Paul Belford

Interview Fiona Shields

© Paul Belford

Fiona Shields, Head of Photography at The Guardian News and Media Group and judge of our 2024 Open Call Award, shares some valuable insights and advice for photographers.


─── by Josh Bright, October 2, 2024

One of the most respected names in the industry, Shields has over two decades of experience with The Guardian and various other newspaper titles, covering some of the biggest news stories of our time. She also delivers talks at photo festivals, mentors photojournalism students, and serves as a judge and nominator for numerous prestigious competitions.

color documentary photo of young boy by Andrew Nguyen
© Andrew Nguyen


What inspired you to enter the photography industry?

FS: I arrived in London as a teenager to study journalism at what was then the London College of Printing. It was the late 80s, an exciting time, and I had my eyes opened to social and political motivation that wasn’t so obvious to me growing up in a bit of a bubble in Edinburgh.

After qualifying as a journalist I began work on a current affairs magazine and realised then that my talents were never going to be as a writer/reporter, I was much better at the visual language of journalism: layout and picture choices to really engage readers in the story.

color fineart portrait of boy walking in field by Lucia Bottegoni
© Lucia Bottegoni
color conceptual photo of couple dancing by Nuno Serrão
© Nuno Serrão
Open Call Award ; color studio fashion portrait of female model by Pavel Kun
© Pavel Kun


FS: I’d developed a fascination for photography at college, I had a basic Nikon camera and a little dark room in my flat. I followed the work of social documentary photographers of the time and once even interviewed the legendary Vietnam War photographer Tim Page for a student project. As my interests and skillset coalesced, the path towards picture editing became clearer. I think as a young person one of the key things you can learn in life is to be alert to what you’re good at!

color wildlife photo of jelly fish by Martin Broen
© Martin Broen


Could you share a memorable moment from your career?

FS: I’ve had so many memorable moments but I can pick out a few that have stayed with me for different reasons. I was on a night picture editing shift for a national newspaper when we received the news of the car crash involving Princess Diana. As events spiralled in the hours after midnight, I stayed through the night in the office working on the story in the newsroom while my three-month-old baby slept in a car seat underneath the desk so he could be fed!

black and white photo of girl, mother and grandma from same family by Juliana Holck
© Juliana Holck


FS: Many of the events I’ve covered have been truly exhilarating – the newsroom can often be bursting with activity – the night of Obama’s presidential success for example was such an occasion. We all left after a night of editing at pace, exhausted but overjoyed.

But some moments are memorable for all the wrong reasons. I was picture editing on a late shift on the day of the attack on the World Trade Center. It was so horrific and surreal to witness. It was a moment you knew the world would never be the same.

color portrait photo of a pregnant woman by Lloyd Wright
© Lloyd Wright
conceptual color photo by Tania and Roman Synchrodogs
© Tania and Roman Synchrodogs


What are the most significant changes you’ve observed during your time in the industry?

FS: The evolution from analog to digital photography has profoundly affected the industry. Once a photographer submitted a roll of film that had to be processed and negatives viewed to select and scan a few images for publication. It was a slow process that required for precision and time to be factored into the production schedules. These days we receive a deluge of over 30,000 images in 24 hours that can be presented within seconds of the camera shutter being pressed and can reach the point of publication just moments later.

color photo of fishermen in Congo by Joaquin Barata
© Joaquin Barata
color medium format portrait photograph by Justin Keene
© Justin Keene
color fine art abstract portrait of woman by Han Yang
© Han Yang


FS: The speed of image delivery is both a blessing and a curse. It’s incredible to be able to bring the news almost immediately to viewers or readers and to keep abreast of a fast-moving situation, but you also have to exercise caution, pause, check, and verify the provenance of an image, or be certain that trusted suppliers have played their part in doing so.

Advances in technology have made image manipulation almost undetectable. This is particularly concerning in news reporting where accuracy is essential, and AI further complicates the potential for deception. The trust we place in the photographers we work with has never been more significant.

Landscape photography by Chiara Zonca. From the article: Fiona Shields: Expert Insights & Advice for Photographers
© Chiara Zonca


What are 3-4 tips you would offer to up-and-coming photographers?

FS: It’s common knowledge in our industry now that editorial work is not well paid so my first piece of advice is to be agile. Make sure you have skills to work across different photography disciplines that can span both editorial and commercial work. 

Keep your online portfolio updated and make sure your contact details and location are clearly visible. This is your shop window so show a variety of your work, make it easy to navigate and include successful commissions or publications so clients can see that you’re equipped to follow a brief. Consider a presence on social media as this can also be a great way of showcasing your talents.

Black and white portrait of a woman looking upwards by Gonçalo Lobo Pinheiro
© Gonçalo Lobo Pinheiro


FS: Familiarize yourself with other ways of funding your projects through grants, awards and bursaries. Take the time to enter competitions as this is a great way of getting your work under the noses of picture editors, curators, photo book publishers, and all other industry professionals who sit on judging panels.

When pitching to a busy picture editor, send it in a pyramid form so give it a headline first, then a brief explanation before going into further detail. Always include a PDF of your images so the quality of your work can be viewed at a glance. No busy picture editor wants to spend time downloading images from a Dropbox for example!

 

All images © their respective owners