Tag Archives: photography

10 Ways to Take Stunning Portraits

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Emilia FoxIf you have ever had your portrait taken and wondered at how the photographer created such amazing images of little ol’ you, then you’ll be surprised to hear that people are actually the easiest subjects to photograph. Unlike the natural world, people are actually willing and interested in having their picture taken and that puts you the photographer, in control. All of the elements of good photography are in your hands. You choose the subject, the light, potential themes, colours, etc. Technical details are not so important, the key here is imagination. SmugMug knows a thing or two about good photography and have compiled 10 tips to help you enhance your portrait skills. Watch out David Bailey!

1. Alter Your Perspective – Some of the best portraits are the ones that break the rules. So instead of shooting your subject at eye level, try changing the angle, either get up high and shoot down on your subject or get as close to the ground as you can and shoot up. Either way you will see your subject from a different perspective which will instantly add interest.

2. Play with Eye Contact – A strong gaze will give a powerful impact to your photograph and will also create a real sense of connection between the subject and those viewing. The direction of your subject’s eyes can also give character to your image. For example, you can create a little intrigue by making your subject look off camera, at something hidden from the viewer. Alternatively, you can give your subject something to look at that is inside the frame, creating a second point of interest and a relationship between it and your primary subject. This will also help create a ‘story’ within the image.

3. Look for a Full Range of Emotions – This is a particularly good advice when taking family portraits. Do not just take pictures when a scene seems sweet. Every emotion a parent, sibling, or child display is worth capturing—fascination, tears, passion, even boredom. Interaction between family members will prompt these emotions.

4. Experiment with Lighting – The power of lighting is sometimes overlooked and there are almost unlimited possibilities when it comes to using light in portraits. For instance, side-lighting can create mood, whilst backlighting and silhouetting your subject to hide their features can be powerful. Window light is also very beautiful for taking photos indoors, but you will need a reflector to put light back onto the shadowed side of your subject’s face. You can buy a reflector or even try making your own from a large piece of white card or a white sheet.

5. Move Your Subject Out of their Comfort Zone – Head and shoulder shots and other standard pose images can be nice but will they really make your picture stand out from the crowd? Agree with your subjects to create something special and out of the box, make them jump for instance or do something with their body that might sound silly at first but might turn out to be surprising and create a unique portrait.

6. Shoot Candidly – Posed portraits can sometimes limit your creativity and also block your subject to standard expressions. Adopting a candid approach is particularly good when photographing children or really any active subject that is changing their position or pose in quick succession.

Photograph your subject in a familiar space or doing something that they enjoy. This will put them more at ease, reacting naturally to the situation that they are in. Get them to have some fun and be spontaneous. The resulting photos will be full of life.

7. Use Accessories – Your subject still need to be the main point of interest but by adding accessories to your shot such as a piece of jewellery, a hat or simply a beautiful textured fabric you will instantly create another point of interest that will help enhance your subject and add an extra layer of depth.

8. Play with Background – Once again, the person in your portrait should be the main point of interest. However, you can dramatically alter the mood in a shot when you place your subject in different contexts. For example, choose a dramatic or colourful background, or be as minimalistic as possible and make you subject stand out. Experimenting is the key.

9. Go with a Wide Angle – Shooting with a wide angle lens can help produce creative and memorable portrait shots. Often overlooked as just a landscape lens, a wide focal length can open up a whole new world of opportunities and, contrary to popular belief, you can still get a flattering portrait of your subject – you just need to shoot in a slightly different way. If you are planning to take a distorted style wide angle portrait it is crucial to make the effect look as deliberate as possible, otherwise it will simply seem as if you have used the wrong lens.

10. Share Your Photos with the Right Tools – Finally, what’s the point of taking stunning portraits if nobody sees them? You can share your portraits with your friends and family by using SmugMug. With secure photo sharing you can create an online photo album where you can store and share all of your photographs in a simple, safe and secure place.

Visit www.smugmug.com for a free 14-day trial. Membership starts at $5/month.

Peter Lindbergh Interview | Exclusive

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Peter Lindberg Interview, Mary Greenwell interviewHe is one of the most famous fashion photographers in the world. Peter Lindbergh, 69, went down in history with his black-and-white photos of the young Kate Moss and group images of the supermodels in the ‘90s. For the Silhouette “An Icon for an Icon” campaign, he shot Hollywood star Cate Blanchett. In this interview Peter Lindbergh talks about his inspiration for the Icon shoot, working with the Oscar winner and why an emotional link is so vital to a good photo.

 

Who are easier to photograph – professional models or actors?

 

Actually it’s easier to photograph models because they’re used to looking directly into the camera. Posing is their job. With actors, it’s often a different story. They aren’t used to looking at the camera front on. But, that doesn’t matter – that’s the challenge.

 

For the Silhouette campaign, you put Hollywood actress Cate Blanchett in the limelight. What was it like working with her?

 

Cate is simply great. She’s so natural and doesn’t act like a ‘star’ at all. That makes working with her so nice. Or maybe it’s because she’s Australian. All the uncomplicated people I have worked with up to now come from either Australia or New Zealand (laughs).

 

Do you have any funny stories you can tell about the shoot?

 

No, not directly. But I remember the first time I worked with Cate: that was 10 or 12 years ago in Portofino. She was with her husband and son. One of my sons also happened to be there. The two boys got along great, spending the whole day with each other; right away it felt like we were family, so I always look forward to working with her.

 

How do you manage to convey so much intimacy in your photos?

 

I’m honest and give people the feeling that they can relax with me. I communicate a certain ease. In most cases, that is the key to get people to open up. And unlike many other photographers, I start shooting early, while things are still being set up and the motive isn’t at its best. So we’re building up the set and experimenting with the light, and my pictures come about organically.

 

How important is an emotional link for a good photo?

 

Very important, but emotions only arise spontaneously. For example, the first time I worked with Nadja Auermann, the atmosphere in the afternoon sunlight in Los Angeles was so intense, that she suddenly began to cry. Photographing people can be very intimate. Sometimes it is so intimate that I feel like I am looking at the woman directly, and no longer through the lens.

 

Of all the personalities you have photographed, which has impressed you the most?

 

The French actress Jeanne Moreau. A few years ago I made a very interesting, but not very flattering photo of her and asked for her permission to publish a lightly retouched version of it. She was then 78, and just exclaimed,  “But Peter, what exactly do you wish to retouch?” That impressed me a lot.

 

You are known as the inventor of the supermodel. Your photos of Naomi Campell, Cindy Crawford, Linda Evangelista, Tatjana Patitz and Christy Turlington shot together are legendary. Did you ever imagine that that would make you go down in the history of photography?

 

No, not at all, something like that can’t be planned. You can’t just go and say: “now I’m going to do something legendary.” It’s a coincidence, something that just happens. Back then, at the end of the ‘80s, I just wanted to do something different. I no longer wanted to photograph women in haute-couture, laden with diamonds, carrying crocodile handbags. I wanted to bring their natural beauty to light, not change the world.

 

What was it like switching to digital photography?

 

It was a real drama (laughs). Time and time again I’ve battled with technology and have had to ask my assistant how something works. The main difference, though, is that photography in the past was a more intimate process between the model and the photographer. Today the camera is hooked up to the computer, and there are a thousand guys on the set. If you are really unlucky, you’ve even got an editor standing at the laptop commenting on every move the model makes, or suggesting how it could be done better. That, unfortunately, doesn’t have much to do with the photography.

 

What advice would you give today’s young photographers?

 

Don’t be an assistant to a famous photographer. It’s hard to free yourself later from their influence. It’s also important to photograph as much as you possibly can. That is the only way that quality and your own personal style can evolve.

 

When does photography become art?

 

The difference between art and business is superfluous in my opinion. For me, a photo is ‘art’ if it causes an emotional reaction or changes an established way of looking at things, or if it’s simply new and original.

 

How have the fashion industry and modeling business changed in comparison to the past?

 

Everything was friendlier and more personal before. Today the entire industry is just one marketing strategy. Numbers are the thing now, not authenticity or personality. I often have the feeling that I’m no longer dealing with people, but with empty shells. I think that’s a real shame.

 

What was your first reaction when you were asked if you would photograph the new Silhouette campaign?

 

I thought, what in the world is Silhouette (laughs)? I have to be honest and say that I had never heard of the brand before. But then I did a bit of research and was quickly very impressed. I had no idea how big and successful the company is.

 

Do you wear a Silhouette yourself?

 

Yes, and with great pleasure because the glasses don’t change my face, and they’re so light that I forget I’m wearing them.

 

Please fill in the blank: Peter Lindbergh is…

 

A really nice guy who is incredibly handsome (laughs). No, seriously. I am someone who tries everyday to take an interesting photograph once again.

 

Thanks Peter.

How to Achieve the Perfect Autumn Landscape Shot

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It’s that time of the year again when the days start to shorten and the green leaves of summer begin to turn and fall – the perfect time to get that striking landscape snap. Whether you’re a novice or professional photographer, the experts from SmugMug have compiled their top 10 tips on how to achieve that perfect landscape shot.

How to take the perfect autumn landscape shot.

1.       Explore your surroundings – Part of the enjoyment of landscape photography is being out in nature. More often than not, guidebooks miss those special secret spots so make sure you spend time exploring and observing your surroundings to get the lay of the land. For example, how the sun moves at different times of the day, or the different points of view.  It will take time and patience to discover the perfect scene.

 

2.       Get in position – Once you’ve discovered your scene, find out where you should shoot from to get the best results. Working out where the sun will rise and set, and the sun’s position in relation to you and your landscape, will ensure you’re in the right place at the right time.

 

3.       Try another position – After you’ve got your shot, walk or drive closer to the subject and try again. Proximity will make the subject strike you in a different way.

 

4.       Think of your foreground – One element that can set apart your landscape shots is the foreground. By placing points of interest in the foreground, you allow those viewing the shot a way into the image as well as creating a sense of depth in your shot.

 

5.       The rule of thirds – If you’re new to landscape photography, try using the ‘rule of thirds’. Simply divide your frame into imaginary thirds on both the horizontal and vertical axis. Now simply place areas of interest at the points at which the lines intersect, or along one of the lines. This will give the composition of your shot more tension, energy and interest than simply centring the subject would.

 

6.       Scale – When your subject is of unspecified size. For example, a mountain, or a body of water. Add a sense of scale by including something of known size, such as a car, tree or animal. This will help the viewer understand what they’re looking at.

 

7.       Preparation is key – Rain can damage or ruin your camera, but it can also make for a great picture. Make sure you always carry a good umbrella, a box of plastic bags, a small tarp and a towel with you to to ensure your equipment stays safe.

 

8.       Layer up – Add multiple layers to your composition beyond the main subject, such as foreground and background elements to create interest, depth and texture.

 

9.       Golden hours – Always try to shoot before sunrise or after sunset—the times when the light is best. Use the harsher light of midday to scout out your location.

 

10.   Do your research – If you are staying in one place for several days, check out the long-range weather forecast and plan your shoots around the weather that is best for specific subjects.

Visit www.smugmug.com for a free 14-day trial. Membership starts at $5/month.

Zaha Hadid for Swarovski by Felix Kunze

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Architect Zaha Hadid for Swarovski

shot on location in Germany with her scuplture ‘Prima by Swarovski’  – see more here

 Zaha HadidFrost loves this picture of Zaha Hadid by Felix Kunze. Here is a bit more about him in his own words:
“I’m  in London, UK and will be here for the summer
 

I’m a portraiture photographer, I take pictures of people. Born in East Berlin, I grew up in Sussex, England. My first years were spent behind the iron curtain. My goal is to show the beauty, grace, strength and enthusiasm of people. I focus on non-models and place regular people in exaggerated situations that highlight an aspect of who they are. I look for a sense of defiance in my work. I’ve worked with world renowned photographers like Annie Leibovitz and Mario Testino.

I’m based in London but travel for projects around the globe. I shoot a portraiture and reportage assignments for clients like Swarovski, Yahoo!, Citi Group, Nikon Owner Magazine, Trand Magazine, Vitra, Wihp, Getty Images, Wireimage, the Redferns Music Library, Getty Travel and others, including my celebrity portraits at ContourPhotos.”

Withnail And I Gallery Review

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withnail-and-i-stillThe free booze was flowing generously and the sounds of Jimi Hendrix were pounding as Withnail and I returned to their old stomping ground in Camden Town, basking in the glorious summer heat. June sees the start of an exhibition at the Proud Camden Kitchen of a remarkable set of candid, behind the scene stills taken during production of the cult British classic, taken by the renowned film set photographer Murray Close.

 

Murray Close is considered the go to man for film production photography in a career that has spanned over three decades. He got his big break at the age of nineteen, working for the great Stanley Kubrick (himself a photographer in his youth) on the set of horror adaptation The Shining. The publicity still  of Jack Nicholson’s face peering with menace through a freshly axed door has become synonymous with not just that film, but for Nicholson’s bad boy persona and has become an icon of horror cinema. Close has worked for some of the biggest names in the business such as Spielberg and Eastwood, and on some of their best known works. Tucked away in his extensive C.V. is the low-budget 1986 comic drama Withnail and I, written and directed by Bruce Robinson. It’s a semi-autobiographical tale of two out of work actors (Richard E.Grant and Paul McGann) in 1960’s London, who tired of waiting for the phone to ring and drowning themselves in a sea of liquor and lighter fluid, decide to go ‘on holiday by mistake’ to the remote rural setting of Penrith in Cumbria. Their situation improves little. It’s a terrifically British comedy and by that I mean that as hilarious as it gets, every scene is undercut with an overwhelming melancholy. It is every bit as achingly sad as it is funny. Over the years it has become the definition of the word ‘cult’ creating an entire legion of fans across the years, not least amongst countless students who attempt to match drink for drink what the characters consume in the film.

 

Close’s portraits of the film’s production are a joyful and revealing spectacle. They range from the cosy intimacy of the London based segments  (the warmth of Uncle Monty’s flat radiates from images) to the roaming, overwhelming countryside locale that seems to swallow cast and crew whole. The collection captures the comradery of the cast and crew, and also fits in with the almost anarchic tone of the films story. Grant seems to take centre stage in many of the portraits. The character of Withnail can’t help but infiltrate each shot he is in and that unique blend of charisma and chaos permeates from his pictures, as intoxicating as anything he consumes in the film. As he does in the film, McGann remains a calm centre in the midst of his colleagues tomfoolery. His handsome features would not look out of place in a fashion shoot and they create a nice contrast with the displays of comic caricature. Look out to for an appearance from Ringo Starr; fellow Beatle George Harrison was one of the driving forces behind the films production.

 

The title of Withnail and I: The Finale is given a deeper, bittersweet meaning by the sad passing earlier this year of Richard Griffiths. The established character actor had many hits to his name (Pie In The Sky and Harry Potter were standouts) but none more memorable than that of Uncle Monty; Withnail’s eccentric uncle, fellow would be thespian with a passion for cooking and lust for ‘I’. His gentle yet unmissable presence was another key factor to the films success and its staying power over the years. This gallery serves up a fitting tribute to not just a great character but, by all accounts, a genuinely lovable human being.

 

Withnail and I: The Finale is running from June 21st to September 1st at Proud Camden, Stables Market in Chalk Farm Road

 

The Storm of Oklahoma by Tyler Shields

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Tyler Shields Drives From LA to Oklahoma to Shoot the Storm for the Red Cross
Tyler Shields said:

“Took a drive from Los Angeles to Moore Oklahoma and met some of the most incredible people I have ever met. Their spirit was so up lifting it really makes you realize the things you own do not own you, life is about living not about possessions I did not meet one person who complained only people happy to be alive. I met this women who told me the story of how her father build a storm shelter for her 30 years ago she never liked it and had never used it until this Tornado came she gathered her whole family into the small shelter and it saved all of their lives it was amazing to hear her tell the story about how she hated this thing and now the small slab of concrete will for ever be remembered at the savior of the family!

moore_oklahoma2

I will be auctioning these photos and all the proceeds will be going to the families of Moore Oklahoma if you want to purchase a photo please email info@tylershields.com”

disaster_girl

Weddings – do and don’t: Creating magical weddings

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Julia Dowling of Snapdragon Parties, the leading luxury wedding and event planners, shares some trade secrets on creating an amazing wedding.

The idea of planning your own wedding sounds like fun to the uninitiated.  But unless you feel confidently creative, are commercially savvy and know how to find the best suppliers out there, it can be daunting.   As professional wedding planners we are most often asked for our top wedding planning tips.

Wedding bride and groom

  1. Do set a realistic budget and stick to it

Even a modest wedding costs a great deal.  Build a budget based on some Internet research and your judgement of how much you are prepared to spend.  As a guide, your budget should be split about forty per cent to catering, ten per cent each to venue or marquee hire, clothes, entertainment, photography and flowers with everything else coming from the remainder.  Don’t assume that hosting your wedding at home will be cheaper, because the entire infrastructure needs to be brought in.  Have honest conversations with all concerned about who will contribute and how much, and do get wedding insurance. Use your budget to guide your choices.  We always start wedding planning with a budget and then help to choose a venue and style of wedding.  Once you have set a budget, stick to it by negotiating hard with suppliers, especially if they were recommended by your venue; they will often be paying commission on your booking.

  1. Don’t pick a venue until you have a clear idea of the type of wedding you want

Many historic buildings impose restrictions on their use; a grade 1 listed castle full of ancient treasures is likely to prohibit use of candles, so if your vision is a candlelit wedding ceremony pick an appropriate venue.  Depending on when you plan to marry think about the likely weather (always have a wet weather plan) and the availability of local accommodation.

  1. Do find ways to weave in your own personality and style

There is much more to styling a wedding than copying an idea from a glossy magazine or adhering to conventional traditions. I often start by asking couples what impression they want to leave their guests with and how we can incorporate elements of their personality into the design scheme.  Other considerations include the season, the exact location, the size of the guest list, favourite colours, the level of formality which is desired and the budget.

In terms of dressing a venue, think macro and micro.  Macro styling means lighting the outside of a building, transforming the interior space and fusing the venue’s character with the nature of your event.  Micro styling means the way you dress the tables, the folding of napkins and your choice of china, glassware, place cards and favours.

Really talented florists will happily interpret your concepts with flowers, candles, feathers, wood, glass or foliage.

  1. Don’t settle for the same old wedding fare

Most caterers’ and venues’ standard menus are pretty boring.  Britain exports some of the finest food all over the world.  While no one goes to a wedding primarily for a gourmet experience, serve your guests some food that they will really appreciate.

  1. Do plan the day from a guest’s perspective

On your wedding day you may be the centre of attention but you are also the host, and so you need to think about the whole day from your guests’ perspective.  This means making sure that it flows naturally, that people aren’t left standing around without a drink while you have pictures taken and that everyone gets to spend at least a little time with you both.

  1. Don’t be afraid to save money where guests won’t notice

Wine needs to be good, but not necessarily a First Growth Bordeaux and you would be amazed at how good a wedding cake from M&S can be (yes, I’m being serious).  Once your florist has constructed something colourful between the tiers, your guests will think you spent a fortune on it!

  1. Do make your wedding stationery stand out

The invitation offers the first indication your guests receive about the character of the event.  While the skilfully engraved traditional invitation undoubtedly retains its timeless appeal, an intricate laser cut creation can be equally impressive.  When picking a stationery style and colour, remember that you have to carry it through for orders of service and table stationery.  Anything too outlandish may make it hard for guests to read the hymns or placecards.

  1. Don’t cut corners on photography

Apart from the marriage, the photographs are the only part of your wedding that will last a lifetime.   There are four basic styles of wedding photography and the best photographers can generally achieve a seamless mix of them all.  The traditional style is ideal for the posed family portraits, contemporary photography tends to be more informal and capture the spirit of the occasion.  Reportage is the fly-on-the-wall approach that captures the detail and flow of your day and the artistic approach, as the name suggests, aims to create the poster shots.    Even if you aren’t particularly traditional you should be cautious about too contemporary a style as you won’t want the photographs to look out of date in a few years.

  1. Do hire a professional to coordinate things on the day

Appoint someone as the coordinator on the day.  This could be a friend, or ideally, a professional.  Without a coordinator, you will spend the whole day worrying about the details yourself, which will significantly reduce your enjoyment.   They need to reconfirm all the details with suppliers, create a detailed running order and oversee the day.  Many wedding venues will offer you an event coordinator but remember that they won’t coordinate anything other than at the wedding venue itself.

  1. Don’t forget why you are doing this!

If you haven’t employed a wedding planner, there will be times during the planning process when you will wonder why you’re doing all this; it will inevitably get pretty stressful at times.  When the bills are flying in and you are worrying about all sorts of seemingly inconsequential details, remember that it will all be worth it in the end – and, after all, you will remember your wedding day forever!

www.snapdragonparties.com

Luke Johnson backs the team behind The Food Awards Company

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LukeJohnsonLooking for some inspiration? Anyone who wants to start a business or new venture will find something in this story: A Radio 4 programme on a wet autumn afternoon in 2011 started a flow of events that resulted in the successful launch of one award in 2012 and two more are now following in 2013. The first, Pink Lady® Food Photographer of the Year, attracted over 3,000 entries from across the world in year one. Headline sponsor Pink Lady® Apples is now committed for a further five years. This is a great achievement for the enterprising team working out of a potting shed in Lincolnshire!

 

The bottom line

Caroline Kenyon was listening to Radio 4’s ‘The Bottom Line’ presented by Evan Davis one autumn afternoon when she took action. Luke Johnson was being interviewed and it struck her that he could be the right person to help her idea to take shape. After 12 years developing a successful PR and Events business focusing on the food sector, she felt that there was a need for niche awards delivered with flair and originality. After emails, telephone calls, meetings and business plans, Luke Johnson was also convinced and wanted to be involved. It is 12 months since Evan Davis played cupid and The Food Awards Company began. The awards are a culmination of 25 years experience and an ambition to create something with longevity and real purpose. “These awards will, I hope, still be running in 50 years’ time,” says Caroline Kenyon. This concept is now a very real and successful business.

 

From law to food via journalism…

Caroline was about to embark on a career at the Bar following Law at Cambridge, but after a year of travel and an article in the Evening Standard, her direction changed. The years of studying law were put behind her as she began freelance writing combined with waitressing and selling boxer shorts to off-duty bankers in a Fulham boutique on a Saturday, alongside now BAFTA-winning television director, Hugo Blick and his producer wife Elinor. Her writing led to her becoming editor of the Traveller Magazine where she worked with great names such as Ranulph Fiennes and Edmund Hillary. Then a move to Lincolnshire and the birth of her son Henry started on direction number two – helping local food businesses with their PR.

Twelve years later, Kenyon Communications has been responsible for running the British Pie Awards, East Midlands Food & Drink Festival, Lincolnshire in London and worked on many successful PR campaigns such as Yes Peas! and Totally Traditional Turkeys. The team also work with the acclaimed chef, Rachel Green. During this time Caroline has built up a team of eight – all working from the potting shed in her garden and with eclectic backgrounds, including working as promotions manager to Bryan Adams and being responsible for business development with the Orient Express – throw in a karate black belt and you have exciting people to work with! This team has combined to deliver numerous awards and events for clients, so they are now working to build The Food Awards Company. They believe strongly in the business and are working on a profit share basis – all sharing the work and the rewards.

Caroline commented; “The idea had been bubbling in my head for a while and as with all ideas the exciting part is bringing them to life. Fortunately for me my idea has been backed by a man who has implemented many of his own extremely successfully and I hope can spot a good one! I also have a fantastically hard-working and fun team to work with – they are helping us to make this happen at a faster speed than I initially anticipated.”

Photography and bread combined with an enterprising spirit

The first award was designed to highlight the previously not recognised art of food photography, Pink Lady® Food Photographer of the Year. Images came in from across the globe with categories such as Cream of the Crop, Food Portraiture, Food in the Street, Food for Celebration and a chance for the under 18’s with the Young Photographer section. With judges including Sheila Dillon, Alex James and Henry Dimbleby – the glamorous 2012 presentation took place at the Mall Galleries last April. For 2013 the aim is to have 10,000 entries and so far they are on target. The headline sponsor is Pink Lady® Apples, other key sponsors are Champagne Taittinger and Errazuriz Wines with money also being raised for Action Against Hunger. The second awards celebrate the rise of artisan bread-making – the Tiptree World Bread Awards are now open for entries and the winners will be announced at a harvest supper style event in the autumn. The third award is all-encompassing across the food sector – Food and Drink Entrepreneur of the Year. This is an idea in development and the hunt is on for the right partner to support enterprise in this dynamic sector. We will always need to eat. New and exciting foods are constantly being innovated – this means that Caroline and her creative team at The Food Awards Company will keep thinking of new ideas and ensure that these tasty businesses are recognised for their skill, expertise and overall deliciousness!

 

Luke Johnson explained why he decided to be part of this new business that is setting out to highlight the best in specific niche sectors; “I really liked the idea of this from the outset,” says the serial food entrepreneur known for building the Pizza Express empire in the 90’s and former Chairman of Channel 4, now owner of Giraffe restaurants, Patisserie Valerie, Gail’s Artisan Bakery among many others. “People love awards, and niche awards which celebrate something specific are even more appealing.”