Category Archives: Business

The Photography Show 2019

UK’s Top Photography Show, NEC, Birmingham

Very much looking forward to the Photography Show this year, which is on from March 16th to the 19th at the NEC in Birmingham.

Panasonic Lumix

Edmond Terakopian with the Lumix S1R. Barcelona, Spain. January 29, 2019. Photo: Yoshie Nishikawa |

I’m thrilled to be celebrating my 30th year as a photographer at the show, by sharing some images and thoughts, at my talk about my career, generously, supported by Lumix.

“30 years of photography; photojournalism and beyond”, Behind The Lens Theatre, 19 Mar 2019, 13:00-13:40. Edmond Terakopian shares images and stories from his 30-year career as a photographer, covering photojournalism, commercial photography and his passion for observing daily life with his street photography.

Edmond Terakopian shooting in a chocolate factory using a Lumix S1R with S Series 50mm f1.4 lens. Barcelona, Spain. January 29, 2019. Photo: Yoshie Nishikawa

I’m also looking forward to sharing some photographs and thoughts on the Panasonic Lumix G9, which has helped me win several awards over the year, and show my work shot on the newly launched, full-frame, phenomenal S1 and S1R. I’ve had the pleasure to work with the S Series since the beginning of the year, so was one of the first wave of professional photographers from around the world to receive a prototype S1 to work with. To say I’ve been left very impressed would be an understatement!

I’ll be sharing my thoughts on the fabulous Lumix G9, GX9 and range of superb Leica DG lenses. Photo: Edmond Terakopian

The talks are on:

  • Sunday the 17th of March at 15:30. “Three Months With The Lumix S1 and S1R”
  • Monday the 18th of March at 10:30. “Awards and Beyond with the Lumix G9”

They will take place on the Panasonic Lumix stand, D41. I’m happy to say that a few of my images shot on the G9 and S1 will be on the stand as large prints, so I hope you will have the chance to see what these fabulous cameras are capable of.

I shall also be with the Lumix team at the Pro Lounge on:

  • Saturday, March 16th, from 13:00 – 14:00.

So if you’d like to see the Lumix S Series, have a chat or see my work shot on the S1 and S1R, do pop by.


Team Snapperstuff, 2018. Photo: Edmond Terakopian

As always, it gives me immense pleasure to be with the fabulous team from Snapperstuff. We’re the only stand at the show which is manned primarily by professional photographers. Come by and see the superb range of bags and accessories from Think Tank Photo and Mindshift. Meet my friends and I at stands F101 and G101, throughout the show.

If you haven’t yet booked your ticket, here is a discount code which expires on March 13th, 2019. For 20% off, use code: SPKTPS19 (not valid with any other offers).

Albert Herring; Journey-The Book

“Opera By The River” Book

Albert Herring; Journey. A book by Edmond Terakopian

Albert Herring; Journey. A book by Edmond Terakopian which accompanies the Opera By The River project. March 09, 2016. Photo: Edmond Terakopian

As we head towards the Photography Show (March 19-22, 2016), a unique opportunity has come up to purchase a copy of my Albert Herring; Journey book. My friends at Snapper Stuff will be selling the book from their stand (B101, B102). Keep in mind that the book has never been made available to buy, this is a first. Also, I have set a specially low price of £10. Copies can be reserved (see below) for collection from the Snapper Stuff stand at the Photography Show at the NEC in Birmingham, March 19th to the 22nd, 2016. Copies can also be bought straight from the Snapper Stuff stand B101 and B102 during the show.

Multi award-winning photojournalist Edmond Terakopian spent seven months photographing a production of Albert Herring at the Royal College of Music. The opera was by a former pupil, Benjamin Britten. The project resulted in almost 32,000 photographs and was exhibited as Opera By The River in an outdoor exhibition on London’s South Bank.

Albert Herring; Journey is the book accompanying the project. For the first time, this limited print run book is available for purchase. The 10”x8” book has over 40 pages of colour and black and white reportage images, showing many aspects, from auditions and rehearsals to the behind the scenes moments of introspection to the explosive performance and the final clear up. The book was designed by Stuart Smith from Smith Design.

As I’ll be on the Snapper Stuff stand every show day, I’ll be more than happy to sign your copy and chat about the project. I’ll also be giving a presentation on behalf of Olympus at the Behind The Lens Theatre on Sunday, March 20th at 2pm-2.40pm.

To reseve your copy, kindly use the PayPal button below to purchase it, ready for collection from the show. Please note that there is no postal option and this is purely for anyone visiting the show that can collect in person. Many thanks.

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Olympus Magazine Interview – May 2015

10 Page Interview

Olympus Magazine May 2015 Front

Thrilled to share that this month’s Olympus Magazine has a 10 page interview with me about my photography and video work.

You can get your free online copy HERE.

Alternatively, you can download a PDF of just the 10 page interview HERE.

Photoshoot with model Jordan Ebbitt. London. April 10, 2015. Photo: Edmond Terakopian

A portrait of Jordan Ebbitt. London. April 10, 2015. Photo: Edmond Terakopian

A Note To Editors, Publishers And Newspaper Owners

How To Succeed In The Newspaper Industry

It’s alarming to see in recent years the closure of photographic departments (e.g. the Chicago Sun Times and countless weekly local papers) and the way great photography is cut from once brilliant newspapers. If someone with no understanding of newspapers, or business generally, wants to cut costs and increase profitability, the simple and easy thing to do is get rid of what costs the most; often this is the photographic department. The reasons are simple; camera gear and computer gear, including software, is expensive and sending photographers all over the country and the world accumulates in cost. After all, unlike journalists who can work many thousands of miles from a story, rewriting press releases or doing interviews over the phone, the photographer has to be there, in person. This is one of the aspects which makes photography the truest form of journalism; you can’t photograph what you can’t witnessA photograph is the only unaltered truth from a story.

State visit to Britain by US President Barack Obama.  Karl Court & Andrew Parsons in the press area. Downing Street, London. May 25, 2011. Photo: Edmond Terakopian

State visit to Britain by US President Barack Obama. Carl Court & Andrew Parsons in the press area. Downing Street, London. May 25, 2011. Photo: Edmond Terakopian

So, easy, let’s cut out or cut down the photography department and use user generated content; a big mistake; putting aside that often these are aesthetically weak and do not communicate the story, the source of the imagery is also unknown and therefore cannot be trusted. A good and unfortunate example is the aftermath of the Boston Marathon bombing where the Police were chasing the wrong suspects as they were led astray by “citizen journalists”. The other option is of course to use the wire services; excellent agencies like AP are journalistically, ethically and morally sound, often producing great content. Only problem is, this content’s available to all your competitors, blogs (both proper or run by individuals as a glorified hobby) and available for free on search engines.

There is also the option of giving iPhones to the reporters; after all, anybody can take a picture, right? Wrong! Many more people write than take photographs, so by this frankly idiotic reasoning, newspapers should certainly get rid of all writers as well.

Anyone can take a picture; just as anyone can write a word, sing a song, write a poem, paint a painting, run, jump, kick a ball, make a paper aeroplane; it doesn’t mean that they can do these things well, let alone properly and at a high level. It certainly doesn’t make these people photographers, journalists, singers, poets, artists, athletes, professional footballers or aeronautical designers and engineers. When it comes to things journalistic, a level of trust is needed as it’s important to get the facts right, be they in words or in pictures. Relying on pictures from bystanders (even if the term Citizen Journalist has come about, it doesn’t mean bystanders have the first idea about journalistic practice, value or ethics) and publishing these is a tragic mistake for all the various reasons outlined.

State visit to Britain by US President Barack Obama.  Photographers setting up remote cameras in order to get a second angle to their shooting positions. Downing Street, London. May 25, 2011. Photo: Edmond Terakopian

State visit to Britain by US President Barack Obama. Photographers setting up remote cameras in order to get a second angle to their shooting positions. Downing Street, London. May 25, 2011. Photo: Edmond Terakopian

At this point, you’ve ruined the quality of your newspaper and at best made it generic and at worst made it awful. Content is king. At this point, any businessman will tell you that you never mess with the essence of your product; you product is what keeps the company afloat. Give the consumer a reason not buy your product and they will stop buying. Loads of options there on the free market. Result? Your sales go down, advertisers at first barter for cheaper rates and then stop advertising. Your newspaper fails and closes. Whoops.

Look at the Daily Mail website and how astonishingly popular it is; ask yourselves why? Is it because many millions like to read the paper’s occasional almost racist stance on things or is it because the paper’s web presence has embraced photography and publishes the best photography available, daily, and thus pushes up it’s visitor numbers and has elevated the website to being one of the most popular in the world, often overtaking the NY Times? Clearly, it’s not the writing, it’s the power of photography.

So, “How To Succeed”. Dear editor, publisher or newspaper owner, people are moved by great photography. It catches their eye on the news stand and online and attracts them to your paper and the story. People never remember a great article they read months ago or a great piece of video footage from years ago. They will however remember pictures they saw decades ago. This is how a human being’s mind works and as this is your target audience, you should pay attention to the power of great photography and the effect it has. Just because you see great iPhone pictures produced by professional photographers, it doesn’t mean giving your reporters an iPhone is going to bring similar results. Just as a keyboard doesn’t make people award winning writers and a pot doesn’t make everyone a Michelin Star chef, a camera (be it a Leica, Canon, Olympus or an iPhone) doesn’t make everyone a photographer.


In it’s day, The Independent was a great paper. It ran powerful, intelligent photography. They saved costs, got rid of the country’s best photographers. Now look at what the paper’s turned into; such a shame, such a waste. Realise that great photography and writing go hand in hand; marry this with great design and you have a winning formula.

This philosophy applies to local weekly, regional, evening, and national papers. Respect your readership and give them good material and they will stay true to you.

Now, go and hire some great photographers, produce a great newspaper, win awards, be proud, sell loads of copies, get many hits on your website, sell adverts and make your many, many millions.


As if proof were needed: The Chicago Sun-Times has now hired back four of the photographers it fired. Good to see that eventually they came to their senses (probably spurred on by a loss in advertising revenue) and realised what a vital role quality and journalistically accurate photography plays in a newspaper. More HERE

Not so GREAT for Photographers

The UK Government’s GREAT Project Cons Photographers

Campaign Pleads Poverty Even Though

It Has £55M To Get Free Pictures

Three prominent UK press photographers were contacted by the marketing assistant of the government’s UK Trade and Investment office to supply photographs for the GREAT Campaign. In her email to one of the photographers, Isabel Bustillos goes on to say “The GREAT campaign showcases UK excellence in a variety of sectors”. The photographers contacted, Glenn Copus, Shaun Curry and John D McHugh, have with their work shown excellence and as a result were contacted for the photograph needed by the GREAT campaign.

So far, so good. Sadly, the GREAT campaign and the UK Trade and Investment office, showed absolute unprofessionalism and utter disrespect towards the photographers and the value of photography, by initially saying they had very tight budgets so were after a collaboration, asking for the pictures for free. When Shaun Curry reminded Isabel Bustillos (marketing assistant of the GREAT campaign) that photographers do not work for free, as after all it is their profession, she offered a sum of £100. The license asked for was for two years with multiple territory usage and with above and below the line advertising rights. A very quick internet search shows that the GREAT Campaign’s budget is £55 million for 2013 to 2015 (£25M for 2013 and a further £30M for 2014-15). In essence, this governmental initiative with £55 million budget is trying to con photographers into handing over pictures for free. As the initiative’s aim is to boost investment and tourism into the UK, it’s also insulting for UK citizens when it’s realised the penny pinching and amateur attitude will result in not securing the best photographic work and therefore not showing us in our best light, even though there is a tremendous budget set aside for this 120 countries initiative.

The photograph in question. The GREAT campaign tried to get this picture for free, stating that they had a tight budget and could not pay. The budget for the campaign is £55M. Photo: ©Shaun Curry

The photograph in question. The GREAT campaign tried to get this picture for free, stating that they had a tight budget and could not pay. The budget for the campaign is £55M. Photo: ©Shaun Curry

Keeping in mind that a two year advertising license for English speaking countries only, for display use only (100 displays/stands) is £6,615.00 (source: Photoshelter’s image license calculator) and that the license the GREAT campaign requires easily brings the amount to much more. If the image was to be priced fully, including brochure, web and print use, for all territories needed, then the price will easily reach the £15-20,000 mark for two years usage. The level of this insult becomes clear. It is one thing for an individual or small company who have never dealt with media not to realise the value of photography. However for someone from the marketing department of a governmental campaign with a £55 million budget to be instructed to secure photography for free and if not pay hundredths of the price, it is truly disgraceful and completely amateur.

As a reminder, the minister for the GREAT campaign is the Rt Hon Maria Miller MP who claimed £90,000 in her expenses for 2005 to 2009 and was reported for it.

To illustrate the correspondence had, I shall reproduce the emails and quotes from the photographers involved in this insulting encounter with the GREAT campaign.

The initial email to Shaun Curry (who was the only person emailed; the others were contacted by phone):


We would like to use your image below as part of the Government’s international GREAT campaign.

The GREAT campaign showcases UK excellence in a variety of sectors with collateral available for consulates and embassies around the globe to use at trade shows, events and publications.

We usually secure images for 2 years, with above and below the line advertising rights. Usually we secure images (signed of visuals attached below for ease of reference) free of charge due to our limited budget and the fact that the campaign features in over 120 countries with credits shown, is this something you would consider? Grateful for your assistance


Isabel Bustillos | Marketing Assistant | Marketing |UK Trade & Investment”

After Shaun Curry refused the offer of supplying his work for free, an offer of £100 was made.

Shaun Curry writes to Photo This & That:

“The UKTi liked my picture so much (judge’s parade), they asked to use it in their new ”GREAT Britain campaign’ “the biggest ever integrated Government international marketing campaign” with funding of £30 million. with the promise that it would be seen in “120 countries”.

Now…being a seasoned professional I was of course happy to receive such a picture request, but also careful to listen for the caveat, and as is sadly the norm for photographers and many other creatives these days, along it came…again.

“We usually secure images for 2 years, with above and below the line advertising rights. Usually we secure images (signed of (sic) visuals attached below for ease of reference) free of charge due to our limited budget and the fact that the campaign features in over 120 countries with credits shown, is this something you would consider? Grateful for your assistance”

Im sure I am not alone when I say that this ‘limited or no budget’ excuse has worn a bit thin, but even so, every time I hear it my heart sinks a little lower.

I am not particularly militant, but this time I decided to call them up personally, I politely warned the person who sent me this email, that this whole ‘work for free’ must stop and for their own sake, to re-think with their superiors how they populate their websites and brochures with content.

They were very apologetic and offered me £100.

For anyone who understands or has any knowledge of advertising photography and its rates, “Above the line” means a lot more then £100, multiply this by hundreds and you’ll be getting warm.

Needless to say out of principle I refused this money.

This morning a good friend and colleague John D McHugh called me to share his story about the UKTI and their quest for a free picture….of the same judges parade!

We laughed at this, then decided it wasn’t funny.

John D needless to say refused their offer even quicker than I, and also wanted them of their impending publicity disaster within the photographic community, quoting me as an example, to which they seemed somewhat surprised that we knew each other!

We both posted our experiences on a great Facebook group called “Stop Working for Free” to share and educate any others whom maybe approached by the UKTi looking for a free handout.

Im writing this here today, because I’m annoyed and fed up with this work for a byline, it’s going to have to stop.

Shaun Curry 

After having failed to get a free or near free photograph from Shaun Curry, John D McHugh was approached:

“I’ve just had a phone call from the GREAT campaign, telling me how much they loved my image. I immediately interrupted the girl and asked what her budget was, at which point she started talking about a “collaboration” and when I pushed her on what her budget was, she tried to turn it around on me and ask what I would charge. I then told her I had some bad news for her, and went on to say that the GREAT campaign had already insulted one of my colleagues with an extremely unprofessional request for a byline only remuneration offer. I also told her that the GREAT campaign was actively being discussed amongst the UK photographic community, and that some pretty disparaging things were being said about the GREAT project and those running it. In fact, I told her, it was one small step away from being blacklisted, and so in good conscience and out of consideration for my peers, I wouldn’t allow then to use my image.”

The photograph in question. The GREAT campaign tried to get this picture for free, stating that they had a tight budget and could not pay. The budget for the campaign is £55M. Photo: ©Glen Copus

The photograph in question. The GREAT campaign tried to get this picture for free, stating that they had a tight budget and could not pay. The budget for the campaign is £55M. Photo: ©Glenn Copus

After this failed attempt at securing free photography, Glenn Copus was contacted:

“I got the same call and mail for one of my pics, told them that after making a career out of photography for 44 years by being paid they could buy at a discounted price of £250. Of course I never heard back, but how I laughed at the silence over the phone”.

As it turns out, Glenn’s offer didn’t take into account the full extent of the license required, but even his extremely low offer was met with silence.

I contacted Isabel Bustillos who mentioned that she had told the photographers that they had a low budget, but then said that she had offered one of the photographers £1000. After having checked with all three photographers, they deny being offered this amount.

I then contacted the press office for the Department for Business, Innovation and Skills to find why photographers were being treated in this appalling manor:

“Dear Mr Hamilton and Mr Gibbs,

I have been in touch with Oliver Jackson from the GREAT campaign press office and he has suggested I contact yourselves.

I’m writing a piece on the Great campaign and it’s treatment of photographers whilst trying to secure imagery to use in the 120 countries the campaign is targeting. The article is for Photo This & That and for The Huffington Post blog section.

Three press photographers have been in touch expressing their disbelief at being approached for their work and being asked for it for free. Offers of a byline and also an insulting £100 were also made as the photographers made it clear that working for free is unacceptable. Surely it is recognised that professional work is paid for? Considering a two year license, including advertising was asked for, this is absolutely unbelievable. Considering the campaign has had it’s budget increased to £30 million, it’s somewhat surprising that individuals are trying to be conned by this governmental campaign by telling them the budget is tight. The campaign talks about UK excellence in various sectors, yet it’s treatment of the photographers in question is nothing short of an absolute and utter disrespect for the excellence of their work. Photojournalists go out of their way to bring news to the eyes of the world, often risking life and limb. I myself have lost two photographer colleagues in Libya and another close friend lost both his legs in Afghanistan. However, as a group, we persevere as the work that is done is a great responsibility and of tremendous importance. Looking at the world’s magazines, newspapers, competitions and exhibitions, it’s clear that part of the UK excellence your campaign talks of is indeed also in photojournalism. Why is there such disrespect and unprofessionalism shown? Why were they told there was a tight budget when the campaign has £30 million to spend?

I would like an on the record response which I can publish please. This entire unprofessional and disrespectful approach has the entire press photography community rather upset and this is the campaign’s opportunity to have a right of reply before the article is published. 

The approach to the three press photographers (John D McHugh, Glenn Copus and Shaun Curry) was made by:

Isabel Bustillos | Marketing Assistant | Marketing |UK Trade & Investment

I would really like a reply by the end of play today as it’s important for the campaign to explain why there’s such a lack of respect towards photographers and why photography is so devalued. It would be interesting to know how much of the £30 million has been earmarked for photography if at all possible.

I look forward to your speedy reply as this approach has enraged most of the press photographers in the UK.



I received the following reply around 50 minutes later:

A UKTI spokesperson said:

“The UK has one of the largest creative industries sectors in the world and the quality of UK photography plays a key part in its success. The GREAT Campaign is a worldwide marketing campaign driving inward investment and tourism to the UK. Many UK photographers partner with UKTI to showcase excellence in UK photography and to provide them with a global showcase for their work. UKTI does not publish photographers’ work without their explicit permission and ensures that all images used are properly accredited to help UK’s photographers enjoy international acclaim.”

Not only were the issues raised not addressed, but the reply is in itself insulting as it acknowledges the part played by quality photography, yet the government’s GREAT campaign is quite happy to abuse and con photographers.

I responded to this:

“There are several points raised in my email and by the photographers contacted. Non of these have been addressed in your comment. Before writing this up, I just wanted to double check if this is really all that you have as a reply to the issue of absolute disrespect shown towards the photographers in question and their work.”

The reply:

“The photographers in questions were asked if they would like to participate in the campaign and I can assure you that no disrespect was intended towards them or their professional work.”

My final email to the press office has so far gone unanswered (even though it’s now a day later):

“The offer of asking for free pictures, then eventually escalating the offer to £100 (only for one of the photographers’ as no sums were mentioned to the others) for a two year, multiple territory with advertising use license, has been seen by all three involved and the majority of the press photographers in the UK (on several forums) as disgraceful. 

With £30M as a budget, pleading poverty by saying there is a tight budget is a straightforward lie.

The comment provided by your office is sadly just PR and doesn’t address my points (based on what has been told to me by the three) in my initial email. I just want to make sure that this is really all there is to be said by your office. 

The actions, although you say that wasn’t intended, are absolutely unprofessional and disrespectful. Photographers should not be expected to work for free. 

I do hope that there is a deeper response that actually addresses the issues raised.”

Having shown the official response to the grievance expressed by all photographers concerned, John D McHugh writes:

“GREAT’s reply to Edmond’s queries utilises typical PR double speak, insulting the intelligence of anyone who reads it, and at the same time blatantly ignores the original accusation of eliciting photography in exchange for “exposure” rather than payment. The fact that I was told GREAT had a “very small” budget is insulting and infuriating in equal parts, especially when it has in fact secured £30million in Government funding. Despite the UKTI claiming “to showcase excellence in UK photography and to provide them with a global showcase for their work”. The simple fact is that by attempting to license photography for free the UKTI is displaying a contemptuous disregard for the creative industries it is supposed to champion. And just to be clear, the GREAT Campaign contacted me, not the other way around, so I obviously have quite enough exposure. Why they think I need more exposure instead of actual payment is beyond me.”

It’s a very sad state of affairs when a campaign called GREAT, created by the UK government, conceived to showcase how great the UK is, does it’s best to con and cheat UK photographers into handing over work for free or best case scenario for hundredths of what the true value is. Quite ironic that the campaign is called GREAT.


Monday, April 21, 2014 – It’s interesting to note that although the GREAT Campaign was pleading poverty and lying to photographers to secure free photographs, it has hired David Bailey (who is sure to be one of the country’s most expensive photographers) to shoot a photograph of Her Majesty for the campaign.