MyFinePix talks to a hot young photographer whose fashion and wedding images are reaping big rewards.

There comes a time in every photographer's life when money becomes the driving force, overtaking that innocent pleasure of crafting 'the perfect image'.

This creative epiphany is commonly called 'turning pro' and the transition is easier for some than it is for others. For Marko Dutka, it marked a watershed in both his personal and professional life.

"Ever since I was a kid I wanted to be an artist," he tells me. "But I went to a grammar school which was very academic and ended up studying to become a marine biologist. Quite frankly, I hated it. I turned to photography instead and haven't looked back."

Marko is pushing forward the boundaries of his profession with images that are uniquely individual, shot from the hip with no tripod, no complicated lighting and no time for second chances. He shoots 'moments' and lets events unfold before his digital SLR.

And it's paying off. He's tapped into the zeitgeist and is bold enough to go out on a limb with a style of wedding and portrait photography that takes its lead from fashion magazines.

"I've never been a great believer in the starving nature of artists and believe that if you do something well then you should get paid well for it. You should be able to generate an income if you are good at what you do and that's certainly what I'm doing."

Marko came to photography from the world of fine art, after giving up his marine studies, and after College he took a year's sabbatical to spend time travelling through Russia and Eastern Europe armed with only a Pentax K1000 and some black & white film.

"I'm half Ukrainian and wanted to return to the area where my father grew up. At the time of my trip it was the height of Glasnost and the people behind the Iron Curtain were very eager to find out all they could about the West and welcomed me with open arms. Whilst I was there I photographed tramps, street traders, kids, my father's village and it all came so easily. I loved it. It was at that moment that I knew exactly what it was I wanted to do. I wanted to work with people, using my camera.

When I got back home a local press photographer was visiting the College and happened to take a look at my contact sheets and commented on my work. That gave me the impetus to do it seriously, and I learned that I could use my knowledge and love of fine art to pave the way forward for me in a more professional context."

Marko is quick to point out that the secret of success is in being professional. And that extends right across the board, from customer service with the client to dealing with all the other people who help to make a wedding a success on the day.

"The main thing for us is working seamlessly with everybody. We make sure that if the meal is at, say, 3pm, we are finished at ten to. We run on time and recognise the trust that a venue has to have with a photographer.

I believe in complimenting the other people who contribute to a wedding, too. It doesn't cost any money after all. I sent a CD slideshow to a florist recently whose flowers helped make a wedding really special and she was over the moon and asked to use the pictures on her website."

Marko enjoys shooting weddings, and uses his love of fashion photography to good effect when shooting big events.

"At the moment I shoot with two digital SLRs. One is fitted with a standard zoom, and the other has a huge wide to long tele lens attached. A couple of separate flashguns are on each and can be fired remotely off camera as well, for when I need a hair light or some rim lighting in darker areas.

I shoot completely manual and never rely on Program modes. I never leave anything to chance and always spend time making sure my equipment is working perfectly before each shoot.

When shooting in a church I choose ISO800 with no flash, although sometimes I use a fill-in, depending on the day or on what stipulation the church makes. I have become very good at anticipating what's going on. I do a lot of marshal arts and have learned that if you've seen it you've missed it, and that's very true of photography. The wide to tele zoom lens gives great flexibility and provides a really flattering perspective and is great for lurking in the background unseen. Sometimes I will only get five minutes to photograph a bride but that's where the fashion training comes in. I control the lighting and keep it not totally flat, but controllable so I can place the shadows where I want them.

And before you ask, I never rely on Photoshop to rescue a picture. I use it for post-production and that's all. My computer screen is calibrated to the lab I use to process all my images and I know that the result I see in my studio here is the same as what they will output."

When Marko started working professionally after College it was for a local newspaper photographing summer fêtes, charity events and such like. "While I was getting the standard press shot, I also started experimenting and using my technique to tell the story. That's how I started to hone my craft. I learned to work quickly and pretty soon knew how to anticipate the moment."

Of course even back then he always wanted to shoot fashion but it is weddings and portraits that pay the bills.

"Weddings actually bring in loads of contacts and the resulting word of mouth advertising from previous clients has been very good for me.

Down here in Bristol I even work for free for a local wedding magazine, and the reason I do so is that it builds up my portfolio and gets me great contacts. The last shoot I did was at the Bristol Old Vic, a really prestigious theatre. They were so pleased with the spread they got in the magazine that they have now started using my pictures on their website and have offered me wall space for an exhibition later in the year! So you see, it all pays off in the end.

Of course the biggest driving force in my life was my father. He was an incredibly big influence on my life and the life he had puts mine to shame. By the age of 14 he had been through things that I couldn't possibly comprehend, living behind the iron curtain. He died recently and I have his old pocket watch with me and carry it everywhere. He was a real survivor and both my parents devoted their life to me. That taught me a lot about life, and about how important a picture is.

Photography for me is not about taking nice images, it's about doing things that matter. And you don't know how much a photograph matters to you until the person in that picture isn't there any more."

Marko photographed the outspoken former parliamentarian Tony Benn in Westminster Abbey using a handheld. A long exposure of 1/4 sec after the flash had fired recorded the detail in the background.

Marko was commissioned recently by a family who wanted their children recorded in an informal manner. Fortunately, a passing pooch provided the perfect prop, making off with the family frisbee in the process.

An image commissioned by a local magazine who needed a shot of a girl modelling a bag for one of its advertisers.

Using the natural lines of the railing helps to lead the viewer's eye straight to the girl's face.

Portraits don't have to be formal and stuffy, as this shot proves

This little girl was photographed next to a woodpile as she attended a wedding. It highlights perfectly how no eye contact is sometimes better for more moodier moments.

Who says wedding pictures are boring? For Marko, there is always an angle on an occasion.

One of Marko's favourite images, and a great example of a candid approach to a formal occasion. Catching the dog mid-woof relies on good timing and it took a few shots to get this image

A classic example of natural framing, using the stone building to act as a perfect frame for the portrait of the girl. Shot using purely available light using a 200mm focal length.

A delicate portrait this, and one that benefits from a nice tight crop and excellent eye contact.

Who says working with kids is hard work? Given the right occasion and mood, children make ideal subjects as they are always ready to play around.

Marko is a fan of backlighting, but stresses that accurate exposure is imperative. Using exposure compensation and adjusting by +1 got the result you see here.

A telephoto lens compresses the perspective nicely in this shot, allowing Marko to use the pillars in the background to focus the eye on the subject.