Trigger‘s passion for the camera developed at a young age, hand in hand with his love of automobiles. At 16, he made the bold decision to leave school to pursue a career aligned with his interests – the smart thing, as he calls it. Finding his place at Calvert Studios, his affinity for cars and photography blossomed into the foundation of a promising career.

After initially focusing on learning the intricacies of studio craft and assisting influential photographers in the automotive world, a breakthrough came when Trigger started shooting on location for Jaguar Land Rover, earning recognition from several leading creative directors who recognised his talent and enthusiasm.

Trigger’s style emerged from the convergence of his passions. His ability to fuse technical expertise with creative flair sets him apart, using his mastery of the craft and a storytelling approach to bring the essence of each product to life.

Trigger’s clients include Bentley, Jaguar, KIA, Land Rover, McLaren, Rolls Royce, Sealine Yachts, Toyota and Triumph Motorcycles.

Anissa Payne, EP @NM Productions said, “We’re really proud to be partnering with Trigger this year, his talent and skill as an automotive photographer speaks for itself. The unique way that he blends technical expertise with creative flair is what makes him a master of the craft, we’re excited to see where his venture into motion takes him!”

Trigger, photographer @NM Talent said,  “Really looking forward to teaming up with Anissa Payne and her fantastic team at NM! They’ve got such an impressive line-up of collaborators. NM may be a young company, but they’ve got this incredible energy about them. Anissa’s drive to innovate and explore new approaches really sets them apart, and it definitely shows in their work. Can’t wait to see what’s next!”

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By Carole Keily | Photos by Tavan Smith

You’ve probably seen Tavan Smith’s photos here on Prince William Living’s website and in the print magazine. He has covered a number of events, including awards ceremonies, a spelling bee, local festivals, and even the White House Christmas Tree lighting. He’s also taken photos of local landmarks.

A local student in a national spelling bee (photo credit: Tavan Smith)

Tavan got started as a photographer when he was in high school. He’s always been interested in photography, and his grandmother gave him a camera for Christmas one year. “Yes, it was long enough ago that it was a film camera!” Tavan said. One of his first assignments was with his high school yearbook.

“I’m a sports guy,” Tavan said, and some of his early work included covering sports for InsideNova. In addition to photographing the players in a game, he took sideline photos and provided news coverage.

A native of the Bahamas, Tavan lived for a time in Fairfax County before moving to Prince William County. He said he likes being involved in the community.

And that community involvement carries over to his professional position, on a finance team in the County’s Department of Transportation. At any given time, the team is working on projects relating to roadwork, road widenings, and streetlights, among others.

Tavan is available to photograph events such as birthday parties and graduations. Learn more about him and see his work at tsmithphotography.com.

Carole Keily is Prince William Living‘s Online Editor.

Honor CEO, George Zhao, took to the stage at VivaTech in Paris this morning to talk about the brand’s ambitions with on-device AI. Surprisingly, this talk also went into some detail about the complex lighting and post-processing workflow of Studio Harcourt, the world’s most famous portrait studio. Yes, an Honor and Studio Harcourt collaboration is on the cards.

During the presentation, Zhao revealed that Honor’s 200 series phones, which launch next month, have a new portrait mode developed in tandem with the studio. We’ve seen smartphone manufacturers co-branding their camera systems for a while now, think of the OnePlus phones with Hasselblad lenses, or the Xiaomi phones with Leica lenses, but opting for a photography studio is something new.

Details are thin on the ground at the moment, but it appears that the Honor 200 series phones can recreate Studio Harcourt’s legendary black and white headshots using AI image manipulation. So rather than flying to Paris and handing over a massive sum, you can just snap a quick selfie on your upper mid-range smartphone instead.

The rest of the speech centered around the AI features that debuted with the Honor Magic 6 Pro, like Magic Portal and Magic Ring, which try to predict your intention to serve up useful shortcuts between apps. I’ve been hooked on Magic Portal, which I mostly use as a Circle to Search with Google alternative. It’s capable of many things, but it lets you drag any image into Google and quickly reverse-image search, and I find that super handy.

The good news is that MagicOS 8.0, and its brilliant Magic Portal, are making their way to the Magic V2 and Honor 90 later this month. No specific date was shared, but George Zhao said May, and there’s not much of that left.

The aforementioned Honor 200 and Honor 200 Pro launch on June 12, and they’re expected to bring some serious photographic prowess at a relatively affordable price point. Most of the specs are still under wraps, but Honor’s Chinese website already offers a glimpse at the striking design. I’m looking forward to learning more, but in the meantime, you can take your portraits to the next level with our guide to the best selfie sticks.

It was early March in 1971 and bitterly cold, but the snow and sleet didn’t dampen our spirits. Thousands of us had gathered for the first Women’s Liberation Movement march. We were singing and dancing as we walked through London and there was street theatre at Trafalgar Square, where the march ended. It was a joyous occasion. Our banners reflected our primary focuses: equal pay and equal opportunity, free contraception and abortion on demand. There were also lots of men of all ages taking part, kids too. And there was a huge police presence – we were surrounded by them, walking alongside, in front and behind. They were on the march too – whether they liked it or not!

I was taking pictures the whole time, running to get ahead, climbing up lampposts or on to bins. I remember passing Billingsgate fish market was a whole lot of fun, as workers came out to watch and cheer. I’ve got lots of pictures of passersby laughing with us – and some of them at us. But even if there was the occasional bit of mocking, things were never nasty. We weren’t being aggressive, so that wasn’t the reaction we got.

This shot must have been taken as we were approaching Oxford Circus. I like how it reflects the range of people who were on the march. The placard in the background was in support of US activist Angela Davis, who was a hugely important figure for the women’s movement in the early 1970s.

I’d been part of the UK movement since its earliest days and had joined one of the first women’s groups, in Tufnell Park, London. I was radicalised as a student and started going on anti-Vietnam war marches in 1967. I never left home without a camera round my neck. I started working for an agency called Report, run by a guy who had fought in the Spanish civil war. Report bought some of my pictures and they were published in the national press. They paid very badly though. I think it was £3 per photo published.

The year before the march, the UK women’s groups had held their first ever conference. People came from all over the country. There were academics reading papers, trade unionists talking about their struggles, discussions about families and children – all sorts of people from the left. We weren’t expecting more than 200 people but we had three times that. We didn’t want to be victims of press distortions, so I was the only photographer in the plenary sessions, allowed because I was part of the movement and nobody took any notice of me. But I knew it was important to have a record of this special occasion. My photographs of the conference, as well as the march, are among those on display at the Women in Revolt! exhibition, about to open in Edinburgh.

One thing I’d like to set the record straight on is the number of people who were on that march. The figure that’s usually given – and was repeated on captions when Women in Revolt! was at Tate Britain – is 4,000. Of course I can’t prove it but I’m sure there were tens of thousands of us. We were a solid block on the mile from Marble Arch to Oxford Circus, and once we got to Trafalgar Square it was completely chocka!

Later, in 1971, I gave up photography, partly driven by feelings of frustration at always being an observer. But there was another reason. I was living in a commune in Islington and we used to get regularly raided by the Special Branch in the middle of the night. They would always remove the film from my camera and take it away – which of course they weren’t allowed to do. I loved taking pictures of people but I thought: “No, I’m not having this. I’m not taking pictures for the Special Branch.” So I completely stopped photography and didn’t return to it for over a decade.

My love of photography began when I was very young – I was first given a camera aged 10. When I was 17, my family were living in Caracas, Venezuela, where my father was a diplomat. Caracas is in a valley and the surrounding hills are full of huts and shanty towns. I used to head out there every day to take photographs, and it became obvious that this was what I wanted to do. I went back to the UK in 1967 to study photography at the London College of Printing. With all the student protests in London and Paris and beyond during those years, it was a very exciting time, but I don’t think I had the sense that I was part of an extraordinary moment in history – one never does, does one?

The women’s movement made a lot of advances, although it’s still got a long way to go. But I feel proud now to have been part of it all.

Chandan (Sally) Fraser’s CV

Born: 1950, Woking
Trained: London College of Printing
Influences: Henri Cartier Bresson, Robert Capa, Eve Arnold, Alfred Stieglitz, Ansel Adams
High point: “Being sent to photograph Tennessee Williams at the ICA, London, in 1970”
Low point: “Giving up photography”
Top tip: “Have your camera with you all the time”