertise must have been tested to the limit, countless emails, phone calls, extensive notes were exchanged between us, needless to say, everything exceeded our expectations resulting in a perfect wedding celebration for Emma and Owen.

The wedding breakfast was magnificent, carefully prepared in their own kitchens by highly skilled chefs, utlising the finest produce. One additional thing we loved, was the ability for our guests to select their food on the day and it was appreciated greatly by all.

As the wedding was going to be a Christmas time ceremony, we knew it would be very welcoming and warm with the log fire glowing next to the floor to ceiling Christmas tree. Additionally, we knew that if the weather had been unkind, we had the Great Hall as a magnificent backdrop for photographs.

As it happened, we were in luck, a cold overcast day providing beautiful soft light for flattering photographs. The grounds offer enormous potential for capturing the essential bridal portraits, everywhere you turn there appears an opportunity to make special portraits of the couple, equally inside you are also spoilt for choice. Many guests appreciated walking around the house, viewing all the different rooms that have been maintained to such a high standard, mainly all undertaken by Patrick, the owner of this magnificent home.


Yes, the dress is very important, possibly the one thing everyone wants to see on the wedding day, after all it is possibly one of the most important elements, guests in anticipation as the bride makes her grand entrance, however, what is the use in spending a small fortune on a dress, then not having it displayed and recorded at it's most exquisite?

You need someone with the ability to give memories of just how beautiful your day is from start to finish, presented in a hand made graphically designed complementary album which will preserve for future generations to come. After all, once the wedding is over, all you have are the memories and the photographs.

Here is one thing I knew just had to be right, after all, having been a photographer pretty much all of my life and a passion of mine since I was a teenager. I have photographed in excess of 1000 weddings, I have seen photographers come and go. Digital has been a double edged sword, with a huge influx of part-time photographers that have not honed their skills or taken sufficient training, resulting in many brides being disappointed with the result. 

In the hands of an experienced and refined photographer, digital allows a certain freedom, providing the photographer is in possession of a complete understanding of light and its effects, composition and posing skills to ensure the best results to ensure everyone looks their best. There also needs to be more vital ingredients, charm and of course striking a fine balance between getting the photographs in a timely manner, which allows the couple to celebrate with their friends.

There are very few photographers that I would consider to produce work that will stand the test of time, therefore, it was of paramount importance for me to deliver someone capable of delivering all these qualities.

I wanted a photographer who has the skills I have achieved, a Fellowship with the British Institute of Professional Photography. This accolade recognises the very best of the best, this represents an award that very few ever reach, widely acknowledged as an expert practitioner in that genre, approximately eleven currently hold that status. Why so few have reached that level, simply because it is so difficult, it is meant to be. In 115 years, the British Institute of Professional Photography have only a handful that truly represent the very finest quality that will guarantee you a collection of images that will reflect your day perfectly, a clear understanding of all elements that go into capturing the special moments. Interestingly enough, there are no wedding Fellows in the South of England apart from myself and David Wheeler FBIPP, who also has the rare distinction of being the youngest photographer to be awarded a Fellowship in the BIPP. This indeed is a rarity as generally photographers take many years, if ever, to reach that position. 

As a photographic judge/ chairman, trainer and mentor of all the professional photographic bodies in the UK and a worldwide lecturer, I have an acute awareness of the photographers that apply themselves to wedding photography in a manner which represents the finest distinguished quality of light, clear understanding of composition, coupled with elegance within their work.

I first met David around 5 years ago, when he kindly stepped in and assisted me on a wedding. An assistant normally acts upon the instruction of the main photographer, which has always been the case with my previous assistant.  However, I was delighted to see David act for himself, capturing moments that he had observed whilst I was otherwise engaged with the wedding.  I thought to myself how alike David was in his approach to all the elements that I strive for in my own work.  On closer inspection of David's images, I was astonished that we had such strong similarities within our recognised style.

Once I had established that David had a real passion and affinity for wedding and portrait photography we quickly became great friends, working together on many weddings and projects. A real photographer should practice, just as an athlete would, to become one of the best. It is not all about money or financial gain, therefore, I have always set myself projects and I invited David to spend some time with me on these, including documentary portraiture projects in a bohemian town in Dorset and a prison, capturing the prisoners and their everyday life. During this period David asked if he could get his licentiate, to which I replied, "I thought you already had it, if not, it is just a formality, your work is in excess of Licentiate and approaching Fellowship within the next 18 months". Upon looking at David's portfolio we established their was a clear pattern within his work which demonstrated to me beyond any doubt that David would get his Fellowship, which has proven to be the case.  Subsequently he was awarded his fellowship 12 months later, in August 2014.  

During this time, I mentioned to David that I felt he had massive potential to become the finest photographer of his generation, I could see he was going to share the same type of vision and thought process that I have, that is, wanting to give of our very best to our clients who are willing to give their time and trust to ourselves as creative artists. This premonition of mine has come true, where David has fully justified that statement, resulting in him becoming that photographer, the best of the best. 

David has gone from strength to strength, winning gold awards, the Patrick Litchfield Award for 'The most creative use of people', a finalist in the World Photographic Cup competition and I can only see this list being extended, with nobody over his shoulder to match his skill.

Having said all this about the photography side of David, there is more to it than that. A refined wedding photographer needs to be the type of person you would like as a guest, David is that person. He is kind, considerate and extremely talented individual, simply the best.

From past experience, I have always appreciated having an assistant with me throughout the wedding and I wanted David to have someone who he could rely on to work systematically on his own, but also capturing the moments the David was unable to capture. I looked no further than Mark Cornwell who I have worked with over the last 18 months, knowing that he will add extra cover and complement David's work.


Jess Cooper was our choice of florist, trying to use local business wherever that was possible. Again, having worked at weddings with Jess, I always noticed how beautiful her creations were. My daughter Emma had a consultation with her where they exchanged ideas, it was obvious from this meeting that they were both destined to work together. 

We were thrilled with her results, everyone has commented on how amazing and different they were, flowers are always something worthwhile investing in as they contribute and complement so much to the presentation and decoration of venues. As a photographer, I am always extremely happy when I see a bride invest heavily into such an important part of the wedding.


The one aspect I had no input into was the wedding dress, Emma works in London and spent many hours looking at different shops and styles, I have to say she pretty much went to all of the them. Her experiences were varied, eventually, she settled on Le Spose di Gio, Belgravia, London.

The experience Emma received her from start to finish was exquisite, needless to say, I was thrilled with the design they came up with, a soft and delicate design which suited Emma's personality and demeanour.  Seeing my daughter for the very first time was a moment that I will always cherish.  My advice to any bride is to spend as much as you can on a dress (which Emma certainly did!).  I do not regret spending a single penny of that money.


There is only one choice when it comes to perfection, that is the one and only Julie Nicholls. Julie adds a very individual approach to each and every wedding she designs, all unique with colour coordination and attention to detail, her designs are unparalleled and extremely polished.

Julie was an obvious choice to design the finer aspects of the wedding, giving considerable thought process to each and every detail, considering everything to fonts and colour uniformity.  Once again, my experience of working with Julie has always impressed upon myself how much of a significant contribution her skills have added to the details of the day.  I consider Julie to have almost been a perfect bridesmaid, guiding Emma and ourselves, each step of the way.

Lisa Notley was asked to make the wedding cake, just about every wedding I attend, there on the stand is one of Lisa's finest cakes. If that is not a recommendation enough, I don't know what is. 

Cakes are often overlooked on the wedding day, however I would urge brides to contact her as she is an extremely charming lady.  So much so that I call her the Mary Berry of the wedding cake designers.

Make up and Hair

Amazing Face was Emma's choice, especially as she has been bridesmaid on 13 occasions, she had built a rapport with Caroline and Elke who had in fact provided the styling of hair and make up on so many of those weddings.  Gone are the days when brides did their own make-up and it is such a worth while investment, taking any stresses away in the morning, to ensure the bride and her attendants are looking their very best.

Caroline and Elke kept extremely calm throughout considering there were ten bridesmaids, mother of the bride and father of the bride, which took most time.

kevin wilson photography | wedding photographer | dorset

Wednesday, June 28, 2017

Mentoring Thoughts.

As many of you  may be aware, a certain amount of my time is dedicated to passing on skills and  helping others achieve much higher standards within their work. 

This follows on from my experience within the qualification structures in each of the following, The British Institute of Professional Photographers, The Master Photographers Association, The Royal Photographic Society, The Societies and of course Kodak, sadly no longer with us .

 In each of these associations I hold fellowships in different disciplines, I have also been a judge for each and acted in the role of Chairman for all listed above.

I have mentored many, many photographers over the years, many of them have gone on to become household names within the creative field of wedding, portraiture and fine art photography . Indeed, many of these are producing amazing quality within their genre.

I felt it was time to chart the progress of one of my current Mentees, starting with her photography prior to commencing my mentoring process, then to see the growth in her work,  how it is progressing and her achievements to date.

It was February 2016 when I was initially approached . Fiona had recently achieved her Associateship of the BIPP, although that is a great level to attain, she was encouraged to continue with her work and see how it might progress.

Not content to settle for that level, she reached the decision that  it was time for her to create something more artistic with a timeless content, however, that is not quite as simple as one might think .

It takes considerable energy time and money to pursue excellence, after all her clients were satisfied with what she was producing on a daily basis, she felt there was room to give them more.  

Having been told about the various courses Fiona had invested in it was apparent that although she had gained knowledge on different aspects of photography, she was struggling to define herself as a photographer.  With this in mind Fiona knew that for her to move forward and reach her aspirations to create beautiful and elegant work it was essential to find a mentor.  

Having achieved such a high accolade, I couldn’t see how to refine my work.  Looking at Kevin’s work and other photographers that Kevin had mentored , David Wheeler FBIPP and Scott Johnson FBIPP, to name just two ".  One thing I was sure of, I needed my own identifiable style, something Kevin was keen for me to establish.

From discussing in detail, Fiona was looking for someone she could rely on in terms of feedback, who could provide a positive critique, offering guidance and help as when needed. 

From discussing in detail, Fiona was looking for someone she could rely on in terms of feedback, who could provide a positive critique, offering guidance and help as when needed. 

On her first visit we discussed what makes a fellowship panel, analysed her own work against other Fellows pitching her against the best, assessing her skills and knowledge, before going back to the basics discussing posing and lighting, both of which Fiona was aware of but did not know how to use successfully to create something thoughtful and structured.

Then & Now


2016 /2017


2016 / 2017


                                                            2016 / 2017

Achievements To Date

Now today, twelve months into Kevin's program the change in my work is phenomenal!  I am yet to meet my end game, which of course is my fellowship but I can see a massive improvement in my work.  It is becoming a lot more sophisticated now that I understand more about light, posing and composition.

To add to this, my confidence has grown exponentially, helped by finding challenging projects like “London Calling’ where I spent three days photographing in Jungle camp at Calais, which saw me achieve another associate, this time in Documentary Photography.  Prior to this I won Gold and Silver for my work in the South East Regional Awards in 2016,  just months after starting Kevin’s programme.  To add to these new accolades I have also won Bronze, the only award given in the non-commissioned category in this year 2017 Professional Photographer of the Year - I can’t thank Kevin enough.

For any photographer who is reading this and looking to gain professional qualifications, I can not stress how important or how rewarding it is to have one to one mentoring.  With all the courses I have done over the years, investing in Kevin has exceeded all my expectations.  Mentoring is not about personal achievements, it has a huge impact on business.  I can see that I now forming an identifiable style and producing quality work for my clients, which is gold in itself. 

It has been one hell of year, full of change and achievement.  I am most grateful for the opportunities given to me and wish all who are going for qualifications the best of luck.

Tuesday, September 27, 2016

Lenses and Cameras, A Question Of (Auto) Focus

As a photographer who highly values pin sharp images,  any technology that can help improve the consistency and accuracy of focus is essential and something worth investigating.

Lens calibration used to involve sending camera bodies together with all lenses back to Canon or Nikon service (at much expense in cost and time!) they would make sure everything was correctly adjusted. However, in recent years camera manufacturers have included within the camera a micro focus adjustment setting on their mid-range and professional cameras. Great though this feature is it puts the onus on us, the photographers, to understand and make use of this functionality.

I've recently been made aware of software that makes the process of auto focus calibration straight forward and gives a high level of confidence the calibrated values are correct. Having recently replaced my two main camera bodies with the latest and greatest from Canon it seemed a good time to have them calibrated.

It's easy to assume a lens and camera body, particularly pro bodies and lenses would just work perfectly together, sadly this is not always the case! As an example, the brand new 35mm f1.4 mark 2 prime needed virtually no adjustment on one camera body, the software clearly showed my other main camera body required significant adjustment with this same lens, an adjustment that would be noticeable in my real world images.

Below are a couple of images, one of the software showing how much difference it made to the 35mm lens and I couldn't not include an image of Ted (who supported me throughout the calibration process this morning!).

Great software, highly recommended, Reikan FoCal Pro, more details on their website at

Screen shot showing FoCal Pro with the before and after image crops

Ted, along with the FoCal Target, 35mm prime after calibration, shot 10000 ISO 1/60th,  f1.4 wide open.

kevin wilson photography | wedding photographer | dorset

Monday, July 04, 2016

Audrey Kelly ASWPP

Independence Day.

In recent years, more and more females  have shown just what they can do within what was once perceived to be a very much male dominated profession, this can only be applauded. I would think that it must be very close to 50-50 men v women today.

Welcome to another young lady who is setting the pace with exceptionally high standards for others to follow in her footsteps. Audrey Kelly, based in  Dungiven, Northern Ireland who only started her business in 2012  is rapidly making a name for not only her business, C2 design and her clients but in a much wider context in the professional world of photography.

Audrey is first and foremost a wife and mother to two children, so how she manages to fit everything that she does into her business and every day life, one can only begin to imagine, she is a bundle of energy, never short of conversation and very genuine. Once she has your trust, you have a loyal friend. Something a mentee, mentor relationship requires.

I first met Audrey at SWPP in 2014 during the SWPP conference in London, she expressed interest in my mentoring services, guiding her her towards her qualification journey and improve her work towards her goal.

 I asked her what she wanted and she replied, to become qualified within the SWPP, I asked if she was already at Licentiate level, her reply was,

 "no, however, I would like to eventually get Fellowship". So, no shortage of  confidence there ".

Admirable  to set your sights and to aim high I thought. I then asked what genre she would like to qualify in? Her response , " both wedding and portrait ". That was something that took me by surprise as most photographers want to specialise in one particular genre. I looked at her work which was of a good standard in both styles, however, she needed direction and I felt it would be a considerable period of time before she would have work exceptional enough to submit a panel at Fellowship level, however,  I told Audrey it would be possible  get her wish if she was prepared to work, albeit not Fellowship at this point, but a starting point for her to progress.

  I felt that Audrey was not quite prepared for me to be so honest and candid about the work and point out what I considered to be quality work for clients, but not necessarily up to standard to go anywhere near to Fellowship. Honesty and integrity for both mentee and mentor  
 has to be total.

I think at that stage, Audrey needed time to take stock and I did not hear from her for a few months, thinking that perhaps she had decided to wait until she was in a stronger position as a starting point.

Eventually I was delighted to receive a call from her saying that she was now wanting to start the process of improvement. It was decided to work on two styles to gain her Licentiate, both wedding and portrait. Audrey then went on to say,

  " this work has to be mine, I do not want to copy anyones style "

During the work evaluation and assessment period we undertook, Audrey said that she takes huge inspiration from  horror movies, often watching them until the early hours of the morning. She adored the cinematic quality and wished to bring that into a personal project she was doing. At this point, I was thinking,  nutcase, then she went further and said she often visited clairvoyants ( Mystic Meg ).
Personally, I do not believe in all that mumbo jumbo, however, it turns out that she predicted stardom for Audrey, who am I to argue ?

This particular portrait above, was entered into the PPANI awards and Audrey was delighted to take first prize and earn the title of , PPANI Photographer of The Year, a huge honour.

Creative time followed in  France for a couple of weeks took place in 2015 which proved to be so fruitful. 

Upon return, she contacted me and we looked through the complete set. I was amazed at what she had managed to achieve, I suggested we should submit a panel to SWPP for January 2016, top secret with nobody but the two of us aware. I felt that we had enough to get an Associateship. I said it was a shame that she had not taken more images as it would have had a very strong chance of gaining her a Fellowship. She replied;

  " no worries, I have something else in mind "

 Not only has she enjoyed wining competitions for her work in the UK, but following on from her outstanding achievements at the SWPP conference in London, Audrey is currently receiving  enormous success  internationally after her recent entries into the WPPI,  Las Vegas in 2016.

 It was at this convention where her fine art work was assessed as being of outstanding quality, creatively and unique, make no mistake with competition entries coming from all over the world this would have been a very tough arena in which to have your work assessed.

 I am certain within the space of a few years we will all be drawing inspiration and admiring her work.

This print scored 92 at WPPI 2016

I am certain we will discover an awful lot more about her work and progress, her attitude is one of complete dedication to her craft, to be seen as one of the very best in Ireland and much further afield. I can see her becoming one of the future influencers in photography, already she has been invited to speak at the SWPP conference in 2017, where I am sure her classes will be full with delegates keen to listen to what she has to say and show.

Once Audrey decides to do something, she does it, throws herself headlong into whatever work she is currently doing, it may be wedding, portrait or her fine art work, which is where her heart lies strongly.
 She is prepared to travel to learn from the very best tutors available, willing to invest both financially and a considerable amount of time away from her family in her quest for personal and professional development. Interestingly, Audrey travels extensively to attend workshops that appeal to her, USA and Europe recently.

Printing by Paul Williams 01202 732211

So, there it is, many congratulations Audrey, it might be time to visit Mystic Meg once more:)

More of Audrey Kelly at and my instagram accounts @c2photoanddesign @akfineart and @akellyphoto


kevin wilson photography | wedding photographer | dorset

Wednesday, May 18, 2016

Mark Seymour FSWPP

Once again I find myself in an extremely happy situation writing a blog about one of my incredibly successful mentees.

 This time it is to celebrate and also congratulate Mark Seymour who has become the first photographer in the UK to receive a fellowship in Documentary Wedding Photography. Fellowship is a very arduous process, but just looking at the work here, you have to agree it is both well deserved and worthwhile.

Wedding photography being the hardest discipline  to achieve this status in.

Mark has worked tirelessly to achieve his goal, on the way  many setbacks throughout the journey, mainly as a result of listening to advice that was possibly not in his best interests, or by photographers that were not fully understanding this particular genre of wedding photography and his work.

 When Mark gained his Associateship around five years ago, he expressed to being somewhat disappointed not to have been upgraded to his Fellowship. That particular day I was serving as chairman of the panel and suggested that he should persevere and apply at a later stage, just as his work evolved and became more refined.

 Had he been successful on that occasion, I wonder if Mark would have pushed himself to produce this, therefore, I believe it was the best thing that could have  happened to him and his continuing growth as the superb photographer that he has become  today.

 He suggested that if ever he decided to seek fellowship he would come to me asking  my help to mentor in assisting him to achieve that aim, however, we drifted apart somewhat, seeing each other occasionally, messaging on Facebook and occasional telephone calls.

 Eighteen months ago, Mark called me to say he was applying to the MPA for his Fellowship the following day, I was a little taken aback and slightly disappointed that he had not asked me to guide

I wished him well and he kindly offered to send a link through to me showing his layout and selection, as soon as I observed it, I had severe reservations about his selection and formed the opinion he may well not be successful, sadly that turned out to be the case.

 Like anyone that is passionate about their work, Mark was naturally somewhat saddened by the result, he telephoned me on the return journey from the train after the assessment to inform me that he had been unsuccessful, he said , just as many do at the time.  " I will not submit again ". It was pretty evident from the tone in his voice for anyone that listened just how disappointed he was.

Fast forward one year, following telephone conversations Mark visited me here in Bradford Peverell, we discussed his work and revisited it,  over a period of weeks we had finally assembled a very strong submission. Some of which is published here.

Mark is in my opinion one of the very best in documentary photography, along with Jeff Ascough.
He is highly sought after in the Jewish community and he is the first person most will turn to when a marriage is in the family
His use of light, composition and narrative is exemplary, impact and moments caught without intrusion.

Taking a back seat and capturing a true emotive moment, right lens, right place.

This truly is an amazing capture, if ever there was a decisive moment, surely this has to be just that.

Once again, choice of lens, viewpoint all there . And anticipating the peak action.

Final celebratory first dance, full of action and expression on the bride.

I think you will all agree that this brief insight into what Mark achieves on a wedding day is truly inspirational. There are many that consider themselves to be true wedding documentary photographers, none approach anywhere near this.

So, what next ?

Mark then showed me some of his work that he had documented during the demise of his father who was suffering from dementia. Mark had recorded the complete period from when his father was diagnosed, right up until the very end.

I suggested that he should consider submitting this as well, although Mark was unsure as to whether he had enough to make a complete set at Fellowship, once again, we revisited the hard drive and pieced together the whole story, very moving and poignant. This shows just how dedicated Mark is to documenting life and indeed sadly in the case of his father, his resulting passing.



Unfamiliar surroundings.

Dedication from his wife.


The end is nigh.

Powerful in the extreme, emotional , definitely deserving of the title of " Best Fellowship Application  SWPP Convention, January 2016.

Words from Mark.

I’ve been a professional photographer for over twenty years and in that time not only have I established a very successful wedding photography business, I have really carved out my own distinctive style of photographing and editing.

My photographic style is embedded in the genre of documentary photojouralisim, also described as reportage, photorealism and photoessay.

Documentary photography as its’ finest engages the audience in someone else’s story, their experiences, life. They evoke an emotional response in the viewer, making you smile, laugh, cry and even shock.

My photographs whether they are wedding, my personal projects on street, are totally unorchestrated, natural, and a truthful representation of the subject. I capture candid moments that together will tell the subjects unique story with all the emotions and will provide a lifetime of memories.

I like to use a lot of beautiful contrasting black and white when I edit, as this enhances the intensity and depth of the image, often likened to the work of fine artists in the renaissance period using a technique called chiaroscuro. For me documentary photography is most effective when processed in black and white. Mayfair fine art dealer William Lansbury recently came across my work and quoted “If Caravaggio had a camera these are the type of images he would take”.

Great documentary photography requires all the elements of photography in its highest artistic form, including good composition and beautiful lighting. In addition there is a crucial component that elevates a documentary photograph to one that truly captures a moment in time, telling the story of the people within the image with all its emotion, and as a photographer it is about having the experience to know where to position yourself so that you can capture that illusive moment within a single frame.

Over my career I have won many awards, had my photographs published, even the National Portrait Gallery in London holds my portrait of Jimmy Choo in the national archives. My website has the many testimonials I am proud to share from my many wonderful couples. But gaining a fellowship was a very important milestone to achieve in my career. For me documentary photography, particularly in wedding photography, is highly skilled and requires a photographer to work at a level beyond the formal posed traditional wedding photographer. Within the photography community there was a lot of debate as to whether a documentary panel could reach fellowship status. To have my peers judge my work at fellowship level was an incredible reward for all my hard work but also I hoped that it would set the standard and inspire other documentary photographers to develop their style.

The wedding panel reflected my work in the Jewish community, which is one of the areas of photography I am probably most well known for. There is such a contrast when shooting a Jewish wedding, between the black suits and hats of the rabbis, deep in serious conversation at the synagogue, through to the party atmosphere and energetic dancing of the wedding reception. I want my couples to enjoy their day, engage with their friends and family and leave me to capture the unique story of their day with all its emotional moments, naturally.

The dementia panel has a deeply emotional connection for me as the twenty images have been selected from my personal project, documenting the decline in my father’s health following a diagnosis of Alzheimer’s disease. John Easterby, former Head of Magnum UK, contacted me saying ‘These are the best and most poignant images I have ever seen on this subject’. I had not expected the worldwide media attention that the images would then receive after the Alzheimer’s society heard about the images, and Ronnie’s story would go viral, helping to show others what this is like in real life. The images have led to interviews on Sky News and articles worldwide from Japan to The Mail online and the BBC.

I have to be honest and say the process of getting my panel ready was more of a challenge than I expected. I have such a personal connection with my images, but I had to look at them again to critique them at another level to be able to select twenty images that together gave a complete story, but were also a statement of my technical ability and my creativity, as well as reflecting by passion and unique style.

Having a mentor was key in this process; being able to have another critical eye to challenge my decisions and make me evaluate every choice made me raise my own bar. It enabled me to think and question my panel until I knew I had a set of images that were going to represent what I wanted to say about me as a photographer.

My double fellowship is an immense achievement and I am so proud. Being able to share, work with and inspire other photographers is a really important part of my career now, and I love the time I now dedicate to my documentary training courses. But I am still learning and looking to be inspired with each new project and situation.

  1. kevin wilson photography | wedding photographer | dorset